49
Portfolios%3D%222792%22%20and%20Disp_Obj_Type%3D%22Painting%22
Painting
North River, Marshfield, MA
Carol Acquilano, (Rochester, NY, 1960 - )
Acquilano, Carol
United States
1960
Female
22 1/4 x 30 in. (56.5 x 76.2 cm)
.
.
.
sheet
Paint and ink
Paint and ink
2003
2003
2003
Painting
lower rightlower left, Fourth painting within a month long residence
2005.11
item
Memorial Art Gallery
1/19/2005
2005.11DI1
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/2005.11_A1.jpg
Painting
Sunny Ducks
Daniel Arthur Allen, (1946 - 1974, Rochester, NY)
Allen, Daniel Arthur
United States
1946 - 1974
Male
5 3/16 x 3 7/16 in. (13.1 x 8.8 cm)
.
.
.
sheet
vertical
sheet
Acrylic
Acrylic
1973
1973
1973
1900-2000, 20th century, birds, paintings
Painting
Nearly 40 years after it entered MAG’s collection, Daniel Allen’s tiny painting was re-discovered by an intern updating records for the museum website. Its quirky sense of humor and mysterious narrative caught her eye. Intern Sarah Gerin says: “Sunny Ducks’ intrigue lies in its ambiguity. It is kind and comforting, yet still forlorn and remote. In the painting, there is no context for what interaction is taking place, where it is taking place, or even its significance. With its enigmatic imagery and striking sense of both kindness and solitude, this scene reveals a clever and playful approach to the universal themes of isolation, alienation, and human relationships.”
[Label text from It Came From the Vault exhibition, 2013]
lower right
Christine Wheat
1975.12
item
Memorial Art Gallery
9/8/1999
75.12DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/75.12_A1.jpg
Painting
The Night Before the Battle
James Henry Beard, (Buffalo, NY, 1811 - 1893, Flushing, NY)
Beard, James Henry
United States
1811 - 1893
Male
30 1/2 x 44 1/2 in. (77.5 x 113 cm)
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.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1865
1865
1865
1800-1900, 19th century, Death, genre scenes, paintings, war
Painting
James Beard had first-hand experience as a captain in the Union army during the Civil War. This painting, completed in the year the war ended, is a dramatic statement about the ever-present possibility of death on the battlefield.
[Gallery label text, 2007]
Were it not for details like the skeleton keeping vigil behind the cannon, the cruciform composition of the flag draped over the sleeping soldier, and the scattered playing cards suggestive of luck and chance, this painting would be a simple narrative about the Civil War. However, such potent symbolism imbues the work with layers of spiritual significance.
Perhaps the reminders of death and sacrifice that the artist included in his masterful painting emerged from his firsthand experience in the Union Army during the Civil War. The meticulously selected and carefully arranged details attest to the poignancy of the soldiers' situation and contrast with the implied violence that will occur on the morrow.
[Gallery label text]
lower left
1978.15
item
Memorial Art Gallery
9/8/1999
78.15TR1
Transparency
Memorial Art Gallery
4 x 5
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78.15SL1
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full
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78.15DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/78.15_A1.jpg
78.15SL2
slide
detail-soldiers sleeping
2 x 2
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78.15SL3
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detail-man with flag
2 x 2
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78.15SL4
slide
detail-skeleton
2 x 2
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78.15DI2
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/78.15_A2.jpg
78.15DI3
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
M425_p83.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p83.tif
M425_p83(10).tif
digital image
00/00/00
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negative
3 x 5
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glossy
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78.15DI#4
digital image
7/16/2012
http://127.0.0.1:5000/Media/images/78.15_A4.jpg
Painting
Boomtown
Thomas Hart Benton, 1889 - 1975
Benton, Thomas Hart
United States
1889 - 1975
Male
46 1/8 x 54 1/4 in. (117.2 x 137.8 cm)
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.
overall framed size
horizontal
frame
.
.
.
without frame
Egg yolk and oil
Egg yolk and oil
1928
1928
1928
1900-2000, 20th century, American Scene/Regionalism, cityscapes, Encyclopedia Britannica Collection, paintings
Painting
Early in his career, Thomas Hart Benton was involved in the American abstract movement, Synchromism. In the 1920s, Benton embarked on a style that incorporated Synchromist rhythmic line and expressive color with representational imagery of rural America. With this major shift in style, Benton established the Regionalist movement. Many consider Boomtown to be the artist’s first Regionalist masterpiece.
[Gallery label text, 2007]
Boomtown is one of the masterpieces of the Gallery's collection because of its impressive and unique depiction of an American landscape. When Thomas Hart Benton sketched this panoramic scene from a second floor window, the smoky fire on the horizon signified progress, not pollution. Borger, Texas was a boomtown that sprang to life in 1926 after a refinery company hit a gusher that produced 5000 gallons of oil a day.
Benton is one of the three major American Regionalists (the other two are Grant Wood and John Steuart Curry), so called because most of their subjects were about life in the rural heartland of America.
While Benton was not a fan of contemporary modernist painting, and in fact disdained artists who painted in the abstract style, he couldn't help but be influenced by the curvy and streamlined aesthetic of his times and the way in which artists were reinterpreting three-dimensional space. Consider the way in which the people, buildings and landscape are layered from top to bottom on the canvas, rather than being laid out carefully from front to back in the manner of traditional artistic renderings.
[Gallery label text, 2006]
lower right
1951.1
item
Memorial Art Gallery
9/8/1999
51.1TR1
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Memorial Art Gallery
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51.1DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
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51.1SL2
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2 x 2
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51.1DI1
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Memorial Art Gallery
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51.1DI3
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52benton1.tif
digital image
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51.1DI4
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/51.1_A7.jpg
51.1DI5
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/51.1_A8.jpg
51.1DI6
digital image
Detail
6/11/2009
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51.1DI7
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/51.1_A6.jpg
51.1DI8
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/51.1_A9.jpg
digital image
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Painting
The Sierras Near Lake Tahoe, California
Albert Bierstadt, 1830 - 1902
Bierstadt, Albert
United States
1830 - 1902
Male
14 15/16 x 21 1/16 in. (38 x 53.5 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1865
1865
1865
1800-1900, 19th century, deer, landscapes, mountains, paintings
Painting
Bierstadt was one of the most gifted artists to depict the stunning mountain views of the expanding frontier, far west of the Hudson River region that had inspired earlier American landscape painters. He was a member of the generation of artist-explorers who traveled with expeditions or in their footsteps and recorded the visual experience. MAG's painting quietly but masterfully convinces us of the grandeur of mountains and sky by including the tiny deer to give a sense of scale, and by suffusing the surface of the painting with a warm, glowing palette.
lower leftverso, centerverso, upper left, 'No.' is painted over an illegible word.verso
1992.78
item
Memorial Art Gallery
9/8/1999
92.78TR1
Transparency
Memorial Art Gallery
4 x 5
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4 x 5
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92.78DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/92.78_A1.jpg
92.78SL2
slide
detail-slightly cropped
2 x 2
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detail-mountain
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color
1 x 1
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M425_p85(10).tif
digital image
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http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p85(10).tif
Painting
Afternoon Light
Ralph Albert Blakelock, 1847 - 1919
Blakelock, Ralph Albert
United States
1847 - 1919
Male
16 1/8 x 24 1/16 in. (41 x 61.1 cm)
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.
.
approximate installation dimensions
frame
.
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without frame
Oil
Oil
ca. 1880-1890
1880
1890
1800-1900, 19th century, landscapes, paintings, romanticism
Painting
This brooding, moody canvas was created by one of the most haunted souls in the history of American art. Ralph Blakelock, a man diagnosed as a paranoid schizophrenic and placed in a sanitarium for fifteen years, painted some of the most mysterious, expressive and poetic paintings in 19th century America. Indeed, his interest in and exploration of the unknown and the expressive were deeply admired by such radical 20th century abstract painters as Willem deKooning, Jackson Pollock and Franz Kline....
[Gallery label text]
lower rightcardboard backing of paintingverso, Visible before relining.
1974.4
item
Memorial Art Gallery
9/8/1999
74.4TR1
Transparency
Memorial Art Gallery
4 x 5
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74.4SL1
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74.4DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/74.4_A1.jpg
74.4SL2
slide
detail of hands w print
2 x 2
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74.4 backing boardDI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/74.4_A2.jpg
Painting
Young Priestess
William-Adolphe Bouguereau, (La Rochelle, France, 1825 – 1905, La Rochelle, France)
Bouguereau, William-Adolphe
France
1825 - 1905
Male
71 1/4 x 32 in. (181 x 81.3 cm)
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.
