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Painting
The Sculpture Gallery
Sir Lawrence Alma-Tadema, (Dronerijp, the Netherlands, 1836 - 1912, Wiesbaden, Germany)
Alma-Tadema, Lawrence
Netherlands
1836 - 1912
Male
30 1/4 x 23 1/4 in. (76.8 x 59.1 cm)
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approximate installation dimensions
frame
Oil
Oil
1875
1875
1875
1800-1900, 19th century, children, men, Orientalism, paintings, women
Painting
Alma-Tadema is known for his historical and anecdotal scenes set in classical antiquity or medieval Europe. The Sculpture Gallery is one of a number of scenes showing patrons at an ancient art gallery or sculptor’s studio. Here a slave—recognizable by the tablet hanging around his neck—displays a basin ornamented with Scylla, the mythological sea-serpent. The 19th-century collecting audience could likely identify the "Infant Hercules Struggling with a Snake," from the Capodimonti Museum in Naples at the left, and on the right, the statue of Helen, mother of Emperor Constantine, from the Capitoline museum in Rome. The Roman visitors are modelled on members of Alma-Tadema's family, including the artist’s wife and children, at the center.
The artist travelled widely and visited historic sites, gaining a reputation for his accuracy in depicting ancient settings and artifacts. However, it was modern technology that helped him achieve this renown: the artist collected professional photographs of artworks and artifacts found on archaeological digs, using these images as the basis for his scenes.
[Gallery label text, 2011]
upper leftback of panel,
back of panelback of panelback of panel, also appears at least twice on back of frameback of panel, Partly torn away.back of frameback of frameback of frame, Partly obscured by a labelback of frameback of frameback of frameback of frame
1989.45
item
Memorial Art Gallery
11/2/2000
89.45TR1
transparency
4 x 5
00/00/00
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89.45SL1
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89.45DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/89.45_A1.jpg
89.45DI#2
digital image
4/7/2009
http://127.0.0.1:5000/Media/images/89.45_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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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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73.1SL1
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73.1DI1
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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
Interior of a Mosque
Mosque at Cairo
Jean-Léon Gérôme, (Vesoul, France, 1824 – 1904, Paris)
Gérôme, Jean-Léon
France
1824 - 1904
Male
23 3/8 x 35 3/8 in. (59.4 x 89.9 cm)
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approximate installation dimensions
frame
Oil
Oil
1890-1899
1890
1899
1800-1900, 19th century, from Rochester collections, mosques, Orientalism, paintings
Painting
An enthusiastic amateur archaeologist, Gérôme painted dozens of Eastern scenes over his long career, including a number of mosque interiors. Although the mosque seen here has not been identified, the artist was known to have travelled in Asia Minor, the Middle East, and North Africa, and it is believed that this elaborate interior is a composite, made up of details from a number of specific sites. The worshippers assume accurate postures for their devotions, from the initial upright recitation of vows to the final prostration before God.
Gérôme was a firm proponent of the Academic style: he taught at the Ecole des Beaux-Arts in Paris, and won national honors and the patronage of royalty. Although his pupils had included icons of modernism such as Fernand Leger and Everett Shinn, Gérôme was initially opposed to any challenges to the supremacy of the Academy. In the face of increasing opposition to his conservative viewpoint, he declared that the work of the Impressionists was “insipid and badly executed.”
[Gallery label text, 2011]
back of stretcher, written on a strip of masking tapeback of stretcherback of stretcherback of stretcher, both phrases in the same handwriting.back of frameback of frame
1957.18
item
Memorial Art Gallery
1/17/2001
57.18DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/57.18_A1.jpg
57.18TR1
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full
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57.18DI#2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/57.18_A2.jpg
Painting
Harem Scene
Daniel Israel, 1859 - 1901
Israel, Daniel
Austria
1859 - 1901
Male
Primary
35 1/2 x 23 1/2 in. (90.2 x 59.7 cm)
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approximate installation dimensions
frame
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sight
sight
Oil
Oil
1895-1900
1895
1900
1800-1900, 19th century, Orientalism, paintings, women
Painting
The scene depicted here is an example of Orientalism, the portrayal of Eastern figures and scenes-both real and imagined-by western artists. This was a popular aspect of Academic painting. Here a girl tries on jewelry while an older woman, perhaps her maid, looks on approvingly. The intimate alcove of a vast, columned interior allows the artist to show his skill at rendering the patterned fabrics, such as the hanging drapery and the maid's robe, and the jewels that spill from the inlaid chest behind the girl.
The 19th century provided many opportunities for artists to travel to Asia and Africa as those lands were being explored, exploited and colonized by European countries. While some paintings were anthropologically correct, based on the artists' experiences, others chose to portray the people of these faraway lands in settings and poses that demonstrated the vast perceived difference between their circumstances and Europeans'. Women, especially, were held up as object lessons of decadence and sensuality in ways Europeans would not have been.
[Gallery label text, 2011]
lower right, D and I in ligatureback of stretcherback of frame, Note that spelling of "Gallery" is English, not Germanback of frameback of frameback of stretcherback of stretcher, European-style 7, with line through centerback of frame, Printed in red, largely illegible. Note that "strasse" is spelled with two s's and not ßback of stretcher, Center illegible-- text or design? See image, attached. Scholar Emily Weeks dates this particular color of stamp to the years 1920-34 or later than 1945.
1991.15
item
Memorial Art Gallery
2/20/2001
91.15SL1
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full
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91.15DI1
digital image
full
2 x 2
6/14/2002
http://127.0.0.1:5000/Media/images/91.15_A1.jpg
91.15DI2
digital image
00/00/00
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91.15DI3
digital image
full
2 x 2
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91.15DI#5
digital image
3/25/2008
http://127.0.0.1:5000/Media/images/91.15_A4.jpg
91.15DI#4
digital image
3/25/2008
http://127.0.0.1:5000/Media/images/91.15_A3.jpg