28
keywordPath%3DGXVM
Painting
Weaving Homespun, Canada
The Weavers
Emma Lampert Cooper, (Nunda, NY, 1855 - 1920, Pittsford, NY)
Cooper, Emma Lampert
United States
1855 - 1920
Female
22 x 30 in. (55.9 x 76.2 cm)
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Oil
Oil
by 1904
1904
1904
by Rochester artists, genre scenes, home life, jobs & work, paintings, women
Painting
This painting of two women weaving by the cool light of a single window won a prize at the St. Louis World’s Fair in 1904. The naturalistic depiction of the crowded interior, with natural tones enlivened by the red blouse of one woman and the blue wool being woven, shows Emma Lampert Cooper’s award-winning grasp of composition and color. However, by the time it was given to MAG, 70 years later, it was mistakenly labelled as a work of her husband, Colin Campbell Cooper.
Emma Lampert Cooper was the first vice president of the Rochester Art Club when it was founded in 1877, and later its president. She taught art at the Mechanics’ Institute (now RIT) from 1893 to 1897.
[Gallery label text, 2021]
lower rightback of frameback of frameback of frame, Info incorrect all around. Colin CC did exhibit at St. Louis Expo, but no interiors, and it was Emma who won the bronze medal with this painting.
1977.15
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Memorial Art Gallery
9/8/1999
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1/30/2012
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Painting
Trial Scene
David Gilmour Blythe, 1815 - 1865
Blythe, David Gilmour
United States
1815 - 1865
Male
22 1/4 x 27 in. (56.5 x 68.6 cm)
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approximate installation dimensions
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without frame
Oil
Oil
ca. 1862-1863
1862
1863
1800-1900, 19th century, genre scenes, men, paintings, politics in art
Painting
Blythe’s painting shows a scene of frontier justice in a rough building serving as a courtroom. A backwoods “lawyer” at the center either defends or makes his case against a shackled prisoner at the right. However, some elements of the scene, including the onlookers—some armed with long guns, some distracted by a card game—and the pot and sack at the lower left labelled “tar” and “feathers,” reveal that this is an extrajudicial proceeding. The prisoner whittles unconcernedly while his fate is decided, suggesting that this is a typically satirical genre scene for Blythe, who made other paintings of farcical trials and caricatured politics.
[Gallery label text, 2019]
verso, Exhibition label, removed from painting and now stored in object file.illegible, lower left, Letters from the dealers and the permanent collection worksheet done in 6/78 claim that it is signed, but it is very difficult to read now.
1941.24
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Memorial Art Gallery
9/8/1999
41.24TR1
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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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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
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Memorial Art Gallery
9/8/1999
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78.15DI#4
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7/16/2012
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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)
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frame
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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
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Memorial Art Gallery
9/8/1999
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Memorial Art Gallery
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11/18/2019
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Painting
Peeling Onions
Lilly Martin Spencer, 1822 - 1902
Spencer, Lilly Martin
United States
1822 - 1902
Female
36 x 29 in. (91.4 x 73.7 cm)
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approximate installation dimensions
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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
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Memorial Art Gallery
9/8/1999
88.6TR1
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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)
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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
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Memorial Art Gallery
9/8/1999
67.36TR1
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Print
