{ "objects" : [ { "embark_ID" : 356, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/356", "Disp_Access_No" : "1941.26", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1904", "_Disp_Start_Dat" : "1899", "_Disp_End_Date" : "1909", "Disp_Title" : "William H. Macdowell", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas Eakins", "Sort_Artist" : "Eakins, Thomas", "Disp_Dimen" : "24 x 20 in. (61 x 50.8 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Thomas Eakins painted multiple portraits of his father-in-law, William H. Macdowell. Eakins’s sensitive portraits and genre scenes defined American realist art at the end of the 19th century. His art and commitment to realism were enormously influential to the artists of the Urban Realist movement. [Gallery label text, 2007] Thomas Eakins was one of America's greatest painters, whose realistic portrayals of people at work and at play have become icons of American culture. He immortalized many friends and family members by using them as subjects, among them his father-in-law, William Macdowell, an engraver and self-styled philosopher, whom Eakins painted and photographed numerous times. In the Gallery's portrait, Macdowell's aged face, rendered with scrupulous care and detail, emerges from a somber background. In this direct and straightforward manner, Eakins suggests Macdowell's strength of character and distinctive personality. [Gallery label text]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Originally purchased through R. T. Miller fund-- later shifted to Marion Stratton Gould fund. The reason could not be determined.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.26_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.26_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.26_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.26_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "38866", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in situ as installed; frame cropped out in Photoshop.", "View" : "" } , ] },{ "embark_ID" : 222, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/222", "Disp_Access_No" : "1941.24", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1862-1863", "_Disp_Start_Dat" : "1862", "_Disp_End_Date" : "1863", "Disp_Title" : "Trial Scene ", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "David Gilmour Blythe", "Sort_Artist" : "Blythe, David Gilmour", "Disp_Dimen" : "22 1/4 x 27 in. (56.5 x 68.6 cm)", "Disp_Height" : "22 1/4 in.", "Disp_Width" : "27 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "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]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Originally purchased through R. T. Miller fund-- later shifted to Marion Stratton Gould fund. The reason could not be determined.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.24_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.24_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.24_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.24_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12354", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print master derived 11/23/09 by Lu Harper for Seeing America lesson plans. Needs to be okayed by Curatorial before any other use.", "View" : "" } , ] },{ "embark_ID" : 455, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/455", "Disp_Access_No" : "1941.32", "_AccNumSort1" : "", "Disp_Create_DT" : "1894", "_Disp_Start_Dat" : "1894", "_Disp_End_Date" : "1894", "Disp_Title" : "The Artist's Studio in an Afternoon Fog", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Winslow Homer", "Sort_Artist" : "Homer, Winslow", "Disp_Dimen" : "24 x 30 1/4 in. (61 x 76.8 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "30 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "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]", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "In 1991 a NYC composer named Dana Paul Perna, visited the Gallery and was so inspired by this work that he composed "Prout''s Neck" a work for piano/harp/percussion and strings. ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.32_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.32_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.32_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.32_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "12358", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.32_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.32_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.32_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.32_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "53274", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Re-derived from original master because derivative images determined to be too warm.", "View" : "" } , ] },{ "embark_ID" : 549, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/549", "Disp_Access_No" : "1941.30", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1840", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1845", "Disp_Title" : "Judge and Mrs. Arthur Yates", "Alt_Title" : "Conversation Piece", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "M. M. Manchester", "Sort_Artist" : "Manchester, M. M.", "Disp_Dimen" : "36 x 58 3/4 in. (91.4 x 149.2 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "58 3/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This grand portrait might have been a focal point in Judge and Mrs. Yates’s parlor. Judge Yates built the first steam saw mill in Tioga County, and was justice of the peace and postmaster. Whether the furnishings, book, and clothing accurately depict the Yates’s possessions is impossible to say. They are meant to convince us of the pair’s position within the local gentry. Yards of satiny fabric held in place by a curtain holdback speak of luxury. Mrs. Yates’s jewelry, lace collar, cuffs and trimmed handkerchief, were the accoutrements of a lady of means. Judge Yates holds a book by English theologian William Paley entitled Natural Theology, a text regularly consulted by well-read gentlemen of the 19th century. While we know very little about Mr. Manchester, the artist, we can safely say that he was familiar with the grand tradition of portraiture that frequently placed subjects within ennobling, but not always authentic, settings. [Gallery label text, 2002]", "Dedication" : "Gallery Purchase", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Exhibited in the 1940s with the title "Conversation Piece"", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.30_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.30_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.30_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.30_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12357", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 678, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/678", "Disp_Access_No" : "1957.14", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1896", "_Disp_Start_Dat" : "1891", "_Disp_End_Date" : "1901", "Disp_Title" : "Mrs. William Shakespeare", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Singer Sargent", "Sort_Artist" : "Sargent, John Singer", "Disp_Dimen" : "29 3/8 x 24 1/2 in. (74.6 x 62.2 cm)", "Disp_Height" : "29 3/8 in.", "Disp_Width" : "24 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "John Singer Sargent was the most fashionable