12
Portfolios%3D%222350%22%20and%20Disp_Obj_Type%3D%22Painting%22
Painting
Charles Gaspard Guillaume de Vintimille du Luc, Archbishop of Paris (1656-1746)
Hyacinthe Rigaud, (Perpignan, France, 1659 - 1743, Paris)
Rigaud, Hyacinthe
France
1659 - 1743
Male
61 7/8 x 52 3/4 in. (157.2 x 134 cm)
.
.
.
Oil
Oil
1731
1731
1731
1600-1800, 18th century, church officials, men, paintings, portraits
Painting
Next to the King, the archbishop of Paris was one of the most powerful men in France, and he surrounded himself with only the finest quality. Rigaud was the leading French portraitist of the early eighteenth century, often painting kings and royal families. His account book reveals that Archbishop Vintimille du Luc paid 3,000 livres (the French currency of the time) for this masterful likeness. The painting documents the archbishop's character and stature. The mild expression admirably suggests the conciliatory nature that made Vintimille du Luc famous for his diplomatic skills. Writing materials close at hand and a vest library in the background allude to his scholarly attainments and his work. His sumptuous attire, the exquisite workmanship of his desk and chair, and the theatrical backdrop of cloth are calculated to impress the viewer with the archbishop's power and wealth.
[Gallery label text, 2008]
1968.1
item
Memorial Art Gallery
1/25/2001
separations
6 x 7
00/00/00
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68.1TR1
transparency
before conservation
4 x 5
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68.1SL1
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full- before conservation
2 x 2
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glossy
full before conservation
8 x 10
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full w frame before conservation
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full before conservation
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68.1SL2
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2 x 2
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detail- eye before conservation
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68.1DI1
digital image
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68.1TR2
transparency
full after conservation
4 x 5
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68.1SL4
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full after conservation
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4 x 5
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68.1DI7
digital image
4 x 5
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68.1DI3
digital image
with frame- before conservation
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Painting
Genesee Oaks
Asher Brown Durand, 1796 - 1886
Durand, Asher Brown
United States
1796 - 1886
Male
28 1/4 x 42 in. (71.8 x 106.7 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1860
1860
1860
1800-1900, 19th century, cows, Hudson River School, landscapes, paintings, rivers, trees in art, views of Rochester & western New York
Painting
Asher B. Durand was commissioned to paint this magnificent vista overlooking the Genesee River Valley in Geneseo, New York, by a member of the Wadsworth family, the village founders. At one time, they owned all the land from Geneseo to Rochester.
[Gallery label text, 2007]
No matter what the weather, this view across the Genesee Valley near Geneseo is as breathtaking now as it was over two hundred years ago, when landowner James S. Wadsworth commissioned Hudson River school founder Asher B. Durand to record the beauty of the landscape in a painting. In the summer of 1859, Durand traveled from New York City to the Genesee Valley to make preparatory sketches. Trained as an engraver, he recorded many of the details that he saw, but in addition, his personal belief in the immanence of the divine in the natural world motivated him to present a landscape that seems to extend infinitely.
Statuesque oak trees, many of which are still standing on the land, dominate the painting. In this region, the trees were more than a decorative feature. When the Wadsworths began to sell and lease land to local farmers, they included a clause in the contract requiring that a number of trees remain after the land was cleared. This was a holdover from British husbandry; the result was a countryside that was not only beautiful but that provided sun and moisture control for humans and animals alike. Genesee Oaks was Durand's tribute to the splendor of this valley.
[Gallery label text]
Durand visited the Genesee country but once, sketching in the Geneseo area during late June and July of 1859. Of his trip he wrote to his son in August: "With all my troubles I believe I have learnt more about the management of colors in the painting of trees than by all my previous practice, altho' I have never produced so little in the same span of time, not having made but four studies in five weeks."
During the following year, back in his studio, Durand painted Genesee Oaks, based on the sketches he had made. The painting was commissioned by James Samuel Wadsworth, a local squire, who owned the work when it was exhibited at the National Academy of Design in 1861. Seven oil studies done near Geneseo in 1859 are photographed in Durand's studio after 1878. A photograph shows three small sculptures of cows, two standing, one reclining that may have served as models for the animals in the painting.
Howard S. Merritt
Peters, Susan Dodge, ed. Memorial Art Gallery: An Introduction to the Collection. (Rochester, NY: The Memorial Art Gallery, 1988). p.182-3.
lower left
1974.5
item
Memorial Art Gallery
9/8/1999
74.5TR1
Transparency
Memorial Art Gallery
4 x 5
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74.5DI2
digital image
Memorial Art Gallery
8/25/2001
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74.5SL1
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full
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74.5DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/74.5_A1.jpg
74.5SL2
slide
detail
2 x 2
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color
1 x 1
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digital image
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15durand1.tif
digital image
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M425_p71.tif
digital image
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M425_p71_s250.tif
digital image
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74.5DI2
digital image
with frame
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74..5DI4
digital image
Detail cows and figure under trees
00/00/00
http://127.0.0.1:5000/Media/images/74.5_A4.jpg
Painting
Homage to Childhood Memories
James A. Ridlon, (Nanuet, NY, 1934 - )
Ridlon, James A.