The Dinner Horn
Winslow Homer, 1836 - 1910
Homer, Winslow
United States
1836 - 1910
Male
13 3/4 x 9 in. (34.9 x 22.9 cm)
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image
Printer's ink
Printer's ink
1870
1870
1870
1800-1900, 19th century, cats, figure, genre scenes, women, wood engravings
Print
Published in "Harper's Weekly," June 11, 1870
lower center, in the blocklower left, in image, In side of bowl tipped upright
1986.48
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Memorial Art Gallery
9/8/1999
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2/27/2002
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8/11/2016
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Print
The Morning Walk - Young Ladies School Promenading the Avenue
Winslow Homer, 1836 - 1910
Homer, Winslow
United States
1836 - 1910
Male
9 x 13 7/8 in. (22.9 x 35.2 cm)
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image
Printer's ink
Printer's ink
1868
1868
1868
1800-1900, 19th century, figure, genre scenes, women, wood engravings
Print
Published in "Harper's Weekly," March 28, 1868
lower center, in the block
1986.38
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Memorial Art Gallery
9/8/1999
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8/11/2016
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Print
Dance of the Haymakers (after William Sidney Mount)
Music is Contagious
Alphonse Léon Noël, (1807 - 1884)
Mount, William Sidney
United States
1807 - 1868
Male
Original artist
Noël, Alphonse Léon
France
1807 - 1884
Male
Primary
16 x 20 in. (40.6 x 50.8 cm)
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Printer's ink
Printer's ink
1849
1849
1849
genre scenes
Print
1984.23
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Memorial Art Gallery
9/8/1999
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Print
The Power of Music
William Sidney Mount, 1807 - 1868
Mount, William Sidney
United States
1807 - 1868
Male
18 x 21 in. (45.7 x 53.3 cm)
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Printer's ink
Printer's ink
1848
1848
1848
genre scenes
Print
1984.24
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Memorial Art Gallery
9/8/1999
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Watercolor
The Breadwinner
Emma Lampert Cooper, (Nunda, NY, 1855 - 1920, Pittsford, NY)
Cooper, Emma Lampert
United States
1855 - 1920
Female
20 x 24 in. (50.8 x 61 cm)
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Watercolor
Watercolor
1891
1891
1891
by Rochester artists, cats, genre scenes, home life, jobs & work, watercolors, women
Watercolor
Emma Lampert of Nunda, NY, studied at the Art Students League and taught at Mechanics Institute (now RIT) before marrying the well-known painter, Colin Campbell Cooper. This view of a Dutch interior was exhibited widely both here and abroad; it garnered several awards, including a medal at the 1893 World’s Columbian Exposition.
[Label text from It Came From the Vault exhibition, 2013]
lower right
1920.3
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Memorial Art Gallery
9/8/1999
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10/22/2008
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Painting
The Stonebreaker
Gustave Courbet, (Ornans, France, 1819 – 1877, La Tour-de-Peilz, Switzerland)
Courbet, Gustave
France
1819 - 1877
Male
17 1/2 x 21 1/2 in. (44.5 x 54.6 cm)
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without frame
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frame
Oil
Oil
ca. 1872
1867
1877
1800-1900, 19th century, genre scenes, jobs & work, men, paintings
Painting
Painting is an essentially concrete art and can only consist in the representation of real and existing things.
- Gustave Courbet (1861)
Courbet was the leading painter of a movement called Realism. Many French citizens began to advocate for democratic and socialist reforms after the Revolution of 1848 overturned the monarchy of King Louis-Philippe. Realist painters depicted modern subjects drawn from the everyday lives of the working class.
The subject matter of The Stonebreaker is similar to that of Courbet’s The Stonebreakers, which Courbet exhibited at the Salon in 1850. The earlier painting, destroyed in World War II, depicted two men dressed in heavy, tattered clothing crushing rocks near a road. Because of its raw and, according to some viewers, politically motivated subject matter, The Stonebreakers was extremely controversial with the French public. The Gallery’s The Stonebreaker, painted over 20 years later, reflects a more intimate view of the laborer, solitary as he eats his midday meal.