portrait painter working in England and the United States in the late 1800s. He was not only a gifted artist, but an accomplished pianist and linguist. The novelist Henry James once remarked that London society at the turn of the century saw John Singer Sargent and his friends “…all swimming just now in a sea of music,” with Sargent being “as much a player as a painter.” The sitter of this portrait, Louise Weiland (c. 1850–1911), was brought up at the court of Dresden, Germany. She married the British singer, composer, and conductor William Shakespeare, one of Sargent’s closest friends, in 1875. Mrs. Shakespeare was best known for the musical salons she held in her London home, which brought together artists, musicians, and members of high society. She was described by her friend Eva Ducat as a quiet woman who “hid brilliant gifts under a gentle, deprecating manner.” According to Ducat, Sargent tried to capture Mrs. Shakespeare’s characteristic wistful expression by telling her sad stories as he painted her portrait. [Forman Gallery, Summer 2015]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Note that Sargent catalogue raisonne lists a different provenance than MAG records list. C.r. notes a replica painted for another family member which has been unaccounted for since 1912-- provenance may have been mixed up between the two? --KSchauber", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/57.14_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/57.14_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/57.14_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/57.14_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12401", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 707, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/707", "Disp_Access_No" : "1941.33", "_AccNumSort1" : "", "Disp_Create_DT" : "1907", "_Disp_Start_Dat" : "1907", "_Disp_End_Date" : "1907", "Disp_Title" : "Election Night", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Sloan", "Sort_Artist" : "Sloan, John", "Disp_Dimen" : "26 3/8 x 32 1/4 in. (67 x 81.9 cm)", "Disp_Height" : "26 3/8 in.", "Disp_Width" : "32 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This scene, nearly unintelligible in its crowding and confusion, is Sloan’s celebration of the furor of the city on election night. [Gallery label text, 2007] John Sloan met Robert Henri in Philadelphia, and from early on maintained a friendship and correspondence with him until Henri died in 1929. He moved to New York City at Henri’s urging. On November 5, 1907, he wrote: “Election Day… saw the noisy trumpet blowers, confetti throwers and the 'ticklers' in use - a small feather duster on a stick which is pushed in the face of each girl by the men, and in the face of men by the girls. A good humorous crowd, so dense in places that it was impossible to control one's movement.” The location, Herald Square at 34th and Broadway, was close by the New York Herald Building as well as Macy's. The elevated railroad tracks loomed overhead, increasing the suggestion of noise and activity in the scene. Sloan included Election Night as one of his entries in the 1908 exhibition at Macbeth Gallery. In his estimation, it was “…one of my best things. So that I felt happy in the evening, that good all over feeling that only comes from satisfaction in work - the real happiness, the joy of accomplishing or thinking that one has accomplished, which amounts to the same thing.” [Gallery label text, 2003]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Originally paid from R. T. Miller Fund, but later transferred to Gould Fund for unknown reasons.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.33_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.33_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.33_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.33_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12359", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008.", "View" : "" } , ] },{ "embark_ID" : 726, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/726", "Disp_Access_No" : "1941.34", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1806", "_Disp_Start_Dat" : "1801", "_Disp_End_Date" : "1811", "Disp_Title" : "Russell Sturgis (1750 - 1826)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Gilbert Stuart", "Sort_Artist" : "Stuart, Gilbert", "Disp_Dimen" : "28 3/4 x 24 1/8 in. (73 x 61.3 cm)", "Disp_Height" : "28 3/4 in.", "Disp_Width" : "24 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Gilbert Stuart was known for his portraits of George Washington – including the one on the dollar bill. [Gallery label text, 2007]", "Dedication" : "Purchased through the R. T. Miller, Jr. Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "727", "Rel_Obj_Title" : "Elizabeth Perkins Sturgis (1756 - 1843)" } ], "Curator" : "Portrait of Russell Sturgis, prominant fur-merchant of Boston and friend of Stuart who painted three portraits of him. Russell Sturgis was born in Barnstable, MA in 1750. He lived in Boston from 1777 until 1826. Married Elizabeth Perkins of Boston in 1773. He died in Boston in 1826. Portrait was painted approximately in 1806. Sturgis is painted in a black suit with white ruffled stock against a grey-olive background. Original carved, gilt frame.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.34_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.34_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.34_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.34_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12360", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print master derived 11/23/09 by Lu Harper for Seeing America lesson plans. Needs to be okayed by Curatorial for any other use.", "View" : "" } , ] },{ "embark_ID" : 727, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/727", "Disp_Access_No" : "1941.35", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1806", "_Disp_Start_Dat" : "1801", "_Disp_End_Date" : "1811", "Disp_Title" : "Elizabeth Perkins Sturgis (1756 - 1843)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Gilbert Stuart", "Sort_Artist" : "Stuart, Gilbert", "Disp_Dimen" : "28 3/4 x 23 1/8 in. (73 x 58.7 cm)", "Disp_Height" : "28 3/4 in.", "Disp_Width" : "23 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Gilbert Stuart was known for his portraits of George Washington – including the one on the dollar bill. [Gallery label text, 2007]", "Dedication" : "Purchased through the R. T. Miller, Jr. Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "726", "Rel_Obj_Title" : "Russell Sturgis (1750 - 1826)" } ], "Curator" : "Portrait of Elizabeth Perkins Sturgis (Mrs. Russell Sturgis), companion portrait to that of Russell Sturgis. Elizabeth Perkins Sturgis was born in Boston in 1756. Married Russell Sturgis in 1773 and died in Boston in 1843. She is dressed in a brown silk dress with black lace shawl and white fichu and is painted against an olive-grey background seated in a green brocade chair. She wears a be-ribboned, white lace cap. Original carved, gilt frame.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.35_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.35_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.35_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.35_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12361", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }