{ "objects" : [ { "embark_ID" : 521, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/521", "Disp_Access_No" : "1974.1", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1954", "_Disp_Start_Dat" : "1949", "_Disp_End_Date" : "1959", "Disp_Title" : "Gamblers", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jacob Lawrence", "Sort_Artist" : "Lawrence, Jacob", "Disp_Dimen" : "9 x 12 in. (22.9 x 30.5 cm)", "Disp_Height" : "9 in.", "Disp_Width" : "12 in.", "Dimen_Extent" : "", "Medium" : "Tempera", "Support" : "panel", "Disp_Medium" : "Tempera on gesso panel", "Info_Page_Comm" : "Compare the ominous and somber mood of Jacob Lawrence’s Gamblers with the upbeat and optimistic flavor of his painting Summer Street Scene in Harlem (MAG collection). The still and formal arrangement of figures and cards in Gamblers, the delicate floral vine that arches across the canvas, and the casket or tombstone forms behind the standing men create a scene that is very nearly funereal, perhaps suggesting the idea that life (and death) is a game of chance. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12457", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 522, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/522", "Disp_Access_No" : "1991.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1948", "_Disp_Start_Dat" : "1948", "_Disp_End_Date" : "1948", "Disp_Title" : "Summer Street Scene in Harlem", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jacob Lawrence", "Sort_Artist" : "Lawrence, Jacob", "Disp_Dimen" : "20 1/16 x 24 1/8 in. (51 x 61.2 cm)", "Disp_Height" : "20 1/16 in.", "Disp_Width" : "24 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Tempera", "Support" : "panel", "Disp_Medium" : "Tempera on gesso panel", "Info_Page_Comm" : "Jacob Lawrence chronicled the migration of African Americans from the South to the North in the first half of the 20th century. In Summer Street Scene in Harlem, Lawrence’s style incorporates the flattened surfaces, distorted shapes, and bold colors of modernism to capture the energy and vitality of life in Harlem, New York. [Gallery label text, 2007]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91.5_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.5_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.5_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.5_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12514", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008. Needs curatorial approval for other uses.", "View" : "" } , ] },{ "embark_ID" : 4009, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4009", "Disp_Access_No" : "1998.50", "_AccNumSort1" : "", "Disp_Create_DT" : "1998", "_Disp_Start_Dat" : "1998", "_Disp_End_Date" : "1998", "Disp_Title" : "Won't Dance", "Alt_Title" : "A Hungry Monkey Will Not Dance", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Cheryl Warrick", "Sort_Artist" : "Warrick, Cheryl", "Disp_Dimen" : "39 1/16 x 26 1/4 in. (99.2 x 66.7 cm)", "Disp_Height" : "39 1/16 in.", "Disp_Width" : "26 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Acrylic", "Support" : "wove paper", "Disp_Medium" : "Acrylic on wove paper", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/98.50_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.50_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.50_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.50_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13593", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11298, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11298", "Disp_Access_No" : "2002.20", "_AccNumSort1" : "", "Disp_Create_DT" : "1942-1943", "_Disp_Start_Dat" : "1942", "_Disp_End_Date" : "1943", "Disp_Title" : "Frederick Douglass and Abraham Lincoln Discussing Emancipation", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hale Woodruff", "Sort_Artist" : "Woodruff, Hale", "Disp_Dimen" : "11 1/4 x 11 in. (28.6 x 27.9 cm)", "Disp_Height" : "11 1/4 in.", "Disp_Width" : "11 in.", "Dimen_Extent" : "overall", "Medium" : "Tempera", "Support" : "masonite", "Disp_Medium" : "Tempera on masonite", "Info_Page_Comm" : "In 1942-43, a mural competition was held for the newly built Recorder of Deeds Building in Washington, D.C. The topic was "The Contribution of the Negro to the American Nation." Hale Woodruff submitted this imagined grouping of Frederick Douglass, President Lincoln, and members of Lincoln's cabinet. While Woodruff did not win the competition, his mural study is a dramatic reminder of the alliance of two of America's most courageous leaders, Lincoln and Douglass, during a period that threatened to destroy the American union. While Douglass never, in reality, met with Lincoln's cabinet, he did meet with Lincoln and repeatedly urged the president to issue the Emancipation Proclamation. Woodruff stressed the significance of Douglass's role by appropriating the historical image engraved by Ritchie and adding an animated Douglass and the colorful American flag. [Gallery label text, 2004]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.20_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.20_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.20_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2002.20_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17112", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 24925, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/24925", "Disp_Access_No" : "2013.79", "_AccNumSort1" : "", "Disp_Create_DT" : "2013", "_Disp_Start_Dat" : "2013", "_Disp_End_Date" : "2013", "Disp_Title" : "After Memling’s Portrait of a Man with a Letter", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Kehinde Wiley", "Sort_Artist" : "Wiley, Kehinde", "Disp_Dimen" : "24 1/2 x 19 3/4 x 4 13/16 in. (62.2 x 50.1 x 12.2 cm)", "Disp_Height" : "24 1/2 in.", "Disp_Width" : "19 3/4 in.", "Dimen_Extent" : "with frame", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on wood panel in artist-designed hand-fabricated wood frame", "Info_Page_Comm" : "This portrait is one of eight in Kehinde Wiley’s series based upon the work of Northern Renaissance painter Hans Memling (1430–1494). Memling created sensitive, quiet portraits of the growing merchant class of his time set within landscapes and cast in natural light. Here, Wiley blends Memling’s style with contemporary street culture in a way that elevates and immortalizes his modern sitter, a resident of Brooklyn, Rafton Glean (his name is painted on the doors of the frame). Wiley has explained, “I try to use the black body in my work to counter the absence of that body in museum spaces throughout the world.” In 2018, the artist was chosen by President Barack Obama to paint his official portrait (right), now in the collection of the National Portrait Gallery. At the unveiling, the President commended Wiley for his ability to show “the beauty and the grace and the dignity” of black people. [Label text for Hawks Gallery reinstallation, summer 2019] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2013.79_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2013.79_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2013.79_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2013.79_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "40610", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Original JPG provided by gallery Roberts & Tilton, Culver City, CA. Credit line provided: Photo: Max Yawney. Courtesy of Kehinde Wiley Studio and Roberts & Tilton, Culver City, California", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2013.79_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2013.79_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2013.79_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2013.79_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "43854", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk MAG 150528", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2013.79_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2013.79_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2013.79_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2013.79_A4.jpg", "IsPrimary" : "1", "_SurrogateID" : "43855", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk MAG 150528. Silhouetted out from background by Andy Olenick. Color looks very different in Embark than in actual JPG and TIF-- why? Very cool and muted thru Embark, warmer in actual files. ", "View" : "" } , ] },{ "embark_ID" : 25526, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/25526", "Disp_Access_No" : "2014.50", "_AccNumSort1" : "", "Disp_Create_DT" : "1997", "_Disp_Start_Dat" : "1997", "_Disp_End_Date" : "1997", "Disp_Title" : "Fishing Well", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sam Gilliam", "Sort_Artist" : "Gilliam, Sam", "Disp_Dimen" : "94 x 48 1/2 in. (238.8 x 123.2 cm)", "Disp_Height" : "94 in.", "Disp_Width" : "48 1/2 in.", "Dimen_Extent" : "overall", "Medium" : "Acrylic", "Support" : "birch", "Disp_Medium" : "Acrylic on birch", "Info_Page_Comm" : "Washington D.C.-based Sam Gilliam established himself as a major artist in 1968 when he stopped using wooden stretchers to support his paintings and allowed his vivid rushes of color-stained canvas to hang, billow, and swing through space like drapery. Since that time Gilliam has gone on to create work in an astounding variety of styles while always remaining true to a fundamental disregard for the boundaries that have traditionally separated painting, sculpture, and architecture. In the early 1990s Gilliam adopted birch plywood as a support surface for his paintings, a practice he continues to the present day. In these works Gilliam achieves an architectural physicality by using overtly sculptural material—wood and its relief properties. The surface of Fishing Well is poured acrylic paint. The images, textures, and suggestion of depth derive from the way the artist pushed and pulled the acrylic paint across the wood surface. Gallery label text, [Summer 2015]", "Dedication" : "Gift of Sam Gilliam", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2014.50_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.50_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.50_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2014.50_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "43479", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print version silhouetted out by Andy Olenick", "View" : "" } , ] },{ "embark_ID" : 25771, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/25771", "Disp_Access_No" : "2015.1", "_AccNumSort1" : "", "Disp_Create_DT" : "2015", "_Disp_Start_Dat" : "2015", "_Disp_End_Date" : "2015", "Disp_Title" : "Portrait of Qusuquzah #6", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Mickalene Thomas", "Sort_Artist" : "Thomas, Mickalene", "Disp_Dimen" : "48 x 36 in. (121.9 x 91.4 cm)", "Disp_Height" : "48 in.", "Disp_Width" : "36 in.", "Dimen_Extent" : "without frame", "Medium" : "Acrylic", "Support" : "panel", "Disp_Medium" : "Acrylic, enamel, oil and rhinestones on wood panel", "Info_Page_Comm" : "New-York-based artist Mickalene Thomas is best known for her elaborate paintings composed of rhinestones, acrylic, and oil enamel. Her work introduces a complex vision of what it means to be a woman and expands common definitions of beauty. Thomas’s paintings are based on photographic portraits of models whose qualities allow her to articulate and explore questions of beauty, power, sexuality, and femininity. "I tend to work with the same models. A lot of them are friends.