lower rightback of frame, See photo under Marks-->Surrogatesback of frame, See photo under Marks-->Surrogatesback of stretcherback of stretcher, See photo under Marks-->Surrogatesback of stretcher, See photo under Marks-->Surrogatesback of stretcher, See photo under Marks-->Surrogatesback of stretcher, See photo under Marks-->Surrogatesback of stretcher, Circular stamp. Also stamped on back of canvas. See photo under Marks-->Surrogatesback of stretcher, Mostly illegible; under edge of paper tape. See photo under Marks-->Surrogatesback of stretcher, See photo under Marks-->Surrogates
1943.11
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Memorial Art Gallery
4/5/2000
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TRC4
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http://127.0.0.1:5000/Graphics/blank.gif
Painting
The Butterfly
Bernardus-Johannes Blommers, (the Hague, 1845 – 1914, the Hague)
Blommers, Bernardus-Johannes
Netherlands
1845 - 1914
Male
16 x 19 in. (40.6 x 48.3 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
0
0
1800-1900, children, European art, genre scenes, George Eastman Collection, home life, paintings, women
Painting
1973.155
item
Memorial Art Gallery
11/13/2000
73.155TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.155SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.155DI1
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/73.155_A1.jpg
glossy
full
8 x 10
00/00/00
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negative
full
4 x 5
00/00/00
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73.155DI3
digital image
with frame
00/00/00
http://127.0.0.1:5000/Media/images/73.155_A2.jpg
Painting
The Linen
Pierre Bonnard, (Fontenay-aux-Roses, France, 1867 – 1947, Le Cannet, France)
Bonnard, Pierre
France
1867 - 1947
Male
19 5/8 x 25 1/2 in. (49.8 x 64.8 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
1909
1909
1909
1900-2000, 20th century, genre scenes, paintings, women
Painting
As an art student in Paris, Bonnard became affiliated with the Nabis, or Prophets. This group of young artists was influenced by Paul Gauguin's belief that a painting should be a product of the imagination rather than a mere copy of nature. Influenced also by Gauguin's style, the Nabis simplified form and used color boldly and expressively.
After the turn of the century, Bonnard refined these principles, developing a personal, decorative, and highly subjective style. As in this scene, his pictures of everyday life often featured his wife. Painting from memory in his studio, Bonnard freely modified form and heightened color to express the beauty he recalled in nature.
[Gallery label text, 1999]
lower centerback of frameback of frameback of panel, Note European-style 7 with line through center
1991.36
item
Memorial Art Gallery
1/17/2001
91.36SL1
slide
full
2 x 2
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
91.36DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/91.36_A1.jpg
91.36DI#2
digital image
3/25/2008
http://127.0.0.1:5000/Media/images/91.36_A2.jpg
Painting
Washerwomen of Fouesnant
William-Adolphe Bouguereau, (La Rochelle, France, 1825 – 1905, La Rochelle, France)
Bouguereau, William-Adolphe
France
1825 - 1905
Male
30 x 23 5/8 in. (76.2 x 60 cm)
.
.
.
without frame
.
.
.
overall framed size
frame
Oil
Oil
1869
1869
1869
1800-1900, 19th century, genre scenes, jobs & work, paintings, women
Painting
In Fouesnant, a bay in Brittany, Bouguereau found the source material that would fuel his work for years to come. Academic artists viewed scenes of peasants performing their usual daily chores as a modern-day counterpart to the rustic figures of antiquity so beloved in historical paintings. Despite their circumstances, peasants in Academic paintings were usually depicted as clean, well-fed and neatly dressed. Here a girl carrying laundry resembles a caryatid, a classical figure used to support an architectural pediment.
[Gallery label text, 2011]
lower leftback of frameback of frameback of frameback of frameback of frameback of frame, Partly torn away.back of frame, Torn green labelback of frame, red circular sticker, no text visibleback of frameback of stretcher, In ball-point penback of stretcher, Torn green labelback of stretcher
1955.61
item
Memorial Art Gallery
1/17/2001
55.61TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.61SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
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negative
8x10
00/00/00
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negative
3x4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.61DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/55.61_A1.jpg
55.61DI2
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.61DI#3
digital image
4/7/2009
http://127.0.0.1:5000/Media/images/55.61_A2.jpg
Painting
The Washerwomen
Léon-Augustin Lhermitte, (Mont-Saint-Père, France, 1844 – 1925, Paris)
Lhermitte, Léon-Augustin
France
1844 - 1925
Male
30 3/8 x 37 3/4 in. (77.2 x 95.9 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
1888-1889
1888
1889
1800-1900, 19th century, genre scenes, jobs & work, paintings, women
Painting
Although he was of the same generation as Monet and Renoir, Lhermitte chose to follow the path of traditional realism, rather than the Impressionists' experimentation with color. He did practice the fluid brushwork that they had popularized, however. Like Sorolla... Lhermitte specialized in scenes of rural workers. However, his keen eye caught the contrasting colors and textures of sun-bathed landscape and figures in much greater detail. Sorolla concentrated more on the colors and effect of the light rather than on the details of form.
[Gallery label text, 1999]
lower right
1937.2
item
Memorial Art Gallery
1/17/2001
37.2SL1
slide
full
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
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
37.2DI1
digital image
2 x 2
12/1/2001
http://127.0.0.1:5000/Media/images/37.2_A2.jpg
00/00/00
http://127.0.0.1:5000/Media/images/37.2_A3.jpg
37.2DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/37.2_A1.jpg
37.2DI#4
digital image
3/5/2024
http://127.0.0.1:5000/Media/images/37.2_A4.jpg
Painting
Harvest Festival
Adolphe Monticelli, (Marseille, France, 1824 – 1886, Marseille, France)
Monticelli, Adolphe
France
1824 - 1886
Male
Primary
16 x 28 in. (40.6 x 71.1 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1883
1883
1883
1800-1900, 19th century, genre scenes, holidays & festivals, horses, men, paintings, women
Painting
Monticelli was captivated by the rich colors and brushwork of Venetian Renaissance painting and of his somewhat older French contemporary Delacroix. By 1860 he was already experimenting with the softened effects that the Impressionists would adopt only in the 1880s. Van Gogh was fascinated by the light in Monticelli's canvasas, which seem to emanate from the colors themselves, rather than from an outside source. In this late work, which depicts one of the artist's favorite festive themes, form and color mysteriously melt together.
[Adapted from gallery label text, 1999]
lower rightback of frameback of frameback of frameback of frameback of stretcher
1951.32
item
Memorial Art Gallery
1/17/2001
51.32SL1
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
51.32D1
digital image
full
2 x 2
6/24/2002
http://127.0.0.1:5000/Media/images/51.32_A1.jpg
51.32DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.32DI3
digital image
with frame
00/00/00
http://127.0.0.1:5000/Media/images/51.32_A2.jpg
Painting
Autumn, from the Four Seasons
Studio of Jacopo Bassano, ca. 1515 - 1592
Bassano, Jacopo
Italy
ca. 1515 - 1592
Male
17 1/4 x 17 1/8 in. (43.8 x 43.5 cm)
.
.
.
Oil
Oil
16th Century
1500
1599
1400-1600, chickens & roosters, children, dogs, genre scenes, jobs & work, men, paintings, rabbits, Renaissance & Baroque, women
Painting
This painting was originally one of a set of four that illustrated the four seasons of the year. The scene of wine-making was traditionally associated with autumn.
[Gallery label text]
1945.62
item
Memorial Art Gallery
1/22/2001
45.62SL1
slide
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
neg
8x10
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
45.62DI1
digital image
6/28/2002
http://127.0.0.1:5000/Media/images/45.62_A1.jpg
45.62DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Tavern Scene
David Teniers the Younger, (Antwerp, 1610 - 1690, Brussels)
Teniers the Younger, David
Flanders
1610 - 1690
Male
18 3/8 x 24 in. (46.7 x 61 cm)
.
.
.
.
.
.
.
.
.
overall framed size
horizontal
frame
Oil
Oil
1680
1680
1680
1600-1800, 17th century, dogs, genre scenes, leisure activities, men, paintings
Painting
The son-in-law of Jan Brueghel and a friend of Peter Paul Rubens, Teniers achieved success in Antwerp and then moved to Brussels, where he served as court painter to the archduke Leopold Wilhelm and later to Don Juan of Austria. Tavern Scene is one of numerous genre paintings in which rustics carouse, uninhibited by notions of propriety or temperance. Such subjects frequently served a moralizing purpose, indicated here by the drawing tacked to the wall above the laughing drunkard. The bird flanked by eyeglasses and candlestick may illustrate the proverb, “What use candle and spectacles if the owl cannot and will not see?”
