27
Portfolios%3D%22364%22%20and%20Disp_Obj_Type%3D%22Painting%22
Painting
Steamship James Fisk, Jr.
James Bard, 1815 - 1897
Bard, James
United States
1815 - 1897
Male
29 1/4 x 49 1/2 in. (74.3 x 125.7 cm)
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.
.
Oil
Oil
1870
1870
1870
1800-1900, 19th century, boats, paintings, seascapes
Painting
The large steamship in this painting, the James Fisk, Jr., was a ferryboat with a side paddlewheel, decorated with oversized flags and at least six gold eagles. It was named for its owner, a powerful financier who lived a colorful life that was ended by a scandalous shooting. Fisk also owned the Bristol, which can be seen in the distance.
Known for his pristine depictions of ferries and steamboats, self-taught artist James Bard painted so accurately that it was said that shipbuilders could rebuild their boats based on his works.
[Gallery label text, 2002]
lower right
1965.60
item
Memorial Art Gallery
9/8/1999
65.60TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
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65.60SL1
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2 x 2
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65.60DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/65.60_A1.jpg
65.60DI#2
digital image
9/7/2012
http://127.0.0.1:5000/Media/images/65.60_A2.jpg
Painting
Evening Group
George Bellows, 1882 - 1925
Bellows, George
United States
1882 - 1925
Male
25 x 30 in. (63.5 x 76.2 cm)
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.
approximate installation dimensions
frame
.
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overall framed size
frame
Oil
Oil
1914
1914
1914
1900-2000, 20th century, Ashcan School and friends, leisure activities, paintings, Realism, seascapes
Painting
This painting portrays the artist with his wife, Emma, and daughter, Anne, on vacation on Monhegan Island off the coast of Maine. Two neighbor children occupy the right side of the canvas.
[Gallery label text, 2007]
In the summer of 1914, painter George Bellows convinced his wife, Emma, to travel to Monhegan Island off the coast of Maine along with their young daughter, Anne. There, he hoped to paint more of the stunning seascapes he had worked on so successfully in past years. Evening Group depicts Emma and Anne on the left, the artist in the middle, and two neighbor children on the right.
Based in New York City during much of the year, Bellows found that the harsh beauty of places like Monhegan Island provided him with subjects that contrasted dramatically with his acclaimed urban scenes. He first visited the island in 1911 in the company of his teacher and mentor, Robert Henri, and wrote enthusiastically to Emma: “The Island is only a mile wide and two miles long, but it looks as large as the Rocky Mountains. It’s three times as high as Montauk [Long Island] and all black and grey rock. Beautiful pine forests and wonderful varieties of all kinds…” In another letter, he lamented “my head is full of millions of great pictures which I will never have time to paint.”
[Gallery label text, 2005]
lower leftback of panel, Handwritten, capital letters, printed (not script) on back of panel.
1947.13
item
Memorial Art Gallery
9/8/1999
47.13TR1
Transparency
Memorial Art Gallery
4 x 5
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47.13CNEG1
negative
2 x 2
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5x7
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47.13DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/47.13_A1.jpg
47.13SL2
slide
full with frame
2 x 2
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47.13SL3
slide
photo in Art & Deocration Magazine 8/1915
2 x 2
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47.13SL4
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full with grid lines
2 x 2
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42bellows1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/42bellows1.tif
Painting
The Clipper Ship "Flying Cloud" off the Needles, Isle of Wight
James E. Buttersworth, (England, 1817 - 1894, West Hoboken, NJ)
Buttersworth, James E.
United States
1817 - 1894
Male
12 1/16 x 18 1/16 in. (30.6 x 45.9 cm)
.
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.
overall
frame
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.
.
Oil
Oil
ca. 1859-1860
1859
1860
1800-1900, 19th century, boats, paintings, seascapes, waves
Painting
lower right
1989.71
item
Memorial Art Gallery
9/8/1999
89.71TR1
Transparency
Memorial Art Gallery
2 1/4 x 2 3/4
00/00/00
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full
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4x5
00/00/00
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89.71DI1
digital image
Memorial Art Gallery
Imaging complete
8/4/2000
http://127.0.0.1:5000/Media/images/89.71_A1.jpg
Painting
View off the Dutch Coast
Jan van de Cappelle, 1624/1626 - 1679
Cappelle, Jan van de
Netherlands
1624-1626 - 1679
Male
30 1/2 x 39 1/8 in. (77.5 x 99.4 cm)
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.
approximate installation dimensions
horizontal
frame
Oil
Oil
after ca. 1652
1653
1662
1600-1800, 17th century, boats, George Eastman Collection, paintings, seascapes
Painting
The popularity of seascapes in seventeenth-century Holland reflected the wealth and power engendered by that nation's naval superiority. Although he was primarily a merchant and only an amateur painter, van de Cappelle is generally recognized as among the most proficient artists to specialize in this genre. The subtle color harmonies and quiet serenity of this scene are typical of his accomplishment.
[Gallery label text, 1989]
lower leftback of frameback of frameback of frame
1968.99
item
Memorial Art Gallery
11/13/2000
68.99TR1
transparency
4 x 5
00/00/00
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68.99DI1
digital image
4 x 5
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68.99DI#2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/68.99_A2.jpg
Painting
Boats on Shore, Yport, France
Harry Chase, (Woodstock, VT, 1853 – 1889, Sewanee, TN)
Chase, Harry
United States
1853 - 1889
Male
10 x 16 in. (25.4 x 40.6 cm)
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overall
frame
Oil
Oil
1885
1885
1885
1800-1900, 19th century, boats, paintings, seascapes, women
Painting
lower leftback of frame
1992.16
item
Memorial Art Gallery
9/8/1999
92.16SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
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92.16DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/92.16_A1.jpg
92.16DI#2
digital image
6/7/2017
http://127.0.0.1:5000/Media/images/92.16_A2.jpg
Painting
The Coast of Brittany
Charles Cottet, (Le Puy, France, 1863 – 1925, Paris)
Cottet, Charles
France
1863 - 1925
Male
31 x 23 in. (78.7 x 58.4 cm)
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.
approximate installation dimensions
frame
Oil
Oil
1917
1917
1917
1900-2000, 20th century, George Eastman Collection, paintings, seascapes
Painting
Charles Cottet was particularly well known for his landscapes and stormy seascapes of Brittany, where he spent several months a year. The dark tones and strong values of his work belong to the tradition of Realism, an artistic movement that emphasized objective representations of the world based on the impartial observation of contemporary life. He studied and exhibited with artists such as Edouard Vuillard.
[adapted from gallery label text]
back of backing board, per conservation reportback of cradle, perforated edges, written in red ink, per conservation reportback of cradle, palette-shaped label, white lettering on blue, per conservation reportlower right, signed twice, one over the other, per conservation report
1936.62
item
Memorial Art Gallery
2/20/2001
36.62SL1
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full
2 x 2
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36.62DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/36.62_A1.jpg
36.62DI#2
digital image
Front
00/00/00
http://127.0.0.1:5000/Media/images/36.62_A2.jpg
36.62DI#3
digital image
3/25/2008
http://127.0.0.1:5000/Media/images/36.62_A3.jpg
36.62TR1
transparency
Front
4 x 5
00/00/00
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Painting
Coast of Cornwall, near St. Ives
Paul Dougherty, (Brooklyn, NY, 1877 - 1947, Palm Springs, CA)
Dougherty, Paul
United States
1877 - 1947
Male
36 x 48 in. (91.4 x 121.9 cm)
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overall
frame
Oil
Oil
circa 1915
1910
1920
American art, George Eastman Collection, paintings, seascapes
Painting
In 1915, Memorial Art Gallery mounted an exhibition of seascapes by a leading American marine painter of the time, Paul Dougherty. After the show was already open to the public, the artist sent an additional canvas, Coast of Cornwall, Near St. Ives, which he considered his best work to date. George Eastman had expressed interest in purchasing a Dougherty for the MAG collection. This painting was a top contender but several members of the Art Committee requested director George Herdle to ask the artist to rework the foreground. Reluctantly, Herdle complied and the mystified Dougherty politely asked him exactly what he would like done. In the meantime, Herdle sought the opinion of painter Elmer Schofield, who “thought the criticism not well made.” The director quickly assured Dougherty that all was well, overrode the Committee’s objections, and acquired this painting with funds donated by Eastman.