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.
approximate installation dimensions
frame
Oil
Oil
1902
1902
1902
1900-2000, 20th century, Orientalism, paintings, women
Painting
Bouguereau's idealized figures, with their realistically-rendered surfaces and painstaking level of finish, show a technical mastery that still astonishes. Here the fluid fabrics of the priestess's garments and the drapery behind her contrast sharply with her pale flesh and the stone mosaic of the floor. The lack of context invites viewers to provide the figure with a narrative. This painting, completed when the artist was almost 80, demonstrates a return to the themes of classical antiquity that had been mainstays of his youthful work.
Bouguereau had a typical Academic education: he studied anatomy, classical literature and archaeology along with drawing and painting, and spent a year in Rome where he took inspiration from Renaissance artists. A member of the Academy throughout his career, his paintings were regularly included in the annual Salon exhibitions.
[Gallery label text, 2011]
1973.1
item
Memorial Art Gallery
1/17/2001
73.1TR1
transparency
4 x 5
00/00/00
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4 x 5
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73.1DI2
digital image
00/00/00
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73.1DI3
digital image
4 x 5
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http://127.0.0.1:5000/Media/images/73.1_A3.jpg
Painting
Morning Star
Eugen Bracht, (Morges, Switzerland, 1842 – 1921, Darmstadt, Germany)
Bracht, Eugen
Germany
1842 - 1921
Male
29 3/4 x 34 1/2 in. (75.6 x 87.6 cm)
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overall
frame
Oil
Oil
ca. 1900
1895
1905
landscapes, paintings
Painting
lower leftback of board, Siegmundshof address is that of the artist's studio.back of panelback of boardback of support, On back of rectangular frame fastened to boardback of support, On back of rectangular frame fastened to boardback of support, On back of rectangular frame fastened to boardback of support, On back of rectangular frame fastened to board. Partly illegible.back of support, On back of rectangular frame fastened to board. Partly illegible.back of support, On back of rectangular frame fastened to board. Stencilled to two labels or sheets of paper which were then applied to the wood.back of support, On back of rectangular frame fastened to boardback of support, On back of rectangular frame fastened to boardback of support, On back of rectangular frame fastened to boardback of frameback of frameback of frameback of frame, Partly illegible.back of frame, Partly illegible.back of frameback of frame, If this really reads "10," may be catalogue number from 1900 exhibition in Vienna? See photocopy of catalogue in curatorial file
1913.10
item
Memorial Art Gallery
2/27/2001
transparency
4 x 5
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4 x 5
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digital image
00/00/00
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Painting
Still Life with Pipe (Nature morte à la Pipe)
Georges Braque, (Argenteuil, France, 1882 - 1963, Paris)
Braque, Georges
France
1882 - 1963
Male
16 x 13 in. (40.6 x 33 cm)
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approximate installation dimensions
frame
Oil
Oil
1913
1913
1913
1900-2000, 20th century, Cubism, paintings, still lifes
Painting
back of canvas
1954.12
item
Memorial Art Gallery
1/30/2001
54.12SL1
slide
full
2 x 2
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54.12DI1
digital image
full
2 x 2
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54.12DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/54.12_A2.jpg
Painting
The Bay of Estaque Seen from the East (La Baie de l'Estaque vue de l'est)
View of Mt. Marseilleveyre and the Isle of Maire (L'Estaque); La Montagne Marseilleveyre et l'Ile Maire; Le Golfe bleu (L'Estaque); Sea at L'Estaque
Paul Cézanne, (Aix-en-Provence, France, 1839 – 1906, Aix-en-Provence, France)
Cézanne, Paul
France
1839 - 1906
Male
21 1/4 x 25 5/8 in. (54 x 65.1 cm)
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approximate installation dimensions
frame
Oil
Oil
ca. 1878-1882
1878
1882
1800-1900, 19th century, Impressionism, landscapes, paintings, seascapes
Painting
Paul Cézanne exhibited in the Impressionist exhibition of 1874, and was encouraged by Camille Pissarro to begin painting out of doors. He soon moved beyond the style of Impressionism and began building form with color to paintings that were more analytical than sensory. He frequently painted scenes of the small town of L’Estaque in southern France, where he lived and worked periodically from 1870 to 1885. In an 1876 letter to his friend the Impressionist painter Camille Pissarro, he wrote of his work in L’Estaque:
"I have started two little motifs with a view of the sea…red roofs over the blue sea…The sun is so terrific here that it seems to me as if the objects are silhouetted not only in black and white, but in blue, red, brown and violet. I may be mistaken, but this seems to me to be the opposite of modeling."
In this painting, he uses interlocking shapes of bright color and diagonal brushstrokes to create the sensation of volumes in the foliage, mountains, and water.
[Label copy from Monet: Vision and Process exhibition, 2018]
Cézanne's artistic goals developed through his contact with the Impressionists. Although he was not interested in rendering particular momentary impressions, he wished to record his "sensations" of nature. This painting typifies his technique-- suggesting form and volume through interlocking shapes that are rendered with bold, diagonal brushstrokes. The bright colors deftly evoke the strong light and crystalline atmosphere of southern France.
[Gallery label text, 1999]
back of stretcherback of stretcherback of stretcherback of stretcherback of stretcher, Italian customs stampback of stretcherback of stretcherback of stretcherback of stretcher, on cross-member of stretcherback of stretcher, on cross-member of stretcherback of stretcherback of stretcher, on cross-member of stretcherback of stretcher, On cross member of stretcher. Import or export stamp.back of canvas, Import or export stamp. Slightly different size and proportion than other similar stamp on this canvasback of canvas, Import or export stamp. Slightly different size and proportion than other similar stamp on this canvasback of canvas, Import or export stampback of canvas, Import or export stampback of stretcherback of stretcher, approximate height dimension of stretcher in cm.back of stretcherback of frameback of frame, (see photo attached)backing board, From Musee National d'Art Occidental
1969.45
item
Memorial Art Gallery
1/17/2001
69.45TR1
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4 x 5
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5 x 7
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69.45DI#3
painting in frame
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/69.45_I7.jpg
69.45DI#2
back of frame
digital image
label
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digital image
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69.45DI4
digital image
10/17/2013
http://127.0.0.1:5000/Media/images/69.45_A2.jpg
69.45DI#5
digital image
11/27/2017
http://127.0.0.1:5000/Media/images/69.45_A4.jpg
Painting
Genesee Scenery
Thomas Cole, 1801 - 1848
Cole, Thomas
United States
1801 - 1848
Male
6 1/4 x 4 3/8 in. (15.9 x 11.1 cm)
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.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1846-1847
1846
1847
1800-1900, 19th century, bridges, Hudson River School, landscapes, paintings, rivers, views of Rochester & western New York, waterfalls
Painting
Like many artists, Thomas Cole traveled extensively, sketching views that he would later include in finished (and much larger) paintings. On a trip to the Upstate New York region, he sketched Deh-ga-ya-soh Creek at what is now Letchworth State Park in Mount Morris. Later that year, he used the sketch to create this study, which ultimately became the subject of the 'Genesee Scenery' (1847, 51 x 39 1/2 inches, owned by the Museum of Art, Rhode Island School of Design).
[Adapted from gallery label text, 2007]
1994.40
item
Memorial Art Gallery
9/8/1999
94.40TR1
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Memorial Art Gallery
2 1/4 x 2 3/4
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94.40DI2
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Rhode Island School of Design
11/26/2001
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Painting
Unfinished Portrait of Nathaniel Hurd (1729-1777)
John Singleton Copley, (Boston, MA?, 1738 - 1815, London, England)
Copley, John Singleton
United States
1738 - 1815
Male
29 3/8 x 24 5/8 in. (74.6 x 62.5 cm)
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frame opening
vertical
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approximate installation dimensions
frame
.
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Oil
Oil
ca. 1765
1760
1770
1600-1800, 18th century, artist portraits, artists, Colonial, men, paintings, portraits
Painting
Nathaniel Hurd (1730-1778), silversmith, goldsmith, and engraver, was a member of a distinguished Boston family of silversmiths. In addition to creating a number of silver pieces, he was well-known for his bookplates, which were designed for many distinguished colonial families including Loyalists and a signer of the Declaration of Independence, and were based on heraldic motifs (to which they may or may not have been entitled). Hurd also designed a plate for his own family, as well as bookplates for both Harvard and Dartmouth Colleges. The bookplates provide an unusual link to the social and intellectual climate of the times, and literally speak volumes about sociocultural aspirations of eighteenth-century America.
Hurd was a contemporary of Copley’s. This ca. 1765 portrait, Copley’s first to depict a fellow artisan in working costume, had been preceded by an earlier miniature that Copley had painted of Hurd in 1755.