United States
1934
Male
27 x 24 3/4 in. (68.6 x 62.9 cm)
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.
.
Mixed media
Mixed media
0
0
Painting
lower right
1977.192
item
Memorial Art Gallery
9/8/1999
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
76.192DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/77.192_A1.jpg
Painting
John Monck (1735-1809)
Angelica Kauffmann, 1741 - 1807
Kauffmann, Angelica
Switzerland
1741 - 1807
Female
39 x 29 in. (99.1 x 73.7 cm)
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.
.
Oil
Oil
1764
1764
1764
1600-1800, 18th century, men, paintings, portraits
Painting
John Monck was the Master of the Ceremonies in Bath, England, a position that charged him with organizing events, introducing guests and maintaining order in the spa town. Angelica Kauffmann painted this portrait in Italy rather than Monck’s native England, which suggests that he was on a gentleman’s “Grand Tour” of Europe. The Italian painter Pompeo Batoni painted Monck’s portrait in the same year, indicating that he must have spent enough time in Italy for two rounds of sittings.
Although Kauffmann was only 23 years old when she painted Monck’s portrait, she was well into her career, as she had begun painting professionally as a teenager.
[Gallery label text, 2008]
lower left, in image, on edge of tabletop
1980.56
item
Memorial Art Gallery
5/12/2000
80.56SL3
slide
detail-hand
2 x 2
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80.56SL1
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detail-head
2 x 2
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4x5
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full
4 x 5
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80.56DI1
digital image
4 x 5
7/23/2002
http://127.0.0.1:5000/Media/images/80.56_A1.jpg
x-ray
00/00/00
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Painting
Seer
Helen Frankenthaler, 1928 - 2011
Frankenthaler, Helen
United States
1928 - 2011
Female
93 1/2 x 85 1/8 in. (237.5 x 216.2 cm)
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.
without frame
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.
.
approximate installation dimensions
frame
Acrylic
Acrylic
1980
1980
1980
1900-2000, 20th century, green, paintings
Painting
Helen Frankenthaler constantly pushed the limits of abstraction throughout her long career. Many of the first generation of abstract artists, such as Jackson Pollock, highlighted the expressive quality of painting. Through her unique process known as “soak-staining”—in which thinned paint was allowed to seep into unprimed canvas— Frankenthaler pioneered the emphasis on color in the following generation. Despite her ground-breaking approach, Frankenthaler’s early achievements were regularly diminished by critics on account of her gender. The artist resisted such limiting interpretations of her paintings:
"I wonder if my pictures are more 'lyrical' (that loaded word!) because I'm a woman. Looking at my paintings as if they were painted by a woman is superficial, a side issue, like looking at Klines and saying they are bohemian. The making of serious painting is difficult and complicated for all serious painters. One must be oneself, whatever."
[Summer 2023, Adam Ranz]
lower rightback of canvasback of canvas
1981.13
item
Memorial Art Gallery
9/8/1999
81.13TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
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81.13SL1
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full
2 x 2
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81.13DI1
digital image
Memorial Art Gallery
Imaging complete
6/19/2001
http://127.0.0.1:5000/Media/images/81.13_A1.jpg
81.13DI2
digital image
00/00/00
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81.13TR2
transparency
4 x 5
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81.13DI#3
digital image
back - full
11/20/2006
http://127.0.0.1:5000/Media/images/81.13_A2.jpg
81.13DI#4
digital image
back - signature
11/20/2006
http://127.0.0.1:5000/Media/images/81.13_A3.jpg
81.13DI#5
digital image
back - information
11/20/2006
http://127.0.0.1:5000/Media/images/81.13_A4.jpg
Painting
Floral Still Life
Rachel Ruysch, 1664/1665 - 1750
Ruysch, Rachel
Netherlands
1664-1665 - 1750
Female
45 1/8 x 34 3/8 in. (114.6 x 87.3 cm)
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.
without frame
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.
.
approximate installation dimensions
frame
.
.
.
approximate installation dimensions
frame
Oil
Oil
1686
1686
1686
1600-1800, 17th century, flowers in art, paintings, still lifes
Painting
lower left, on stoneback of stretcherback of stretcherback of stretcher, On cross-member of stretcher. See photo attached hereback of stretcher, See photo attached to Marks-->Surrogatesback of frameback of stretcherside of stretcher, Very modern
1982.9
item
Memorial Art Gallery
4/5/2000
82.9TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
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82.9SL1
slide
full
2 x 2
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82.9SL2
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2 x 2
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detail signature
2 x 2
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negative
4x5
00/00/00
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82.9DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/82.9_A1.jpg
82.9DI2
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/82.9_A2.jpg
82.9DI4
digital image
Detail- artist signature
00/00/00
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82.9DI7
digital image
Detail Butterflies
00/00/00
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82.9DI#8
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/82.9_A8.jpg
Painting
Peeling Onions
Lilly Martin Spencer, 1822 - 1902
Spencer, Lilly Martin
United States
1822 - 1902
Female
36 x 29 in. (91.4 x 73.7 cm)
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.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
ca. 1852
1847
1857
1800-1900, 19th century, food, genre scenes, home life, jobs & work, paintings, women
Painting
lower left, in frontmost peach. Second numeral unclear.