[Label text from It Came From the Vault exhibition, 2013]
lower left
1915.1
item
Memorial Art Gallery
9/8/1999
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
15.1SL1
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full
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15.1DI1
digital image
00/00/00
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15.1DI#2
digital image
2/1/2008
http://127.0.0.1:5000/Media/images/15.1_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/15.1_R1.jpg
Painting
Sunset Seascape
Frank Duveneck, 1848 - 1919
Duveneck, Frank
United States
1848 - 1919
Male
23 5/8 x 28 5/8 in. (60 x 72.7 cm)
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overall
frame
Oil
Oil
1900-1905
1900
1905
1900-2000, 20th century, Munich school, paintings, seascapes
Painting
lower right
1977.106
item
Memorial Art Gallery
9/8/1999
77.106TR1
Transparency
Memorial Art Gallery
4 x 5
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4 x 5
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77.106DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/77.106_A1.jpg
77.106DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Beach at Blue Point
William Glackens, 1870 - 1938
Glackens, William
United States
1870 - 1938
Male
25 1/4 x 30 1/8 in. (64.1 x 76.5 cm)
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.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
ca. 1915
1910
1920
1900-2000, 20th century, Ashcan School and friends, leisure activities, paintings, seascapes
Painting
Like many American painters, including Winslow Homer, William Glackens was an artist-reporter early in his career. He met Robert Henri in Philadelphia, shared a studio with him, and went to Paris with him in 1895. Upon Glackens's return, he moved to New York City. He exhibited with The Eight in 1908, and chaired the Armory Show in 1913. By 1914, he was devoting all of his time to painting, and espoused subjects like this one, colorful depictions of Americans at play. Many of his paintings reflect the influence of French impressionists, particularly Pierre Auguste Renoir.
[Gallery label text, 2003]
lower right
1973.12
item
Memorial Art Gallery
9/8/1999
73.12TR1
Transparency
Memorial Art Gallery
4 x 5
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full
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73.12DI1
digital image
Memorial Art Gallery
Imaging complete
8/28/2000
http://127.0.0.1:5000/Media/images/73.12_A1.jpg
M425_p187.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p187.tif
M425_p187(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p187(10).tif
73.12DI#2
digital image
9/7/2012
http://127.0.0.1:5000/Media/images/73.12_A2.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
00/00/00
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41.32SL1
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41.32DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/41.32_A1.jpg
41.32SL2
slide
detail-rocks
2 x 2
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41.32SL3
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detail-waves
2 x 2
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detail-sun
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color
1 x 1
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41.32DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Graphics/blank.gif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p116.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p116(10).tif
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
The Riva degli Schiavoni, Venice, Looking West
William James, (active 1760 - 1771)
James, William
England
active 1760 - 1771
Male
Canal, Giovanni Antonio
Italy
1697 - 1768
Male
Previous attribution
After
25 3/4 x 40 in. (65.4 x 101.6 cm)
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.
.
Oil
Oil
ca. 1760-1771
1760
1771
1600-1800, 18th century, boats, paintings, seascapes, Venice, Italy
Painting
The waterfront promenade of the Riva degli Schiavoni, or River of the Slavs, has long been one of the most picturesque and popular in Venice. Paintings by the great Canaletto and his British followers like William James show the bustling of gondolas, sailing boats and barges; the promenade itself is equally lively with travelers, merchants and townspeople actively engaged in both commerce and recreation.