[Gallery label text, 1996]
removed from stretcher, Now in curatorial fileremoved from stretcher, Now in curatorial file. Old exhibition label, mostly torn away
1944.2
item
Memorial Art Gallery
9/8/1999
44.2TR1
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Memorial Art Gallery
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7/10/2000
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Painting
Woman in an Ermine Collar
Kathleen McEnery Cunningham, 1885 - 1971
Cunningham, Kathleen McEnery
United States
1885 - 1971
Female
76 7/8 x 38 3/8 in. (195.3 x 97.5 cm)
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approximate installation dimensions
frame
.
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without frame
Oil
Oil
1909
1909
1909
1900-2000, 20th century, American art, Ashcan School and friends, by Rochester artists, paintings, portraits, women
Painting
Kathleen McEnery’s early training as an Urban Realist drew her to depict reality with an uncompromising eye. The artist was about twenty-two years old and living in Paris when she painted this bold and modern woman. McEnery lived in New York, Madrid, and Paris before she moved to Rochester, NY in 1914.
[Gallery label text, 2007]
Kathleen McEnery was about twenty-two years old and living in Paris when she painted Woman in an Ermine Collar. She lived and trained in New York, Madrid, and Paris before moving to Rochester in 1914. McEnery played a major role in Rochester’s cultural circles, and painted throughout her life while raising a family with her husband, Francis Cunningham of the Cunningham Car Company.
McEnery’s training with the American realist master Robert Henri drew her to depict with honesty the conditions of modern life. The result is this woman’s unapologetic presence. She is an embodiment of the New Woman – a cultural phenomenon of the growing women’s rights movement, of which the artist was an ardent supporter. The New Woman rebelled against traditional gender roles and was independent, confident, and physically active. As this woman’s dashing manner illustrates, she was equally as comfortable in the public domain as would be any man.
[Gallery label text, 2006]
In New York City, Kathleen McEnery studied with Robert Henri. She also studied abroad and exhibited two paintings at the controversial 1913 Armory Show in New York City. After her marriage to Rochesterian Francis Cunningham, whose family owned the Cunningham Carriage Factory, she continued painting in a studio off the family's home on 10 South Goodman St., now on the campus of the Rochester Museum and Science Center. As Mrs. Cunningham, she was a member of the Gallery's Board of Managers from 1927 through 1971.
The model's direct and intelligent expression and forthright pose suggests the "new woman," ready to be a participant in contemporary society rather than remain at home. Certainly, McEnery herself, who had graduated from Pratt Institute and lived on her own in New York City, fit that description as well.
[Gallery label text, 2003]
lower left
1983.13
item
Memorial Art Gallery
9/8/1999
83.13TR1
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Memorial Art Gallery
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6/23/2000
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Signature
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Painting
Negro Head
John Steuart Curry, (Dunavant, KS, 1897 - 1946, Madison, WI)
Curry, John Steuart
United States
1897 - 1946
Male
24 x 18 1/2 in. (61 x 47 cm)
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approximate installation dimensions
frame
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vertical
frame
Oil
Oil
1927
1927
1927
1.97L
1900-2000, 20th century, American Scene/Regionalism, Images of Black People, men, paintings, portraits
Painting
Until research identifies the sitter, Portrait of a Youth or Portrait of a Young Man may be applied as a more appropriate title.
Unfortunately, the name of this young man was not recorded. The title that the work has carried for many years is further dehumanizing. In the historical moment when this painting was made and exhibited, the term “negro” was commonly used—including by significant African American figures such as Martin Luther King Jr. and Langston Hughes—to refer to a Black person. Today, however, this terminology is outdated and inappropriate.
John Steuart Curry is known for his narrative and landscape paintings of life in his home state of Kansas. When he painted this luminous portrait, he had just returned from studying art in Paris, France.
[Gallery label text, 2024]
yes, lower right
2005.31
item
Memorial Art Gallery
5/10/2000
2005.31DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2005.31_A1.jpg
2005.31DI#2
digital image
6/22/2010
http://127.0.0.1:5000/Media/images/2005.31_A2.jpg
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audio file
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00/00/00
http://127.0.0.1:5000/Media/images/surrogates/audio files/04NegroHead.mp3
Painting
Landscape with Garage Lights
Garage Lights
Stuart Davis, (Philadelphia, PA, 1892 – 1964, New York, NY)
Davis, Stuart
United States
1892 - 1964
Male
32 x 41 7/8 in. (81.3 x 106.4 cm)
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overall framed size
horizontal
frame
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approximate installation dimensions
frame
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without frame
Oil
Oil
1931-1932
1931
1932
1900-2000, 20th century, Abstract, cityscapes, Encyclopedia Britannica Collection, Modernism, paintings
Painting
Stuart Davis began as a student of the Urban Realist style, but upon seeing the many European modernist works on display at the New York Armory Show of 1913, the artist found his passion for abstraction. The influence of the broken-up and flattened surfaces of Cubism and the syncopated rhythms of American jazz contributed to Davis’ personal style.
[Gallery label text, 2007]
Gloucester, one of Massachusetts's oldest seaports, was a summer home for painter Stuart Davis from the time he was a young man of twenty-two. This view of the harbor clearly captivated him by the early 1930s, and preliminary studies of this painting reveal how carefully he considered the scene and translated it into paint, all the while deliberately conveying a sense of simplicity and speed in its execution.
After a Parisian stay in the late 1920s, Davis returned to the United States with a new way of seeing things. The goal for him was to paint an expressive, abstracted version of the world around him, rather than a photographic simulacrum. As modernism challenged the nature of reality and how it is perceived, Davis reminds us here that it is possible to see two sides of a building at once, and that often it really looks like only half of a ship is in the water even though our brains convince us that the other half is hidden behind the fish warehouse. Flatness and simplification of forms were characteristics that distinguished work of influential European painters like Picasso and Matisse, whose work Davis would have encountered during his stay in France.
[Gallery label text, 2006]
yes, lower righton top stretcher memberon vertical cross member, inscription is written vertically down the cross member and the "I" in "Davis" is written horizontally
1951.3
item
Memorial Art Gallery
9/8/1999
51.3TR1
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Memorial Art Gallery
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7/13/2000
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photo of old gas pump
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51.3DI3
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Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/51.3_A2.jpg
Painting
Snow on Quai
Edwin Dickinson, 1891 - 1978
Dickinson, Edwin
United States
1891 - 1978
Male
21 x 18 in. (53.3 x 45.7 cm)
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approximate installation dimensions
frame
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Oil
Oil
1938
1938
1938
1900-2000, 20th century, paintings, snow
Painting
along right edgelower leftlower rightyes, verso
Mrs. Helen Dickinson Baldwin
1987.62
item
Memorial Art Gallery
9/8/1999
87.62TR1
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Memorial Art Gallery
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Memorial Art Gallery
Imaging complete
8/28/2000
http://127.0.0.1:5000/Media/images/87.62_A1.jpg
Painting
Cars in a Sleet Storm
Arthur Dove, (Canandaigua, NY, 1880 - 1946, Long Island, NY)
Dove, Arthur
United States
1880 - 1946
Male
15 x 21 in. (38.1 x 53.3 cm)
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overall framed size
horizontal
frame
.
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.
approximate installation dimensions
frame
.
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without frame
Oil
Oil
1938
1938
1938
1900-2000, 20th century, cars, Encyclopedia Britannica Collection, Modernism, paintings
Painting
Painted in Geneva, NY, Cars in a Sleet Storm is representative of Arthur Dove’s personalized abstract vocabulary with which he responded to the world around him. Dove, along with Georgia O’Keeffe and Marsden Hartley, were members of a group of modernist American artists championed by the photographer Alfred Stieglitz in his 291 Gallery in Manhattan.
[Gallery label text, 2007]
Arthur G. Dove was a native of Geneva, New York, about 46 miles from Rochester. Early on, rural New York State did not satisfy Dove's desire for a more engaged artistic life, and a few years after the turn of the 20th century, he moved to New York City and then to Paris. On his return to the United States in 1910, he began to paint abstract landscapes, and is considered one of America's first abstract painters. Dove's work was actively exhibited by photographer Alfred Stieglitz in his Gallery 291 and Intimate Gallery, major centers of avant-garde art in the United States. Stieglitz also showed the work of Georgia O'Keeffe whom he married in 1924.
Cars in a Sleet Storm was painted at the end of Dove's years in Geneva, where he had returned to manage his father's estate.
Dove's own words align him with the 20th century movement away from identifiable subject matter:"I would like to make something that is real in itself, that does not remind anyone of any other thing, and that does not have to be explained like the letter A, for instance." He also commented, "… I no longer observed in the old way, and not only began to think subjectively but also to remember certain sensations purely through their form and color, that is, by certain shapes, planes of light, or character lines determined by the meeting of such planes."