[Gallery label text]
lower left
1955.70
item
Memorial Art Gallery
1/22/2001
55.70TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.70SL1
slide
full
2 x 2
00/00/00
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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
55.70SL2
slide
detail- dog
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.70DI1
digital image
Memorial Art Gallery
Imaging complete
4 x 5
10/30/2001
http://127.0.0.1:5000/Media/images/55.70_A1.jpg
55.70SL3
slide
detail-bkground right
2 x 2
00/00/00
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55.70SL4
slide
detail bkground left
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.70DI#2
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/55.70_A2.jpg
Painting
The Pancake Woman
Jan Steen, (1626 - 1679)
Steen, Jan
Netherlands
1626 - 1679
Male
26 1/4 x 20 7/16 in. (66.7 x 51.9 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1661-1669
1661
1669
1600-1800, 17th century, children, genre scenes, jobs & work, men, paintings, women
Painting
Pancake vendors, much like outdoor food vendors today, were a common sight on Dutch streets during the 1600s. Originally a delicacy prepared on the festival day of Shrove Tuesday, the last day of Carnival and the day before the beginning of Lent, pancakes were associated with feasting and wild behavior. Images of pancake makers were initially moralistic in nature, symbolizing gluttony and lust. By the 17th century, pancakes were eaten every day and the theme lost some of its allegorical significance. The scene retained its popularity among painters and printmakers of “low-life” genre scenes, or scenes of everyday peasant and street life.
[Gallery label text]
Steen was a prolific artist who specialized in low-life genre scenes, such as the popular subject of the pancake maker. A delicacy prepared especially on Vastenavond, or Shrove Tuesday, which was the last day of Carnival, the pancake had become associated with feasting and riotous behavior. It was therefore identified with overindulgence and became a symbol of gluttony or lust. During the seventeenth century, however, pancakes began to be enjoyed at any time, which reduced the allegorical potency of the theme.
[Gallery label text]
1955.71
item
Memorial Art Gallery
1/22/2001
55.71TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.71SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
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glossy
4x5
00/00/00
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negative
4x5
00/00/00
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55.71DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/55.71_A1.jpg
55.71SL2
slide
full with frame
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.71SL3
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.71DI2
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.71DI#3
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/55.71_A2.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Cottage Interior
Josef Israels, (Groningen, Netherlands, 1824 – 1911, Scheveningen, Netherlands)
Israels, Josef
Netherlands
1824 - 1911
Male
8 x 7 in. (20.3 x 17.8 cm)
.
.
.
approximate installation dimensions
frame
Oil
Oil
1880-1889
1880
1889
cats, children, European art, genre scenes, home life, paintings
Painting
lower right
1938.12
item
Memorial Art Gallery
1/29/2001
38.12SL1
slide
full
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
38.12DI1
digital image
6/28/2002
http://127.0.0.1:5000/Media/images/38.12_A1.jpg
38.12DI#2
digital image
3/5/2024
http://127.0.0.1:5000/Media/images/38.12_A2.jpg
Painting
Bread and Butter
Albert Neuhuys, (Utrecht, Netherlands, 1844 – 1914, Locarno, Switzerland)
Neuhuys, Albert
Netherlands
1844 - 1914
Male
52 x 42 in. (132.1 x 106.7 cm)
.
.
.
approximate installation dimensions
frame
Oil
Oil
0
0
1800-1900, 19th century, children, genre scenes, George Eastman Collection, home life, paintings, women
Painting
1973.148
item
Memorial Art Gallery
1/30/2001
73.148SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.148DI2
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/73.148_A1.jpg
Print
The Famous Shoemaker (De Vermaarde Schoenmaaker)
Cornelis Dusart, 1660 - 1704
Dusart, Cornelis
Netherlands
1660 - 1704
Male
9 15/16 x 7 1/16 in. (25.3 x 17.9 cm)
.
.
.
Printer's ink
Printer's ink
1695
1695
1695
1600-1800, 17th century, etchings, genre scenes, jobs & work
Print
lower left, in imagebelow imagelower left, below imagelower center, below image
1924.49
item
Memorial Art Gallery
2/4/2001
24.49SL1
slide
full
2 x 2
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
24.49DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/24.49_A1.jpg
24.49DI#2
digital image
3/13/2008
http://127.0.0.1:5000/Media/images/24.49_A2.jpg
Print
Peasant Interior
Adriaen von Ostade, 1610 - 1684
Ostade, Adriaen von
Netherlands
1610 - 1684
Male
5 3/16 x 3 7/8 in. (13.2 x 9.8 cm)
.