[Gallery label text, 2008]
1955.180
item
Memorial Art Gallery
11/2/2000
55.180SL1
slide
full
2 x 2
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full
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55.180DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/55.180_A1.jpg
55.180DI#2
digital image
7/13/2007
http://127.0.0.1:5000/Media/images/55.180_A2.jpg
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/55.180_A3.jpg
Painting
The Exorcism of the Waves
Alessandro Magnasco, 1662 - 1749
Magnasco, Alessandro
Italy
1662 - 1749
Male
33 x 51 in. (83.8 x 129.5 cm)
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.
.
Oil
Oil
after 1735
1736
1745
1600-1800, 18th century, paintings, seascapes, waves
Painting
removed from backing, now in fileremoved from backing, now in fileremoved from backing, now in fileremoved from backing, now in file
1952.2
item
Memorial Art Gallery
1/25/2001
52.2SL1
slide
full
2 x 2
00/00/00
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4x5
00/00/00
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52.2SL2
slide
detail-figure
2 x 2
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52.2SL3
slide
detail- tower
2 x 2
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/52.2_A1.jpg
52.2TR1
transparency
full
4 x 5
00/00/00
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52.2DI2
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/52.2_A2.jpg
52.2DI3
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/52.2_A3.jpg
Painting
Harbor Town
Jacob Maris, (The Hague, Netherlands, 1837 – 1899, Karlovy Vary, Czechia)
Maris, Jacob
Netherlands
1837 - 1899
Male
14 1/4 x 23 1/2 in. (36.2 x 59.7 cm)
.
.
.
approximate installation dimensions
frame
Oil
Oil
1875
1875
1875
1800-1900, 19th century, cityscapes, George Eastman Collection, paintings, seascapes, windmills
Painting
back of frameback of stretcherback of stretcher, Illegible 3/08; behind backing boardlower right
1978.5
item
Memorial Art Gallery
1/30/2001
78.5SL1
slide
full
2 x 2
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4 x 5
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78.5DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/78.5_A1.jpg
78.5DI#2
digital image
3/25/2008
http://127.0.0.1:5000/Media/images/78.5_A2.jpg
Painting
The Rocks at Pourville, Low Tide
Claude Monet, (Paris, 1840 – 1926, Giverny, France)
Monet, Claude
France
1840 - 1926
Male
25 5/16 x 31 in. (64.3 x 78.7 cm)
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.
overall
horizontal
frame
Oil
Oil
1882
1882
1882
1800-1900, 19th century, paintings, seascapes, waves
Painting
This painting belongs to a series of works produced during the spring and summer of 1882, while Monet visited Pourville, a town on the Normandy coast. As he explored the beach and the rocks exposed at low tide, Monet found a startling diversity of viewpoints that enabled him to create some of his most dramatic and unexpected compositions. In all of them, Monet placed himself far out across the beach, a little to the east of Pourville. He juxtaposed the cliffs in the far distance with the fragmented forms of the rock shelves in the foreground, using unique brushstrokes to convey the movement and light of the water and clouds.
Monet’s technique gradually changed from completing paintings out of doors to one of making hundreds of concentrated studies on location. He then compiled and reworked these many sketches in his studio, where he created the final canvases.
[Label copy from Monet: Vision and Process exhibition, 2018]
1939.22
item
Memorial Art Gallery
1/17/2001
39.22TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
39.22SL1
slide
full
2 x 2
00/00/00
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glossy
6x4
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neg
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glossy
8x10
00/00/00
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39.22SL2
slide
photo of location of painting
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
39.22DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/39.22_A1.jpg
39.22DI2
digital image
full
8/3/2015
http://127.0.0.1:5000/Media/images/39.22_A2.jpg
Painting
Towing a Boat, Honfleur
Claude Monet, (Paris, 1840 – 1926, Giverny, France)
Monet, Claude
France
1840 - 1926
Male
21 3/4 x 32 5/16 in. (55.2 x 82.1 cm)
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.
.
overall
horizontal
traveling frame
.
.
.
overall
stretcher
.
.