[Gallery label text, 2006]
lower center
Toni Dove
1951.4
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Memorial Art Gallery
9/8/1999
51.4SL1
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Memorial Art Gallery
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51.4DI2
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4/17/2014
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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)
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approximate installation dimensions
frame
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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
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Memorial Art Gallery
4 x 5
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74.5DI2
digital image
Memorial Art Gallery
8/25/2001
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Memorial Art Gallery
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Detail cows and figure under trees
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Painting
Cleopatra Captured by Roman Soldiers after the Death of Mark Antony
Bernard Duvivier, 1762 - 1837
Duvivier, Bernard
France
1762 - 1837
Male
45 x 58 in. (114.3 x 147.3 cm)
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without frame
Oil
Oil
1789
1789
1789
1600-1800, 18th century, Cleopatra, narratives, paintings
Painting
Duvivier received his initial training in Bruges and then moved to Paris, where he assimilated the severe Neoclassical style perfected by Jacques-Louis David. In this early work, Duvivier combined the poses of several antique statues to illustrate an episode recounted in Plutarch's "Life of Mark Anthony." Following Anthony's suicide, a Roman soldier attempts to forestall the Egyptian queen's own death by promising that Octavian Caesar will show her clemency. The subtle, glowing colors, precise attention to detail, and impeccable draughtsmanship presage the artist's occasional work as a miniaturist.
[Gallery label text, 2008]
lower rightback of frameback of stretcherback of stretcher, Very modernback of stretcher, On crossbar of stretcher
1984.40
item
Memorial Art Gallery
4/5/2000
84.40TR1
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Memorial Art Gallery
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84.40DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/84.40_A1.jpg
84.40SL2
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details
2 x 2
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digital image
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http://127.0.0.1:5000/Media/images/84.40_A2.jpg
Painting
The Printseller's Window
Walter Goodman, (London, 1838 - 1912, London)
Goodman, Walter
England
1838 - 1912
Male
52 1/4 x 44 3/4 in. (132.7 x 113.7 cm)
.
.
.
Oil
Oil
1883
1883
1883
1800-1900, 19th century, jobs & work, men, paintings, trompe l'oeil
Painting
Painted in the illusionistic technique of trompe l’oeil (French for “fool the eye),” The Printseller depicts a heavily-bearded shopkeeper cradling a small statuette of Cupid. The display case before him contains a variety of objects, including prints, books, coins in a porcelain dish, a magnifying glass, a wineglass, a strand of pearls and a metal tankard. Many of the prints are reproductions of famous paintings that would have been familiar to Walter Goodman’s audience of the early 1880s.
A string of small photographs called cartes-de-visites stretches across the display case. These small photographic portraits, sized to mount on a visiting card, became extremely popular; a craze developed for collecting the cartes of celebrities as well as family and friends. Here, each represents a famous Victorian painter of Goodman’s time, including John Everett Millais, Rosa Bonheur, and Lawrence Alma-Tadema (fourth, sixth, and ninth from the left, respectively). A larger photographic portrait of the famous art critic John Ruskin is located in the center directly below the string of cartes.
Although relatively unknown, Walter Goodman was an interesting and practiced artist with a varied career as a portraitist, illustrator and writer. Of Jewish heritage, he was the son of portraitist Julia Salaman Goodman. He was widely traveled and an intimate member of London’s theatrical society. He exhibited at the Royal Academy and the British Institution.
lower rightback of stretcher, per 1999 conservation report; partial label, mostly illegible. [possibly The London, Brighton and South Coast Railway (LB&SCR), a railway company in the UK from 1846 to 1923? ran to Victoria Station, London]back of stretcher, per 1999 conservation reportback of stretcher, per 1999 conservation reportback of stretcher, per 1999 conservation reportback of stretcher, per 1999 conservation report. Inscription has been effaced.back of stretcher, per 1999 conservation report.back of canvas, per 1999 conservation report. back of canvas, per 1999 conservation report. back of canvas, per 1999 conservation report.back of stretcher, per 1999 conservation report; partial label, mostly illegible [possibly So. Kensington Museum?]back of stretcher, scratched into the wood
1998.75
item
Memorial Art Gallery
10/21/1999
98.75TR1
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Memorial Art Gallery
4 x 5
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98.75DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/98.75_A1.jpg
98.75DI2
digital image
00/00/00
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98.75DI3
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Memorial Art Gallery
Imaging complete
00/00/00
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98.75DI4
digital image
detail
00/00/00
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98.75DI#5
digital image
4/7/2009
http://127.0.0.1:5000/Media/images/98.75_A4.jpg
Painting
The Opposition
William Gropper, 1897 - 1977
Gropper, William
United States
1897 - 1977
Male
28 x 38 in. (71.1 x 96.5 cm)
.
.
.
overall framed size
horizontal
frame
.
.
.
without frame
Oil
Oil
1942
1942
1942
1900-2000, 20th century, American Scene/Regionalism, Encyclopedia Britannica Collection, men, paintings, politics in art, Social Realism
Painting
William Gropper satirized the United States Senate in The Opposition as lawmakers were threatening to cut significant federal funding for the arts. Gropper wrote, “I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate…[has] such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country.”
William Gropper supported himself with his political cartoons, satirical drawings, and illustrations, most of which pointed out how the burdens of society were largely borne by the working class.
[Gallery label text, 2024]
Lawmakers were threatening to cut significant federal funding for the arts when political cartoonist and painter William Gropper satirized the United States Senate in The Opposition. Gropper wrote, “I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate…[has] such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country.”
[Gallery label text, 2007]
William Gropper was best known for his caustic commentary on the American political and social scene. He depicted realistic and identifiable subjects; The Opposition was one of a number of paintings and illustrations that came out of his 1934 assignment for the magazine Vanity Fair, to sketch legislators in action in Washington. Gropper made no bones about his distaste for politics and used his art to further his point of view:
"I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate and the House of Representatives have had such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country. No matter how far removed from politics artists may be, it seems to strike home. Only recently one blasting speech of a reactionary representative resulted in not only doing away with the Section of Fine Art, but also dismissing the Graphic Division of the OWI [Office of War Information] and nullifying art reportage for the War Department."
Gropper's start as a newspaper illustrator informed the creative processes of the rest of his life. His work retained his journalist's interest in issues of the day, giving it a particularly topical essence presented in a dynamic, expressionistic format.
[Gallery label text, 2006]
lower left
1951.5
item
Memorial Art Gallery
9/8/1999
51.5TR1
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Memorial Art Gallery
4 x 5
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51.5DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/51.5_A1.jpg
51.5DI2
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/51.5_A2.jpg
63gropper1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/63gropper1.tif
Painting
The Wanderer
George Grosz, 1893 - 1959
Grosz, George
United States
1893 - 1959
Male
30 x 40 in. (76.2 x 101.6 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
1943
1943
1943
1900-2000, 20th century, Encyclopedia Britannica Collection, men, paintings, wandering jew
Painting
George Grosz was a German soldier in World War I and left his country for the United States in 1933 during Adolf Hitler’s rise to power. Ten years later, he painted The Wanderer in New York—his intensely personal response to his experiences—as World War II raged over the ocean.
[Gallery label text, 2024]
Ten years after fleeing Germany during Hitler’s rise to power, George Grosz painted The Wanderer in New York. As World War II raged over the ocean, Grosz created this intensely personal response to his experience as a German soldier in World War I and his 1933 emigration to the United States.
[Gallery label text, 2007]
Painted in the midst of World War II, The Wanderer is an expression of the artist’s recent life experience. George Grosz was an established painter in Germany who, like many others, spoke out against the totalitarian Nazi regime. For his own safety and that of his family, he relocated to the United States. The Wanderer was one of a group of so-called ‘hell pictures’; in a letter, he wrote:
I work a lot…I painted a little picture – The Wanderer –
myself of course…The resonance of explosion and
destruction often shakes me bodily.
The explosion and destruction was a reference to the war-torn European continent that he had left behind, as well as a reference to his own emotional volatility as he tried to adjust, with little success, to his new life in America, suggested in the painting by the seagrasses he knew from Long Island and Cape Cod beaches.
The Wanderer was probably one of the newest paintings acquired for the Encyclopedia Britannica Collection, as the collection was formed in 1943, the same year that Grosz painted this work. Stylistically, the painting’s expression of personal and cultural angst – achieved through desolate subject matter, somber palette, and unquiet line – was very much an alternative view to the more upbeat images of wartime artists like Norman Rockwell.