.
.
sheet
Printer's ink
Printer's ink
1648
1648
1648
1600-1800, 17th century, etchings, families, genre scenes
Print
1951.54
item
Memorial Art Gallery
2/4/2001
51.54DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/51.54_A1.jpg
Painting
The Washerwomen of Auvers
Charles François Daubigny, (Paris, 1817 – 1878, Paris)
Daubigny, Charles François
France
1817 - 1878
Male
11 3/4 x 20 3/8 in. (29.8 x 51.8 cm)
.
.
.
Oil
Oil
1870
1870
1870
1800-1900, 19th century, genre scenes, George Eastman Collection, jobs & work, landscapes, paintings, women
Painting
lower right
1936.59
item
Memorial Art Gallery
2/20/2001
36.59TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36.59SL1
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
neg
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36.59DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/36.59_A1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/36.59_I1.jpg
36.59DI#3
digital image
6/25/2019
http://127.0.0.1:5000/Media/images/36.59_A2.jpg
Watercolor
Peat-cutting, Leba (Beim Torfstechen, Leba)
Max Pechstein, (Zwickau, Germany, 1881 – 1955, Berlin, Germany)
Pechstein, Max
Germany
1881 - 1955
Male
18 9/16 x 24 15/16 in. (47.1 x 63.3 cm)
.
.
.
Watercolor
Watercolor
1922
1922
1922
1900-2000, 20th century, genre scenes, jobs & work, men, paintings
Watercolor
lower right, in imageverso
1949.81
item
Memorial Art Gallery
3/10/2001
49.81SL1
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
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.81DI1
digital image
2 x 2
7/23/2002
http://127.0.0.1:5000/Media/images/49.81_A1.jpg
49.81DI#3
digital image
Front
6/18/2007
http://127.0.0.1:5000/Media/images/49.81_A2.jpg
Drawing
The End of the Workday (La fin de la journée)
Jean François Millet, 1814 - 1875
Millet, Jean François
France
1814 - 1875
Male
29 1/4 x 37 x 3/4 in. (74.3 x 94 x 1.9 cm)
.
.
.
overall
sheet
.
.
.
overall
frame
Pastel
Pastel
1865-1870
1865
1870
1800-1900, 19th century, drawing, genre scenes, George Eastman Collection, jobs & work, landscapes, men
Drawing
On one of their many long, evening walks, Millet said to his brother Pierre: “It is astonishing toward the approach of night, how grand everything on the plain appears, especially when we see figures thrown out against the sky. Then they look like giants.”
The End of the Workday showcases Millet’s fascination with the hour of twilight, which moved him by its power to transform human and other natural forms into strange shapes, evocative of dreams. The pastel, which shows a peasant silhouetted against the fading sky, putting on his jacket after a day of labor, is classic Millet. Best known as a painter of peasants, a politically and socially complex subject matter in France of the 1800s, his scenes of rural life focused on the human figure as much if not more than the landscape.
[Label text from It Came From the Vault exhibition, 2013]
lower right
1936.74
item
Memorial Art Gallery
4/24/2001
36.74TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36.74SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
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glossy
5x7
00/00/00
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neg
8x10
00/00/00
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neg
4x5
00/00/00
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neg
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36.74DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/36.74_A1.jpg
36.74DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/36.74_A2.jpg
Drawing
Washerwomen by Moonlight (Les laveuses au clair de lune)
Jean François Millet, 1814 - 1875
Millet, Jean François
France
1814 - 1875
Male
17 x 12 in. (43.2 x 30.5 cm)
.
.
.
.
.
.
overall
frame
Crayon
Crayon
1860-1865
1860
1865
1800-1900, 19th century, drawing, genre scenes, George Eastman Collection, jobs & work, women
Drawing
1957.67
item
Memorial Art Gallery
5/8/2001
57.67SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.67DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/57.67_A1.jpg
57.67DI#2
digital image
2/13/2015
http://127.0.0.1:5000/Media/images/57.67_A2.jpg