.
frame
Oil
Oil
1864
1864
1864
1800-1900, 19th century, boats, men, paintings, seascapes
Painting
"All that is painted directly, at a given moment, has a force, power, and vitality which can never be duplicated in a studio." --Eugène Boudin, to his student Claude Monet
Claude Monet’s early paintings were solidly grounded in the work of the preceding generation of French landscape painters called the Barbizon school. Their insistence on painting en plein air, or out of doors, led to Monet’s passion for capturing the transience of light.
Towing a Boat, Honfleur, painted ten years before the term Impressionism was coined, captures the moment that night overtakes sunset. It is one of the earliest of Monet’s many seascapes. As an experiment in reproducing the changing effects of light under different atmospheric conditions, the painting shows his process of abstracting nature into simplified forms and exaggerated color contrasts.
[Label copy from Monet: Vision and Process exhibition, 2018]
lower leftback of frame
1991.35
item
Memorial Art Gallery
8/8/2000
91.35CPRT1
glossy
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
91.35TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
91.35SL1
slide
full
2 x 2
00/00/00
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glossy
8 x 10
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negative
4 x 5
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91.35DI1
digital image
4 x 5
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91.35DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/91.35_A3.jpg
91.35DI#2
digital image
Memorial Art Gallery
1/9/2008
http://127.0.0.1:5000/Media/images/91.35_A2.jpg
Painting
Sunset over the Sea
Thomas Moran, 1837 - 1926
Moran, Thomas
United States
1837 - 1926
Male
5 1/8 x 10 1/4 in. (13 x 26 cm)
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.
.
without frame
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.
.
overall
frame
Oil
Oil
ca. 1900
1895
1905
1800-1900, 1900-2000, 20th century, paintings, seascapes
Painting
lower left
1983.112
item
Memorial Art Gallery
9/8/1999
83.112TR1
Transparency
Memorial Art Gallery
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
transparency
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
83.112SL1
slide
full
2 x 2
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
83.112DI1
digital image
Memorial Art Gallery
Imaging complete
8/4/2000
http://127.0.0.1:5000/Media/images/83.112_A1.jpg
83.112DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
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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.
.
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
http://127.0.0.1:5000/Graphics/blank.gif
99.41SL1
slide
2 x 2
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glossy
8x10
00/00/00
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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
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Oxen on the Beach
Joaquin Sorolla y Bastida, (Valencia, Spain, 1863 – 1923, Madrid)
Sorolla y Bastida, Joaquin
Spain
1863 - 1923
Male
29 x 43 in. (73.7 x 109.2 cm)
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.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
1910
1910
1910
1900-2000, 20th century, men, oxen, paintings, seascapes
Painting
Sorolla discovered Impressionism during an 1885 visit to Paris and took its revolutionary approach to light and color back to Spain with him. There he developed his own style, characterized by large, strong brushstrokes, and soon his international reputation was established. Sorolla's special ability to render the play of bright sunlight on the sea, on sand, and on figures along the beach has been praised by critics. "Oxen on the Beach," which features all three surfaces, is a brilliant display of Sorolla's talents.
[adapted from gallery label text, 1999]
lower right
1914.8
item
Memorial Art Gallery
1/17/2001
14.8TR1
transparency
4 x 5
00/00/00
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
14.8SL1
slide
full
2 x 2
00/00/00
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14.8DI1
digital image
6/28/2002
http://127.0.0.1:5000/Media/images/14.8_A1.jpg
14.8DI2
digital image
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/related_images/14.8_R1.jpg
Painting
Boat Race at Skaneateles
Harry J. Sunter, (Massachusetts, 1850 – 1889, Washington DC)
Sunter, Harry J.
United States
1850 - 1889
Male
25 x 33 in. (63.5 x 83.8 cm)
.
.
.
overall
frame
.
.
.
without frame
Oil
Oil
1878
1878
1878
1800-1900, 19th century, boats, genre scenes, lakes, paintings, seascapes, views of Rochester & western New York
Painting
Skaneateles Lake is located in the Finger Lakes region, part of the traditional lands of the nations that make up the Haudenosaunee. The frequent use of Haudenosaunee names in this region—Genesee, Irondequoit, Honeoye, and Canandaigua—is evident in the name of the lake and the town located on the northern tip, Skaneateles, which means “long lake.”