[Gallery label text, 2006]
lower left, In yellowish-brown paintback of frameback of frameback of frame, Two identical labels. SEE ATTACHED SURROGATE IMAGESback of frame, mechanically incised into wood, in two placesback of frameback of frameback of frameback of frame, SEE ATTACHED SURROGATE RECORDback of stretcher
1951.6
item
Memorial Art Gallery
9/8/1999
51.6TR1
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Memorial Art Gallery
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Memorial Art Gallery
Imaging complete
7/10/2000
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negative
color
1 x 1
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Memorial Art Gallery
Imaging complete
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64grosz1.tif
digital image
00/00/00
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51.6DI#3
mark
digital image
back of frame
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/51.6_I1.jpg
51.6DI#4
mark
digital image
back of frame
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/51.6_I2.jpg
Painting
Dutch Landscape
Charles Paul Gruppé, (Picton, Ontario, Canada, 1860 - 1940, Rockport, MA)
Gruppé, Charles Paul
United States
1860 - 1940
Male
12 3/8 x 16 1/4 in. (31.4 x 41.3 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
0
0
1800-1900, American art, boats, by Rochester artists, paintings, seascapes
Painting
lower right
1991.32
item
Memorial Art Gallery
9/8/1999
91.32DI1
digital image
5/1/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/91.32_I1.jpg
91.32DI#2
digital image
11/6/2012
http://127.0.0.1:5000/Media/images/91.32_A1.jpg
Painting
Pittsford on the Erie Canal
George Harvey, 1800 - 1878
Harvey, George
United States
1800 - 1878
Male
17 1/2 x 23 1/2 in. (44.5 x 59.7 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1837
1837
1837
Painting
This scene is thought to be in the vicinity of King’s Bend Park just outside of Pittsford Village.
[Gallery label text, 2007]
lower right
2005.33
item
Memorial Art Gallery
5/20/2005
2005.33DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.33_I1.jpg
2005.33det1DI2
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M425_A.tif
digital image
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6harvey1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/6harvey1.tif
2005.33DI#5
digital image
1/20/2006
http://127.0.0.1:5000/Media/images/2005.33_A5.jpg
2005.33DI#6
digital image
11/1/2005
http://127.0.0.1:5000/Media/images/2005.33_A7.jpg
2005.33DI#7
digital image
1/7/2014
http://127.0.0.1:5000/Media/images/2005.33_A8.jpg
Painting
Still Life
Jan Davidsz. de Heem, 1606 - ca. 1684
Heem, Jan Davidsz. de
Netherlands
1606 - ca. 1684
Male
14 1/2 x 18 in. (36.8 x 45.7 cm)
.
.
.
without frame
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1645
1640
1650
1600-1800, 17th century, fruit in art, paintings, still lifes
Painting
upper rightback of panelback of panel, Modern.
1949.63
item
Memorial Art Gallery
4/5/2000
49.63TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.63CPRT1
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digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/49.63_A1.jpg
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color
1 x 1
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2 x 2
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before conservation
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49.63DI2
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/49.63_A2.jpg
49.63DI3
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.63DI#3
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/49.63_A3.jpg
49.63DI#4
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/49.63_A4.jpg
49.63DI#5
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/49.63_A5.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.63DI6
digital image
Back of panel
7/10/2007
http://127.0.0.1:5000/Media/images/Inventory pictures/49.63_I4.JPG
Painting
Landscape with Figures
Joseph H. Hidley, 1830 - 1872
Hidley, Joseph H.
United States
1830 - 1872
Male
10 7/8 x 20 7/8 in. (27.6 x 53 cm)
.
.
.
overall
horizontal
.
.
.
without frame
Oil
Oil
0
0
1800-1900, 19th century, cows, folk art, houses, men, paintings, women
Painting
This painting was never intended to hang on a wall. Rather, it was created as part of a wall to decorate a panel underneath a tall window in the parlor of a home in Eagle Mills, New York, near Albany.
The artist was an unusual individual. In addition to painting scenes to decorate rooms in the Albany region, Joseph Hidley was a house painter, a carpenter, and arranger of stuffed birds and dried flowers.
For his underwindow panels, he is thought to have derived his inspiration from European viewbooks, which is why this scene is reminiscent of a Swiss landscape. We are still trying to locate the original view that Hidley copied.
[Gallery label text, 2002]
1997.173
item
Memorial Art Gallery
10/25/1999
97.173SL1
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full
2 x 2
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97.173DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/97.173_A1.jpg
Painting
The Artist's Studio in an Afternoon Fog
Winslow Homer, (Boston, MA, 1836 - 1910, Prout's Neck, ME)
Homer, Winslow
United States
1836 - 1910
Male
24 x 30 1/4 in. (61 x 76.8 cm)
.
.
.
with frame
frame
Oil
Oil
1894
1894
1894
1800-1900, 19th century, paintings, seascapes, weather & water
Painting
In the course of his long and distinguished career, Winslow Homer shifted his focus from robust descriptions of American life to studies of interaction between man and the powerful forces of nature, particularly the ocean. This evocative painting of his studio at his family’s compound on the coast of Maine in Prout’s Neck, near Portland, is considered one of Homer’s most masterful works.
[Gallery label text, 2007]
A foggy day on the coastal peninsula of Prout's Neck, Maine, inspired Winslow Homer to paint one of his most elegant and contemplative works. His studio and family home stand silhouetted between the darker cliffs in the foreground and the paler sky. The painting's composition balances strong diagonal and horizontal elements in the lower half with a monolithic sky punctuated by a circle of sun.
Homer was known for his many paintings of rural America, as well as his illustrations of the Civil War. In 1883, Homer left New York City, where he had been living, and settled permanently in Prout's Neck. During his years there, he produced some of the most thrilling marine paintings in the history of American art.
[Gallery label text, 2006]
lower rightremoved, kept in file, Exhibition label for Panama-Pacific International Expositionremoved, kept in file
1941.32
item
Memorial Art Gallery
9/8/1999
41.32TR1
Transparency
Memorial Art Gallery
4 x 5
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http://127.0.0.1:5000/Graphics/blank.gif
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digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/41.32_A1.jpg
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digital image
Memorial Art Gallery
Imaging complete
6/23/2000
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digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p116.tif
digital image
00/00/00
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41.32DI#3
digital image
12/4/2013
http://127.0.0.1:5000/Media/images/41.32_A3.jpg
41.32DI#4
digital image
Memorial Art Gallery
Imaging complete
9/19/2019
http://127.0.0.1:5000/Media/images/41.32_A3.jpg
Painting
Interlude
John Koch, 1909 - 1978
Koch, John
United States
1909 - 1978
Male
50 1/8 x 39 7/8 in. (127.3 x 101.3 cm)
.
.
.
without frame
.
.
.
approximate installation dimensions
frame
Oil
Oil
1963
1963
1963
1900-2000, 20th century, artists, making art (depictions), men, nudes, paintings, Realism, self portraits, women
Painting
John Koch was a master of the tradition of American realism. His warm, intimate, and elegant New York City interiors glow with light that is reflected by well-polished furniture, floors, and silver.
In this painting, the artist’s wife (piano teacher Dora Zaslavsky) offers a cup of tea to the nude artist’s model, while the artist sits in the background and contemplates his canvas. A variation on the theme of artists and models, Interlude also is an expression of the generosity of human relationships. As one of Zaslavsky’s former students wrote, “…her philosophy of care and concern for the individual student helps shape my teaching to this day.”
[Summer 2015]
lower left
1965.12
item
Memorial Art Gallery
9/8/1999
65.12TR1
Transparency
Memorial Art Gallery
4 x 5
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http://127.0.0.1:5000/Graphics/blank.gif
65.12CPRT1
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5 x 7
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65.12DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/65.12_A1.jpg
65.12DI2
digital image
00/00/00
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69koch1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/69koch1.tif
Painting
Summer Street Scene in Harlem
Jacob Lawrence, 1917 - 2000
Lawrence, Jacob
United States
1917 - 2000
Male
20 1/16 x 24 1/8 in. (51 x 61.2 cm)
.
.
.
without frame
image
.
.
.
overall framed size
horizontal
frame
Tempera
Tempera
1948
1948
1948
1900-2000, 20th century, cityscapes, Images of Black People, New York city, paintings, Social Realism
Painting
Jacob Lawrence put his own stylistic innovations on the flattened surfaces, distorted shapes, and bold colors of modernism. Here his vibrant palette and energetic composition express the joy and vitality of a summer in Harlem. Children play with their soap box and approach a shaved ice vendor; adults gather in conversation. Lawrence moved to Harlem with his family at the age of twelve, and he was greatly influenced by the creative community flourishing there.