1988.6
item
Memorial Art Gallery
9/8/1999
88.6TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
88.6SL1
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full
2 x 2
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4x5
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88.6DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/88.6_A1.jpg
88.6DI2
digital image
00/00/00
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88.6DI3
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/88.6_A2.jpg
88.6_A3.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/88.6_A3.jpg
10spencer1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/10spencer1.tif
Painting
Dead Pine
Neil Welliver, 1929 - 2005
Welliver, Neil
United States
1929 - 2005
Male
72 x 72 in. (182.9 x 182.9 cm)
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.
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overall
Oil
Oil
1994
1994
1994
1900-2000, 20th century, landscapes, paintings, trees in art
Painting
Neil Welliver is one in a long line of painters of the Maine landscape, where the forces of nature play themselves out against a background of severe beauty.
As art critic Edgar Allen Beem has commented,
In the end, what you have in a Neil Welliver landscape is the evidence one artist has collected of the visual order within the seeming chaos of nature, of human consciousness alive in an indifferent universe, and of the clarity of vision that can be brought to bear on a beauty borne out of pain.
[Summer 2015]
Neil G. Welliver
1999.40
item
Memorial Art Gallery
1/13/2000
99.40TR1
transparency
4 x 5
00/00/00
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99.40SL1
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full
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4 x 5
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99.40DI2
digital image
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Painting
Boats, Blue Square
Paul Resika, (New York, NY, 1928 - )
Resika, Paul
United States
1928
Male
76 x 76 in. (193 x 193 cm)
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.
.
without frame
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.
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overall
frame
Oil
Oil
1996-1998
1996
1998
1900-2000, 20th century, boats, paintings, seascapes
Painting
Painter Paul Resika's brush translates the dramatic colors of boats, sea and sky into a nearly abstract composition. The artist's lifelong interest in color was established early on in studies with Hans Hofmann (see Hofmann's "Ruby Gold," 60.37). Two years in the watery environs of Venice, and residency since the 1960s on Cape Cod, have given Resika the imagery with which to express his profound connection with the beauty of the natural world.
[Gallery label text]
lower left
Paul Resika
1999.41
item
Memorial Art Gallery
10/27/1999
99.41TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
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99.41SL1
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2 x 2
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99.41DI2
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/99.41_A1.jpg
99.41DI3
CMYK for printing
digital image
00/00/00
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Painting
Courtyard Scene with Kneeling Man and Seated Woman with her Attendants
Indian artist, (active )
Indian artist
India
Primary
11 7/16 x 8 7/16 in. (29.1 x 21.5 cm)
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overall
sheet
.
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overall
mount
Opaque watercolor
Opaque watercolor
0
0
Painting
2015.26
item
Memorial Art Gallery
6/13/2014
2015.26DI#1
digital image
6/13/2014
http://127.0.0.1:5000/Media/images/Inventory pictures/2015.26_I1.JPG
2015.26DI#2
digital image
5/26/2016
http://127.0.0.1:5000/Media/images/2015.26_A1.jpg
Painting
Hunting Scene with Men on an Elephant
Indian artist, (active )
Indian artist
India
Primary
9 7/8 x 14 1/2 in. (25.1 x 36.8 cm)
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.
sheet
sheet
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.
overall
mount
Opaque watercolor
Opaque watercolor
0
0
Painting
2015.27
item
Memorial Art Gallery
6/13/2014
2015.27DI#1
digital image
6/13/2014
http://127.0.0.1:5000/Media/images/Inventory pictures/2015.27_I1.JPG
2015.27DI#2
digital image
5/26/2016
http://127.0.0.1:5000/Media/images/2015.27_A1.jpg
2015.27DI#3
digital image
5/26/2016
http://127.0.0.1:5000/Media/images/2015.27_A2.jpg
Painting
Scene with Lovers and Female Musician
Indian artist, (active )
Indian artist
India
Primary
10 15/16 x 6 3/8 in. (27.8 x 16.2 cm)
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.
.
sheet
sheet
Gouache
Gouache
0
0
Painting
upper and lower margins
2017.20
item
Memorial Art Gallery
6/26/2017
2017.20DI#1
digital image
6/26/2017
http://127.0.0.1:5000/Media/images/Inventory pictures/2017.20_I1.JPG
2017.20DI#2
digital image
6/13/2019
http://127.0.0.1:5000/Media/images/2017.20_A1.jpg