This painting depicts a sculling race from an era, and an area, when travel by boat was more common than today. The two steamboats seen here have flags bearing their names, identifying them as the Echo (on the left) and the Glen Haven, which carried vacationers arriving on trains and carriages at the top of Skaneateles Lake down to the resorts and summer cottages at the southern end. This scull race was widely advertised as part of the Fourth of July festivities on the lake in 1878. The artist shows people cheering from nearby boats as Charles E. Courtney from Union Springs passes by, winning the race by only one minute. The subject of the painting was unknown until it was included in a 1962 exhibition in New York, where a Skaneateles native recognized the scene and wrote a letter to his local paper.
[Gallery label text, 2021]
lower right
1967.36
item
Memorial Art Gallery
9/8/1999
67.36TR1
Transparency
Memorial Art Gallery
4 x 5
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http://127.0.0.1:5000/Graphics/blank.gif
67.36SL1
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2 x 2
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full
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67.36DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/67.36_A1.jpg
67.36DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/67.36_R1.jpg
67.36DI3
digital image
00/00/00
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67.36DI4
digital image
00/00/00
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digital image
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67.36DI6
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/67.36_R5.jpg
67.36DI7
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/67.36_R6.jpg
Painting
Cliff and Pier in Sunshine, St. Ives
Hayley Lever, (Adelaide, Australia, 1875 - 1958, Mount Vernon, NY)
Lever, Hayley
United States
1875 - 1958
Male
21 x 24 in. (53.3 x 61 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
0
0
American art, boats, paintings, seascapes
Painting
lower leftverso, Looks like it is in the artist's hand - painted in script on back of canvas
1938.35
item
Memorial Art Gallery
9/8/1999
38.35SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
4x5
00/00/00
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glossy
8x10
00/00/00
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38.35DI1
digital image
4/24/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/38.35_I1.jpg
38.35DI2
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/38.35_A1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/38.35_A2.jpg
Painting
Cornish Coast
W. Elmer Schofield, (Philadelphia, PA, 1867 - 1944, Cornwall, England)
Schofield, W. Elmer
United States
1867 - 1944
Male
30 x 36 in. (76.2 x 91.4 cm)
.
.
.
Oil
Oil
0
0
American art, paintings, seascapes
Painting
lower rightstretcherstretcher
1937.1
item
Memorial Art Gallery
9/8/1999
37.1SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
37.1DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/37.1_A1.jpg
37.1DI#2
digital image
6/26/2007
http://127.0.0.1:5000/Media/images/Inventory pictures/37.1_I1.jpg
Painting
Figure by the Sea
Hilda Altschule Coates, 1900 - 1983
Coates, Hilda Altschule
United States
1900 - 1983
Female
8 7/8 x 10 in. (22.5 x 25.4 cm)
.
.
.
Mixed media
Mixed media
1970
1970
1970
1900-2000, 20th century, Arena Group, by Rochester artists, collage, seascapes
Painting
1983.2
item
Memorial Art Gallery
9/8/1999
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
83.2DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/83.2_A1.jpg
Painting
Polperro Harbor
W. Elmer Schofield, (Philadelphia, PA, 1867 - 1944, Cornwall, England)
Schofield, W. Elmer
United States
1867 - 1944
Male
20 x 24 in. (50.8 x 61 cm)
.
.
.
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.
.
overall
frame
Oil
Oil
ca. 1915
1910
1920
1900-2000, 20th century, boats, paintings, seascapes
Painting
lower right
1941.27
item
Memorial Art Gallery
9/8/1999
41.27SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.27DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/41.27_I1.jpg
41.27DI2
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/41.27_A1.jpg
41.27DI#3
digital image
4/17/2014
http://127.0.0.1:5000/Media/images/41.27_A2.jpg
Painting
The Bathers
Childe Hassam, 1859 - 1935
Hassam, Childe
United States
1859 - 1935
Male
48 3/16 x 148 1/4 in. (122.4 x 376.6 cm)
.
.
.
without frame
Oil
Oil
1904
1904
1904
1900-2000, 20th century, nudes, paintings, seascapes, women
Painting
This painting hung originally in the home of C.E.S. Wood, a Portland, Oregon lawyer, writer and art collector.
Murals were a common feature of turn-of-the-20th-century interiors, as they complemented the unified design popularized by artists and designers like William Morris and Gustav Stickley.
Monumental buildings like the Boston Public Library as well as cozy residential bungalows were decorated by artists who covered blank walls with colorful, imaginative, and romantic scenes like The Bathers.
MAG’s painting by Impressionist painter Childe Hassam was installed as part of a larger mural in the library/studio of the Portland, Oregon, home of Charles Erskine Scott Wood. A lawyer, writer, connoisseur, and friend of Hassam, Wood was influenced by the late 19th century Arts & Crafts aesthetic that disdained the ornate and cluttered surroundings of the Victorian period and aspired to simplicity and harmonious design. Wood wrote to his friend, the artist J. Alden Weir, that Hassam “whirled in and painted me a whole wall for my studio, and they tell me it is beautiful.”
[Gallery label text, 2008]
lower leftverso, original stretcher
1963.27
item
Memorial Art Gallery
9/8/1999
63.27TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
63.27TR2
transparency
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
63.27SL1
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full
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detail right
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detail left
8 x 10
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63.27DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/63.27_A1.jpg
63.27SL2
slide
detail-right side
2 x 2
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63.27SL3
slide
detail-left side
2 x 2
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63.27SL4
slide
detail-tree
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
M425_p142.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p142.tif
M425_p142(5).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p142(5).tif
63.27DI2
digital image
Detail
6/16/2009
http://127.0.0.1:5000/Media/images/63.27_A2.jpg
63.27DI2
digital image
Detail
6/16/2009
http://127.0.0.1:5000/Media/images/63.27_A3.jpg
63.27DI4
digital image
Detail
6/16/2009
http://127.0.0.1:5000/Media/images/63.27_A4.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/63.27_R1.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)
.
.
.
.
.
.
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
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.45TR2
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2 x 3
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4 x 5
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Color separations
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
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/69.45_I6.jpg
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Back
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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
View of Venice
Venetian Scene
Thomas Moran, 1837 - 1926
Moran, Thomas
United States
1837 - 1926
Male
19 3/4 x 24 1/2 in. (50.2 x 62.2 cm)
.
.
.
overall
frame
.
.
.
without frame
Oil
Oil
1890
1890
1890
1800-1900, 19th century, boats, paintings, seascapes, Venice, Italy
Painting
Thomas Moran was an adventurous landscape painter who traveled far and wide in search of compelling views. He accompanied the first government-sponsored expedition to Yellowstone, shortly before it became a national park, and his drawings and watercolors from that expedition formed the basis for dramatic paintings of western views. In 1886, he journeyed to Venice, where his watercolors captured views of lagoons and picturesque buildings. These sketches formed the basis of immensely popular studio paintings like the one hanging here.
In the second half of the nineteenth century, Venice was a favored Old World destination for many American writers and painters, including Mark Twain, Henry James, and James MacNeill Whistler. However, Moran's work probably had the greatest impact on Americans' awareness of La Serenissima (the most serene), a fond nickname for Venice.
[Gallery label text, 2004]
lower left
2000.6
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Memorial Art Gallery
4/13/2000
2000.6CNEG1
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Painting
Evening
Jonas Lie, 1880 - 1940
Lie, Jonas
United States
1880 - 1940
Male
40 x 50 in. (101.6 x 127 cm)
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overall
frame
Oil
Oil
1921
1921
1921
20th century, boats, night, paintings, trees in art
Painting
lower right
1922.38
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Memorial Art Gallery
9/8/1999
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