Lawrence chronicled the lives, accomplishments, and challenges experienced by Black communities in the United States. His best-known series, The Migration of the Negro (1941), depicted the mass movement of Black people who relocated from the American South to the North, Midwest, and West in search of economic and social mobility. Lawrence’s parents themselves moved to the North in this exodus known as the Great Migration, which took place from the 1910s through the 1970s.
[Gallery label text, 2024]
lower rightback of panel, Undated; from 1974-75 exhibitionback of panel, partly covered by another labelback of panelback of panelback of panelback of panelback of panelback of panel, orange tag with black printing
Jacob and Gwendolyn Lawrence
1991.5
item
Memorial Art Gallery
9/8/1999
91.5TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
91.5CNEG1
negative
4 x 5
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glossy
8 x 10
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91.5DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/91.5_A1.jpg
68lawrence1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/68lawrence1.tif
M425_p271.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p271.tif
Painting
Adoration of the Magi
Master of the Holy Blood, (active early 16th c. )
Master of the Holy Blood
Flanders
Male
38 11/16 x 21 7/8 in. (98.2 x 55.5 cm)
.
.
.
without frame
overall
.
.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1515
1510
1520
1400-1600, Magi, Nativity, paintings, Renaissance & Baroque
Painting
This painting depicts the New Testament story of one of the most popular devotional images in Christian art, the Adoration of the Magi. After Christ was born, three wealthy Magi, or Kings, from the east came to Jerusalem seeking the one “who was born king of the Jews.” When they found him near Bethlehem with Mary and Joseph, seen here standing behind the Virgin and infant Christ, they “bowed down and worshipped him, opened their treasures and presented him with gifts of gold, incense and myrrh.”
[Gallery label text, June 2013]
back of frame
1980.43
item
Memorial Art Gallery
1/18/2001
80.43SL1
slide
full
2 x 2
00/00/00
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glossy
8x10
00/00/00
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negative
4x5
00/00/00
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80.43DI1
digital image
full
2 x 2
6/14/2002
http://127.0.0.1:5000/Media/images/80.43_A1.jpg
80.43DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
80.43DI#3
digital image
4/18/2011
http://127.0.0.1:5000/Media/images/80.43_A2.jpg
80.43DI#4
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/80.43_A3.jpg
80.43DI#5
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/80.43_A4.jpg
80.43DI#6
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/80.43_A5.jpg
80.43DI#7
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/80.43_A6.jpg
Painting
The Annunciation to Zacharias
Master of the Urbino Coronation, (active 1350 - 1375)
Master of the Urbino Coronation
Italy
active 1350 - 1375
Male
69 1/2 x 53 5/8 x 1 5/8 in. (176.5 x 136.2 x 4.1 cm)
.
.
.
with frame
overall
Italian, made for the church of S. Lucia
ca. 1350-1400
1350
1400
1000-1400, Medieval, paintings, Zacharias
Painting
This painting was once part of a cycle of frescoes in the church of Santa Lucia in Fabriano, a town northeast of Rome. The series probably depicted the story of the life of Saint John the Baptist, who, according to Christian tradition, was the precursor of Christ. The subject, taken from the first chapter of the gospel book of Luke, presents the vision of the aged Zacharias as he officiates at the altar of incense and learns from the Angel Gabriel that his wife Elizabeth, although “well stricken in years,” is to bear a son, John, who will “make ready a people” for the coming of the Lord. The crowds, who “waited…and marveled,” are at the right, dressed in the style of Florence during the 1300s. The pointed turban of the middle figure indicates that he is Jewish. The kneeling figure at the left is probably the donor of the painting.
This painting was removed from the wall in the 1800s and has since been remounted on canvas. It has been connected to two others from the same church, The Crucifixion in the Museum of Fine Arts, Boston, and The Birth of John the Baptist in the Galleria Nazionale, Rome.
[Gallery label text, June 2013]
1943.3
item
Memorial Art Gallery
2/20/2001
43.3TR1
transparency
pink
4 x 5
00/00/00
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43.3SL1
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full
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43.3DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/43.3_A1.jpg
43.3DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
43.3DI#3
digital image
3/1/2010
http://127.0.0.1:5000/Media/images/43.3_A2.jpg
Painting
Waterloo Bridge, Veiled Sun
Claude Monet, (Paris, 1840 – 1926, Giverny, France)
Monet, Claude
France
1840 - 1926
Male
25 1/2 x 39 1/4 in. (64.8 x 99.7 cm)
.
.
.
without frame
.
.
.
with frame
frame
Oil
Oil
1903
1903
1903
1900-2000, 20th century, bridges, cityscapes, Impressionism, London, England, paintings
Painting
Monet loved London for its fog. During his 1901 visit to the city, he attempted to capture the evanescent effects of its misty climate in a series of views of Waterloo Bridge under varying conditions. Each time the light and weather shifted, he began a new canvas or returned to the one that recorded that particular atmosphere. Monet did not complete the paintings in London. He perfected them in his studio in France over the next three years. Thus, this painting records not only the artist's immediate response to the scene, but also his memory of it.
[Gallery label text, 1999]
lower rightback of frameback of framestretcher, Presumably Durand-Ruel number?stretcher, Torn away at right edgestretcherstretcherstretcherback of canvas
1953.6
item
Memorial Art Gallery
4/5/2000
53.6TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.6TR2
transparency
8 x 10
00/00/00
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53.6SL1
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53.6DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/53.6_A1.jpg
53.6SL2
slide
full- with frame
2 x 2
00/00/00
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53.6SL3
slide
detail of bridge
2 x 2
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53.6DI2
digital image
00/00/00
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Color separations
5 x 7
00/00/00
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53.6DI#2
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.6_A2.jpg
53.6DI#3
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.6_A3.jpg
53.6DI#4
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.6_A4.jpg
53.6DI#5
digital image
6/20/2016
http://127.0.0.1:5000/Media/images/53.6_A5.jpg
Painting
Portrait of a Man Holding the Frontispiece to Dürer's "Small Passion"
Pietro Paolini, 1603 - 1681/1682
Paolini, Pietro
Italy
1603 - 1681-1682
Male
49 3/4 x 40 3/4 in. (126.4 x 103.5 cm)
.
.
.
Oil
Oil
1633-1637
1633
1637
1600-1800, 17th century, men, paintings, portraits
Painting
back of stretcherback of stretcherback of frameback of stretcherback of stretcherback of stretcherback of stretcherback of stretcher
1977.103
item
Memorial Art Gallery
1/22/2001
77.103TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.103SL1
slide
full
2 x 2
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4 x5
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77.103DI1
digital image
full
4 x 5
6/14/2002
http://127.0.0.1:5000/Media/images/77.103_A1.jpg
77.103DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.103DI3
digital image
full
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/77.103_A2.jpg
77.103SL2
slide
detail of hand w Durer
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.103DI#3
digital image
7/10/2012
http://127.0.0.1:5000/Media/images/77.103_A3.jpg
Painting
The Beginning of the Fields
Fairfield Porter, 1907 - 1975
Porter, Fairfield
United States
1907 - 1975
Male
52 x 76 1/8 in. (132.1 x 193.4 cm)
.
.
.
without frame
.
.
.
approximate installation dimensions
frame
Oil
Oil
1973
1973
1973
1900-2000, 20th century, landscapes, paintings, roads
Painting
lower rightyes, in the stretcher
1986.132
item
Memorial Art Gallery
9/8/1999
86.132TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.132SL1
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full
2 x 2
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negative
4x5
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86.132DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/86.132_A1.jpg
71porter1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/71porter1.tif
86.132DI#3
digital image
4/17/2014
http://127.0.0.1:5000/Media/images/86.132_A2.jpg
Painting
In the Nevada Desert
Sven Birger Sandzén, 1871 - 1956
Sandzén, Sven Birger
United States
1871 - 1956
Male
Primary
32 x 48 in. (81.3 x 121.9 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1917
1917
1917
1900-2000, landscape, landscapes
Painting
back of stretcher, topback of stretcher, bottom, Artist's notation (see photo attached to object record, 62.33_a2.jpg)
1962.33
item
Memorial Art Gallery
9/8/1999
62.33DI1
digital image
5/9/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/62.33_I1.jpg
62.33DI#2
digital image
11/20/2012
http://127.0.0.1:5000/Media/images/62.33_A1.jpg
Painting
Polgrennow Farm
W. Elmer Schofield, (Philadelphia, PA, 1867 - 1944, Cornwall, England)
Schofield, W. Elmer
United States
1867 - 1944
Male
30 x 36 1/8 in. (76.2 x 91.8 cm)
.
.
.
overall
frame
.
.