…So it’s women I work with in proximity to and whose energy I enjoy, and they just have a certain charisma that I’m drawn to. Especially Qusuquzah. There’s something about her. She brings something powerful to the image that amazes me through her gaze. I try to pull out those elements. I’m trying to hold onto the truth she brings in the photograph." [Gallery label text, Forman Gallery, Summer 2015]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2015.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2015.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2015.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2015.1_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "43480", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photo provided by gallery.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2015.1_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2015.1_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2015.1_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2015.1_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "53276", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On Andy''s disk labelled MAG190912", "View" : "" } , ] },{ "embark_ID" : 26393, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/26393", "Disp_Access_No" : "2016.180", "_AccNumSort1" : "", "Disp_Create_DT" : "2011", "_Disp_Start_Dat" : "2011", "_Disp_End_Date" : "2011", "Disp_Title" : "The 7 Yard", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Daze", "Sort_Artist" : "Daze", "Disp_Dimen" : "46 1/16 x 46 1/16 in. (117 x 117 cm)", "Disp_Height" : "46 1/16 in.", "Disp_Width" : "46 1/16 in.", "Dimen_Extent" : "overall", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil, spray paint, and acrylic on canvas", "Info_Page_Comm" : "One of the most prominent and influential New York City graffiti artists, Daze is best known for his wall writing and spay-painting on subway cars during the late 1970s and early 1980s. By the mid-1980s he was transitioning to painting on canvas. Daze’s pictures capture the grit and energy of the city he loves. The 7 Yard features the artist’s iconic graffiti markings in acrylic, the soft impression of a young woman’s face rendered in spray-paint, and a hyper-detailed depiction of a train yard in oil paint, which is remarkably similar to the train yard near MAG here in Rochester. Rochester’s WALL\THERAPY project sponsored four large-scale exterior murals by Daze. Visit www.wall-therapy.com for more information. [Gallery wall text October 2016] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.180_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.180_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.180_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2016.180_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "47176", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "This photo on disks labelled "MAG 170607"", "View" : "" } , ] },{ "embark_ID" : 212, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/212", "Disp_Access_No" : "1952.50", "_AccNumSort1" : "", "Disp_Create_DT" : "1950-1952", "_Disp_Start_Dat" : "1950", "_Disp_End_Date" : "1952", "Disp_Title" : "Fishwife", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Paul S. Berry", "Sort_Artist" : "Berry, Paul S.", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "For many years, works from the annual Rochester-Finger Lakes Exhibition were purchased by MAG for the permanent collection. Fishwife, by Syracuse artist Paul S. Berry, is an example of such an acquisition made from the 1952 show. Its survival may rest on the fact that it entered the museum’s collection so soon after it was painted, as every August the artist would evaluate the contents of his studio and destroy anything that wasn’t up to his exacting standards. According to Berry’s widow, Fishwife is painted in a style quite different from most of his work. A turbaned Haitian woman lifts an enormous, wide-eyed fish from a wicker basket; the diagonal line of her muscular arm echoes the ramshackle roofline of the building behind her. The influence of photography is seen in the arm of a third person poking in from the left side of the composition. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Art Patrons' Purchase Award, 1952 Rochester - Finger Lakes Exhibition", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/52.50_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/52.50_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/52.50_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/52.50_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39601", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 4211, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4211", "Disp_Access_No" : "2005.31", "_AccNumSort1" : "", "Disp_Create_DT" : "1927", "_Disp_Start_Dat" : "1927", "_Disp_End_Date" : "1927", "Disp_Title" : "Negro Head", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Steuart Curry", "Sort_Artist" : "Curry, John Steuart", "Disp_Dimen" : "24 x 18 1/2 in. (61 x 47 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "18 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "According to the [previous owner], Curry met the subject of this painting, a sugar cane worker, on a trip to Cuba. [Gallery label text]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.31_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.31_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.31_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.31_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "33982", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "See other views on disk: MAG 100622", "View" : "" } , ] },{ "embark_ID" : 431, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/431", "Disp_Access_No" : "1951.7", "_AccNumSort1" : "", "Disp_Create_DT" : "1943", "_Disp_Start_Dat" : "1943", "_Disp_End_Date" : "1943", "Disp_Title" : "Non-Fiction", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Robert Gwathmey", "Sort_Artist" : "Gwathmey, Robert", "Disp_Dimen" : "29 x 24 in. (73.7 x 61 cm)", "Disp_Height" : "29 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In the 1940s, Robert Gwathmey focused his artist’s eye upon the lives of African-American sharecroppers in the South. Non-Fiction shows a common sight on southern farms; older children tended to the young when both parents worked all day in the fields. The barbed wire and minstrel figure symbolize the dual oppressions of segregation and racism. [Gallery label text, 2007]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.7_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.7_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.7_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.7_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12389", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 543, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/543", "Disp_Access_No" : "1914.4", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "New Orleans Man", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Robert Lee MacCameron", "Sort_Artist" : "MacCameron, Robert Lee", "Disp_Dimen" : "22 x 18 in. (55.9 x 45.7 cm)", "Disp_Height" : "22 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Robert Lee MacCameron was celebrated in Europe and the United States for his insightful portraits. He moved to London in 1888, where he worked as an illustrator, before going to Paris to study at the École des Beaux-Arts. There, he studied with the major artists of the day, including Jean-Léon Gérôme and James McNeil Whistler. His portrait commissions ranged from European nobility to prominent American politicians, including Presidents McKinley and Taft. In addition, MacCameron painted scenes and portraits of the diverse ethnic mix that populated American cities at the turn of the century. [Forman Gallery, Summer 2015]", "Dedication" : "Gift of the Rochester Art Club", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/14.4_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14.4_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14.4_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14.4_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12641", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 26901, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/26901", "Disp_Access_No" : "2018.31", "_AccNumSort1" : "", "Disp_Create_DT" : "2017", "_Disp_Start_Dat" : "2017", "_Disp_End_Date" : "2017", "Disp_Title" : "Into the Woods", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sam Gilliam", "Sort_Artist" : "Gilliam, Sam", "Disp_Dimen" : "59 3/4 x 44 3/4 in. (151.8 x 113.7 cm)", "Disp_Height" : "59 3/4 in.", "Disp_Width" : "44 3/4 in.", "Dimen_Extent" : "overall", "Medium" : "Acrylic", "Support" : "wood", "Disp_Medium" : "Acrylic on wood", "Info_Page_Comm" : "", "Dedication" : "Gift of Sam Gilliam", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Preliminary correspondence gave the title of this work as Joycean Parable, but the back of the painting is inscribed with the title Into the Woods, and it was decided to use that inscribed title.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2018.31_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2018.31_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2018.31_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2018.31_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "53204", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On Andy''s disk titled MAG 190716, stored in Curatorial office", "View" : "" } , ] },{ "embark_ID" : 28224, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/28224", "Disp_Access_No" : "2018.32", "_AccNumSort1" : "", "Disp_Create_DT" : "2018", "_Disp_Start_Dat" : "2018", "_Disp_End_Date" : "2018", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sam Gilliam", "Sort_Artist" : "Gilliam, Sam", "Disp_Dimen" : "304 x 114 1/2 in. (772.2 x 290.8 cm)", "Disp_Height" : "304 in.", "Disp_Width" : "114 1/2 in.", "Dimen_Extent" : "overall", "Medium" : "Acrylic", "Support" : "Cerex nylon", "Disp_Medium" : "Acrylic on Cerex nylon", "Info_Page_Comm" : "", "Dedication" : "Gift of Sam Gilliam", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2018.32-2018.33_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2018.32-2018.33_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2018.32-2018.33_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2018.32-2018.33_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "53205", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "2018.32 and 2018.33 photographed together (2018.33 on the left in this photo) On Andy''s disk titled MAG 190716, stored in Curatorial office", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2018.32_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2018.32_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2018.32_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2018.32_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "53206", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On Andy''s disk titled MAG 190716, stored in Curatorial office", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2018.32_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2018.32_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2018.32_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2018.32_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "53791", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On Andy Olenick disk 191120, held in the Curatorial department. No master with color bars exists.", "View" : "" } , ] },{ "embark_ID" : 28225, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/28225", "Disp_Access_No" : "2018.33", "_AccNumSort1" : "", "Disp_Create_DT" : "2018", "_Disp_Start_Dat" : "2018", "_Disp_End_Date" : "2018", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sam Gilliam", "Sort_Artist" : "Gilliam, Sam", "Disp_Dimen" : "286 1/2 x 118 in. (727.7 x 299.7 cm)", "Disp_Height" : "286 1/2 in.", "Disp_Width" : "118 in.", "Dimen_Extent" : "overall", "Medium" : "Acrylic", "Support" : "Cerex nylon", "Disp_Medium" : "Acrylic on Cerex nylon", "Info_Page_Comm" : "", "Dedication" : "Gift of Sam Gilliam", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2018.32-2018.33_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2018.32-2018.33_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2018.32-2018.33_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2018.32-2018.33_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "53208", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "2018.32 and 2018.33 photographed together (2018.33 on the left in this photo) On Andy''s disk titled MAG 190716, stored in Curatorial office", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2018.33_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2018.33_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2018.33_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2018.33_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "53209", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On Andy''s disk titled MAG 190716, stored in Curatorial office", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2018.33_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2018.33_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2018.33_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2018.33_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "53792", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On Andy Olenick disk 191120, held in the Curatorial department. No master with color bars exists.", "View" : "" } , ] },{ "embark_ID" : 25774, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/25774", "Disp_Access_No" : "2015.9", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Charlie Parker", "Alt_Title" : "Bird", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Beauford Delaney", "Sort_Artist" : "Delaney, Beauford", "Disp_Dimen" : "28 3/4 x 23 1/2 in. (73 x 59.7 cm)", "Disp_Height" : "28 3/4 in.", "Disp_Width" : "23 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Beauford Delaney was a charming, witty, and very well-loved sophisticate who took up residence as a painter in Harlem, New York, in the late 1920s during the Harlem Renaissance. A gay African American, he moved to Greenwich Village in the 1940s and was one of the few cultural figures in New York City at the time to circulate in both the uptown and downtown scenes. In 1957 Delaney traveled to Paris for what he thought would be a brief visit and ended up living and painting there the rest of his life. Delaney made this painting, a portrait of jazz saxophonist Charlie Parker, while in Paris. It was purchased from Delaney by the actor Billy Dee Williams, when Williams was accompanied to Delaney’s studio by the artist’s best friend, the author James Baldwin. Yellow, the color of sunlight, joy, and spiritual revelation, was Delaney’s favorite color. It was symbolic of his optimism as he struggled against the illnesses of alcoholism and depression that plagued him much of his life, eventually leading to his death in St. Anne’s Hospital for the Insane in Paris. [Gallery label text, Summer 2015]", "Dedication" : "Maurice R. and Maxine B. Forman Fund, Herdle Fund, Lyman K. and Eleanore B. Stuart Endowment Fund, Marion Stratton Gould Fund, and the Estate of Susan Eisenhart Schilling", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "See notarized statement in curatorial file from Billy Dee Williams regarding his acquisition of this piece: "April 23, 2011: In 1968 I went to Paris with my good friend, James Baldwin, one of the great American novelists of the 20th Century. James was writing the life story of Malcolm X for Columbia Pictures, and wanted me to play Malcolm X. While we were in Paris Jarnes took me to visit one of his rnentors, Beauford Delaney. Delaney was living in a small atelier on the left bank of Paris. The walls of his atelier were covered with paintings, but this palnting in particular caught my eye. I said, "Wow, that''s a beautitul painting. What''s it about?" "lt''s about Charlie Parker. The title is Bird" Delaney responded. It was a recent painting, and what intrigued me is that it was Delaney''s interpretation of Bird, and anyone interested in Jazz at the time knew rvhat was meant by "Bird". As I stood there admiring it Delaney asked rne if I wanted it. It was a lovely gesture. It has been a treasured piece of my art collection since that time. --Billy Dee Williams.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2015.9_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2015.9_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2015.9_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2015.9_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "43482", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photo provided by the gallery", "View" : "" } , ] }, ] }