9
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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
item
Memorial Art Gallery
9/8/1999
51.4SL1
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Memorial Art Gallery
full
2 x 2
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51.4SL2
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cropped
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58dove1.tif
digital image
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51.4DI2
digital image
4/17/2014
http://127.0.0.1:5000/Media/images/51.4_A2.jpg
Painting
Composition
Stuart Davis, (Philadelphia, PA, 1892 – 1964, New York, NY)
Davis, Stuart
United States
1892 - 1964
Male
17 1/2 x 19 1/2 in. (44.5 x 49.5 cm)
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overall
frame
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Oil
Oil
1931
1931
1931
1900-2000, 20th century, Abstract, Modernism, paintings, shape
Painting
upper rightverso, top of stretcher, old stretcher removed for conservation, 1968
1953.24
item
Memorial Art Gallery
9/8/1999
53.24TR1
Transparency
Memorial Art Gallery
4 x 5
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53.24DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/53.24_A1.jpg
53.24_A2.jpg
digital image
00/00/00
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56davis4.tif
digital image
00/00/00
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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
4 x 5
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4x5
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51.3DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/51.3_A1.jpg
51.3SL2
slide
detail-slightly cropped
2 x 2
00/00/00
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51.3SL3
slide
photo of old gas pump
2 x 2
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51.3DI2
digital image
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56davis1.tif
digital image
00/00/00
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51.3DI3
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/51.3_A2.jpg
Painting
Haircut by the Sea
Milton Avery, (Altmar, NY, 1885 or 1893 - 1965, Bronx, NY)
Avery, Milton
United States
1885 or 1893 - 1965
Male
44 x 32 in. (111.8 x 81.3 cm)
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approximate installation dimensions
frame
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Oil
Oil
1943
1943
1943
1900-2000, 20th century, Modernism, paintings, women
Painting
lower right
1963.21
item
Memorial Art Gallery
9/8/1999
63.21TR1
Transparency
Memorial Art Gallery
4 x 5
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http://127.0.0.1:5000/Graphics/blank.gif
63.21SL1
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full
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3 x 5
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63.21DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/63.21_A1.jpg
63.21DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Homage to the Square: Soft Resonance
Josef Albers, 1888 - 1976
Albers, Josef
United States
1888 - 1976
Male
48 x 48 in. (121.9 x 121.9 cm)
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without frame
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approximate installation dimensions
frame
Oil
Oil
1962
1962
1962
1900-2000, 20th century, Modernism, paintings, square, yellow
Painting
Have you ever had the experience of picking out an article of clothing in a store and bringing it home, only to find out that it wasn’t the color you thought it was? This is often the result of the effect of different kinds of lighting on our perception of color. Josef Albers spent thirty years studying how our sense of color is influenced and sometimes tricked. As Albers said in his book, Interaction of Color, “color deceives continually.” His Homage to the Square series is an elegant exploration of the way people perceive colors differently depending on the colors nearby.
If the same yellow square in the center of this painting were surrounded by a dark red color, do you think the yellow square would appear lighter or darker than it does in this painting?
[Summer 2015]
initialed, lower rightverso
1967.27
item
Memorial Art Gallery
9/8/1999
67.27TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
67.27SL1
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full
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4 x 5
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67.27DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/67.27_A1.jpg
Painting
Ruby Gold
Hans Hofmann, (Weissenburg, Bavaria, Germany, 1880 - 1966, New York, NY)
Hofmann, Hans
United States
1880 - 1966
Male
55 3/8 x 40 1/2 in. (140.7 x 102.9 cm)
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without frame
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approximate installation dimensions
Oil
Oil
1959
1959
1959
1900-2000, 20th century, American art, Modernism, paintings, red
Painting
According to painter Hans Hofmann, “there are bigger things to be seen in nature than the object.” Ruby Gold demonstrates this idea through the dramatic interplay of color, form, and expression.
Hofmann was one of the most influential teachers of Abstract Expressionism, the painting style for which he is known. While other painters, such as Jackson Pollock, pioneered the style, Hofmann taught it to generations of students and helped to cement its role as a dominant form of painting in the U.S. from the 1950s onward. He created his signature works, like Ruby Gold, in the last eight years of his life, when, at age 78, he stopped teaching and devoted himself exclusively to painting.
[Summer 2015]
lower rightversoversoverso, stretcherverso, stretcher
1960.37
item
Memorial Art Gallery
9/8/1999
60.37TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
60.37CNEG1
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60.37DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/60.37_A1.jpg
60.37DI#2
digital image
Verso
10/24/2013
http://127.0.0.1:5000/Media/images/60.37_A3.jpg
60.37DI#3
digital image
10/24/2013
http://127.0.0.1:5000/Media/images/60.37_A2.jpg
60.37SL2
slide
detail
2 x 2
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60.37DI#4
digital image
edge
11/29/2011
http://127.0.0.1:5000/Media/images/Inventory pictures/60.37_I1.JPG
Painting
Jawbone and Fungus (recto); Untitled (Abstraction) (verso)
Georgia O'Keeffe, (Sun Prairie, WI, 1887 - 1986, Santa Fe, NM)
O'Keeffe, Georgia
United States
1887 - 1986
Female
17 x 20 in. (43.2 x 50.8 cm)
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approximate installation dimensions
frame
Oil
Oil
1931
1931
1931
1900-2000, 20th century, Encyclopedia Britannica Collection, Modernism, paintings
Painting
With her unique vision and expression, Georgia O’Keeffe epitomizes the modern American artist. Her simple, pared down shapes and closely cropped still-lifes of bones and flowers turn objects into landscapes of their own.
[Gallery label text, 2007]
Painting on the verso, an untitled abstraction, dates to ca. 1923
backing board, Gallery label on backing board.backing board, Gallery label on backing board.backing board, Gallery label from backing board.backing board, Gallery label on backing board.backing board, Gallery label on backing board.backing board, Shipping label on backing board.backing board, Gallery label on backing board.verso
1951.11a-b
item
Memorial Art Gallery
9/8/1999
51.11TR1
Transparency
Memorial Art Gallery
Recto
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.11TR2
Transparency
Memorial Art Gallery
Verso
2 1/4 x 2 3/4
00/00/00
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51.11SL2
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full-verso
2 x 2
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51.11DI1
digital image
Memorial Art Gallery
Recto
Imaging complete
8/4/2000
http://127.0.0.1:5000/Media/images/51.11a_A1.jpg
54okeeffe1.tif
digital image
00/00/00
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51.11bDI1
digital image
Memorial Art Gallery
Verso
Imaging complete
8/4/2000
http://127.0.0.1:5000/Media/images/51.11b_A1.jpg
54okeeffe2.tif
digital image
00/00/00
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Painting
River Pond
Wayne Thiebaud, (Mesa, AZ, 1920 – 2021, Sacramento, CA)
Thiebaud, Wayne
United States
1920 - 2021
Male
74 1/8 x 76 1/16 in. (188.3 x 193.2 cm)
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without frame
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approximate installation dimensions
frame
Acrylic
Acrylic
1967-1975
1967
1975
1900-2000, 20th century, landscapes, Modernism, paintings, rivers
Painting
lower left
1975.421
item
Memorial Art Gallery
9/8/1999
75.421TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.421CNEG1
negative
4 x 5
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75.421DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/75.421_A1.jpg
75.421DI2
digital image
00/00/00
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Painting
Discourse
Max Weber, (Bialystok, Poland, 1881 – 1961, Great Neck, NY)
Weber, Max
United States
1881 - 1961
Male
27 x 22 in. (68.6 x 55.9 cm)
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overall
frame
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Oil
Oil
1940
1940
1940
1900-2000, 20th century, Encyclopedia Britannica Collection, men, Modernism, paintings
Painting
lower right
1951.13
item
Memorial Art Gallery
9/8/1999
51.13TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
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2 x 2
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51.13DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/51.13_A1.jpg