.
without frame
Oil
Oil
0
0
Painting
lower leftback of stretcher, Under edge of canvasback of frame
1977.204
item
Memorial Art Gallery
9/8/1999
77.204SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.204DI#2
digital image
2/1/2008
http://127.0.0.1:5000/Media/images/77.204_A1.jpg
77.204DI#1
digital image
6/26/2007
http://127.0.0.1:5000/Media/images/Inventory pictures/77.204_I1.jpg
77.204DI#3
digital image
with frame
5/7/2014
http://127.0.0.1:5000/Media/images/77.204_A2.jpg
77.204DI#4
digital image
Verso
5/7/2014
http://127.0.0.1:5000/Media/images/77.204_A3.jpg
Painting
Election Night
John Sloan, 1871 - 1951
Sloan, John
United States
1871 - 1951
Male
26 3/8 x 32 1/4 in. (67 x 81.9 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
1907
1907
1907
1900-2000, 20th century, Ashcan School and friends, movement, paintings, politics in art
Painting
This scene, nearly unintelligible in its crowding and confusion, is Sloan’s celebration of the furor of the city on election night.
[Gallery label text, 2007]
John Sloan met Robert Henri in Philadelphia, and from early on maintained a friendship and correspondence with him until Henri died in 1929. He moved to New York City at Henri’s urging.
On November 5, 1907, he wrote: “Election Day… saw the noisy trumpet blowers, confetti throwers and the 'ticklers' in use - a small feather duster on a stick which is pushed in the face of each girl by the men, and in the face of men by the girls. A good humorous crowd, so dense in places that it was impossible to control one's movement.” The location, Herald Square at 34th and Broadway, was close by the New York Herald Building as well as Macy's. The elevated railroad tracks loomed overhead, increasing the suggestion of noise and activity in the scene.
Sloan included Election Night as one of his entries in the 1908 exhibition at Macbeth Gallery. In his estimation, it was “…one of my best things. So that I felt happy in the evening, that good all over feeling that only comes from satisfaction in work - the real happiness, the joy of accomplishing or thinking that one has accomplished, which amounts to the same thing.”
[Gallery label text, 2003]
lower left
1941.33
item
Memorial Art Gallery
9/8/1999
41.33TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.33SL2
slide
detail-central group
2 x 2
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8x10
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41.33DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/41.33_A1.jpg
41.33SL3
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detail- lady in red
2 x 2
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2 x 2
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2 x 2
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36sloan1.tif
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00/00/00
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Painting
Home Late
Mortimer Smith, 1840 - 1896
Smith, Mortimer
United States
1840 - 1896
Male
40 x 46 in. (101.6 x 116.8 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1866
1866
1866
1800-1900, 19th century, children, families, genre scenes, home life, men, paintings, weather & water
Painting
Home Late is the earliest identified painting by Mortimer Smith. The shadowy interior of the frontier cabin demonstrates his mastery of the genre scene: the rifle hanging from the ceiling side by side with drying meats and vegetables, supper cooking in the kettle suspended in the stone fireplace, and the dog sleeping peacefully by the fire. Smith is equally adept at capturing the warm glow cast by the fire as it contrasts with the cold light of the winter scene beyond the doorway. The child pausing in the doorway heightens the emotional ambiguity of the scene as he surveys the cabin's interior, perhaps to gauge the mood within as he returns home late from skating.
Smith's landscape and genre scenes suggest familiarity with his better-known contemporaries, like Albert Bierstadt and Eastman Johnson. Certainly, early exposure to the work exhibited at the Cosmopolitan Art Association in Sandusky provided Smith with models of painting styles that continued to influence him throughout his life.
[Gallery label text]
lower left
1975.139
item
Memorial Art Gallery
9/8/1999
75.139TR1
Transparency
Memorial Art Gallery
pink
4 x 5
00/00/00
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digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/75.139_A1.jpg
M425_p90(10).tif
digital image
00/00/00
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M425_p90.tif
digital image
00/00/00
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cmyk
digital image
00/00/00
http://127.0.0.1:5000/Media/images/75.139_A2.jpg
75.139DI#5
digital image
11/18/2019
http://127.0.0.1:5000/Media/images/75.139_A3.jpg
Painting
The Fox and the Heron
Frans Snyders and workshop, (Antwerp, 1579 - 1657, Antwerp)
Snyders, Frans
Flanders
1579 - 1657
Male
Artist
Workshop of Frans Snyders
Flanders
Male
Artist
47 1/8 x 61 1/4 in. (119.7 x 155.6 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1630-1640
1630
1640
1600-1800, 17th century, birds, fables & fairy tales, foxes, paintings
Painting
Monumental and decorative animal painting developed in Antwerp in the 17th century in the immediate circle of Rubens. Snyders, whose workshop was famous for this type of work, often also collaborated on the animals, flowers, and fruit in his friend Rubens's paintings. The rendering of materials such as the fur of the fox, the plumage of the bird, and the transparency of the glass jar add to the interest in texture.
"The Fox and the Heron" is a story from Aesop's Fables. In the background, the fox invites the heron for dinner and offers only a bowl of soup, impossible for the heron to eat. In the foreground, the heron in turn invites the fox. Dinner is served in a long-necked glass jar and the fox can only lick the outside.
Moral: One bad turn deserves another!
[Gallery label text, August 1996]
lower corners
1972.75
item
Memorial Art Gallery
1/22/2001
72.75TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
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full
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00/00/00
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72.75DI2
digital image
00/00/00
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72.75DI#3
digital image
4/7/2009
http://127.0.0.1:5000/Media/images/72.75_A3.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/72.75_R1.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)
.
.
.
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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negative
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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
http://127.0.0.1:5000/Graphics/blank.gif
88.6DI3
digital image
Memorial Art Gallery
Imaging complete
00/00/00
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88.6_A3.jpg
digital image
00/00/00
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10spencer1.tif
digital image
00/00/00
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Painting
St. Margaret with a Donor
Vrancke van der Stockt, (before 1420 - c. 6/14/1495)
Stockt, Vrancke van der
Flanders
before 1420 - c. 6/14/1495
Male
Primary
18 1/8 x 7 7/8 in. (46 x 20 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
0
0
1400-1600, dragons, paintings, Renaissance & Baroque, St. Margaret, women
Painting
This painting, which shows a woman in contemporary dress kneeling in devotion before an open prayer book, her patron saint behind her, was once the right wing of a small triptych, or three-part altarpiece. Saint Margaret, who is recognizable through her attributes, or identifying symbols, holds a cross; a fanged dragon is at her feet. According to the story, Margaret spent her life following the teachings of Christ. The governor of Antioch in the ancient Roman province of Syria, now modern Turkey, fell in love with Margaret’s beauty and asked her to marry him. She rejected his proposal, vowing to remain a virgin. The governor sent her to prison, where the Devil appeared to Margaret as a dragon. She was saved by her Christian faith: when the dragon swallowed Margaret, she made the sign of the cross, which split the dragon in two and allowed her to escape from his belly unharmed.
The left panel of the altarpiece, now in the Allen Memorial Art Museum of Oberlin University in Oberlin, Ohio, is a mirror image of this scene and depicts the woman’s husband also kneeling in devotion with his patron saint behind him. The center panel of the altarpiece to which the couple offers their prayers was probably a painting of the Virgin and infant Christ.
[Expanded from gallery label text, June 2013]
1944.15
item
Memorial Art Gallery
1/19/2001
44.15TR1
transparency
4 x 5
00/00/00
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44.15SL1
slide
full
2 x 2
00/00/00
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glossy
8x10
00/00/00
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neg
3x2
00/00/00
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neg
4x5
00/00/00
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44.15DI1
digital image
full
2 x 2
6/28/2002
http://127.0.0.1:5000/Media/images/44.15_A1.jpg
44.15DI2
digital image
detail of serpent
2 x 2
6/20/2002
http://127.0.0.1:5000/Media/images/44.15_A2.jpg
44.15DI3
digital image
detail of donor
2 x 2
6/20/2002
http://127.0.0.1:5000/Media/images/44.15_A3.jpg
44.15SL2
slide
detail - snake
2x2
00/00/00
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44.15SL3
slide
detail - donor's face
2x2
00/00/00
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digital image
00/00/00
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44.15DI4
digital image
full
2 x 2
00/00/00
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x-ray
00/00/00
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44.15DI#5
digital image
4/30/2021
http://127.0.0.1:5000/Media/images/44.15_A5.jpg
44.15DI#8
digital image
Detail
4/30/2021
http://127.0.0.1:5000/Media/images/44.15_A8.jpg
44.15DI#7
digital image
4/30/2021
http://127.0.0.1:5000/Media/images/44.15_A7.jpg
44.15DI#6
digital image
4/30/2021
http://127.0.0.1:5000/Media/images/44.15_A6.jpg
Painting
The White Bridge
John Henry Twachtman, 1853 - 1902
Twachtman, John Henry
United States
1853 - 1902
Male
30 1/4 x 25 1/8 in. (76.8 x 63.8 cm)
.
.
.
overall framed size
frame
.
.
.
without frame
Oil
Oil
ca. 1900
1895
1905
1900-2000, 20th century, bridges, Cos Cob colony, landscapes, paintings, seascapes
Painting
Impressionism, a radically modern style upon its inception in France in the 1860s, came late to American shores. The Impressionist artist sought to capture impressions of light, color, and shape in a spontaneous way.
[Gallery label text, 2007]
John Twachtman’s finest paintings were inspired by the beauty of the land on which he lived with his family. Located in Greenwich, Connecticut, the picturesque property included a portion of Horseneck Brook, across which Twachtman built an ornamental but functional footbridge. Here, his children swam in the summer and rowed their boat beneath the bridge’s arched deck. The bridge may have been inspired by similar structures in Venice, where the artist lived in the 1880s and 90s.
Twachtman was one of America’s premier impressionist painters and a founding member of the Ten American Painters, a group that included Thomas Dewing and William Merritt Chase, artists whose works are also on view at MAG. The White Bridge’s bright colors, energetic brushwork, and light-filled canvas link Twachtman’s work with that of French impressionist Claude Monet.
[Gallery label text, 2004]
lower right
1916.9
item
Memorial Art Gallery
9/8/1999
16.9TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
16.9DI2
digital image
Memorial Art Gallery
8/25/2001
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
16.9SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
16.9DI1
digital image
Memorial Art Gallery
Imaging complete
8/28/2000
http://127.0.0.1:5000/Media/images/16.9_A1.jpg
M425_p135.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p135.tif
M425_p135(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p135(10).tif
Painting
Rama, Sita and Lakshmana Return to Ayodhya
Indian artist, (active )
Indian artist
India
Primary
11 1/4 x 17 15/16 in. (28.6 x 45.6 cm)
.
.
.
sheet (irregular)
sheet (irregular)
.
.
.
image
image
Opaque watercolor
Opaque watercolor
Jaipur, Rajasthan
ca. 1850-1900
1850
1900
1800-1900, 1900-2000, Indian, Lakshmana, paintings, Rama, Ramayana, Sita
Painting
This painting shows a scene at the end of the epic Indian poem, The Ramayana. Rama and Lakshmana have saved Sita and they all fly home on the aerial chariot Pushpaka to see Rama crowned king of Ayodhya. They ride with twenty-three million monkeys and bears who helped them defeat the demon king Ravana. When Ravana asked Brahma to make him indestructible to gods and demons, he underestimated the power of ordinary men and animals, who became his downfall after his abduction of Rama's wife, Sita.
upper centerupper centerlower centerverso, dealers' marks
1983.55
item
Memorial Art Gallery
10/6/2000
83.55TR1
transparency
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
83.55SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
83.55DI1
digital image
full
2 1/4
6/20/2002
http://127.0.0.1:5000/Media/images/83.55_A1.jpg
negative
1 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
83.55DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Design for Tea Labels: Cat Preparing Tofu
Japanese artist, (active )
Japanese artist
Japan
Primary
8 1/8 x 7 3/8 in. (20.7 x 18.8 cm)
Watercolor
Watercolor
0
0
Painting
Two panels painted on one sheet of paper, mounted on another page; pages bound into a small folio to make an album
1974.50.29
item
Memorial Art Gallery
8/8/2008
74.50.29DI#1
digital image
8/14/2008
http://127.0.0.1:5000/Media/images/74.50.29_A1.jpg
74.50.29SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Design for Tea Labels: Crane with a Banner
Japanese artist, (active )
Japanese artist
Japan
Primary
7 7/8 x 7 1/2 in. (20 x 19.1 cm)
Watercolor
Watercolor
0
0
Painting
Two panels painted on one sheet of paper, mounted on another page; pages bound into a small folio to make an album.
Shown here are two examples from a portfolio of 44 tea label designs. Each includes spaces to accommodate the name of the distributor and its brand of imported Japanese tea.
The Western-style shoe on the samurai’s left foot suggests that these images may have been drawn by a non-Japanese artist (the footwear on his right foot has some resemblance to the traditional woven sandal). In fact these images may be works by an early graphic designer in Rochester. Then-director Harris K. Prior wrote in his correspondence to the previous owner of the portfolio, “I think that, in view of the fact that they relate to a Rochester artist we should take advantage of your generosity and acquire them for the collection.” The letter does not mention the name of the artist.
[Label text from It Came From the Vault exhibition, 2013]
right panel, in image, Biklen, Winzer & Co. was a wholesale grocery company in Burlington, Iowa
1974.50.42
item
Memorial Art Gallery
8/8/2008
74.50.42DI#1
digital image
8/14/2008
http://127.0.0.1:5000/Media/images/74.50.42_A1.jpg
74.50.42SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Design for Tea Labels: Man Sifting Tea
Japanese artist, (active )
Japanese artist
Japan
Primary
7 7/8 x 6 15/16 in. (20 x 17.7 cm)
Watercolor
Watercolor
0
0
Painting
Two panels painted on one sheet of paper, mounted on another page; pages bound into a small folio to make an album.
1974.50.13
item
Memorial Art Gallery
8/8/2008
74.50.13DI#1
digital image
8/14/2008
http://127.0.0.1:5000/Media/images/74.50.13_A1.jpg
74.50.13SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Design for Tea Labels: Samurai with a Sword
Japanese artist, (active )
Japanese artist
Japan
Primary
7 11/16 x 7 1/16 in. (19.5 x 18 cm)
Watercolor
Watercolor
0
0
Painting
Two panels painted on one sheet of paper, mounted on another page; pages bound into a small folio to make an album
Shown here are two examples from a portfolio of 44 tea label designs. Each includes spaces to accommodate the name of the distributor and its brand of imported Japanese tea.
The Western-style shoe on the samurai’s left foot suggests that these images may have been drawn by a non-Japanese artist (the footwear on his right foot has some resemblance to the traditional woven sandal). In fact these images may be works by an early graphic designer in Rochester. Then-director Harris K. Prior wrote in his correspondence to the previous owner of the portfolio, “I think that, in view of the fact that they relate to a Rochester artist we should take advantage of your generosity and acquire them for the collection.” The letter does not mention the name of the artist.
[Label text from It Came From the Vault exhibition, 2013]
1974.50.33
item
Memorial Art Gallery
8/8/2008
74.50.33DI#1
digital image
8/14/2008
http://127.0.0.1:5000/Media/images/74.50.33_A1.jpg
74.50.33SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Aurélien-Marie Lugné-Poë (1869-1940)
Edouard Vuillard, (Cuiseaux, France, 1868 – 1940, La Baule-Escoublac, France)
Vuillard, Edouard
France
1868 - 1940
Male
8 3/4 x 10 1/2 in. (22.2 x 26.7 cm)
.
.
.
overall framed size
horizontal
frame
Oil
Oil
1891
1891
1891
1800-1900, 19th century, authors, men, paintings, portraits
Painting
This likeness captures the intense fervor of the artist's friend and patron, Aurélien-Marie Lugné-Poë (1869-1940), an actor and daring theatrical producer who helped Vuillard obtain his first commission for a theatrical poster. The artist's use of broad areas of flat color to define form and volume in this intimate portrait is typical of the Nabis painters, a group of artists influenced by Paul Gauguin and with whom Vuillard was aligned.
[Gallery label text, 1999]
initialed, lower left
1972.18
item
Memorial Art Gallery
4/5/2000
72.18TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
72.18SL1
slide
full
2 x 2
00/00/00
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negative
4x5
00/00/00
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glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
72.18DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/72.18_A1.jpg
72.18SL2
slide
photo of Lugne-Poe
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
72.18DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
72.18_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/72.18_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/72.18_A3.jpg
72.18DI#4
digital image
8/31/2012
http://127.0.0.1:5000/Media/images/72.18_A4.jpg
Painting
St. Fichera
Jerome Witkin, 1939 -
Witkin, Jerome
United States
1939
Male
50 1/4 x 48 1/4 in. (127.6 x 122.6 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1977
1977
1977
Painting
right edgeverso, stretcher
1986.135
item
Memorial Art Gallery
9/8/1999
86.135SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/86.135_I1.jpg
86.135DI#2
digital image
11/6/2012
http://127.0.0.1:5000/Media/images/86.135_A1.jpg