{ "objects" : [ { "embark_ID" : 336, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/336", "Disp_Access_No" : "1986.134", "_AccNumSort1" : "", "Disp_Create_DT" : "1970", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "1970", "Disp_Title" : "The Dipolar Girls Take a Voyage on the St. Lawrence", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Roy De Forest", "Sort_Artist" : "De Forest, Roy", "Disp_Dimen" : "70 3/4 x 64 1/2 in. (179.7 x 163.8 cm)", "Disp_Height" : "70 3/4 in.", "Disp_Width" : "64 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic, polymer and charcoal on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Charles and Setta Odoroff in honor of Maurice and Minnie Odoroff", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86.134_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.134_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.134_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.134_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12500", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Larger TIF also derived from TR1, 86.134_P2", "View" : "" } , ] },{ "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" : 447, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/447", "Disp_Access_No" : "1926.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1924", "_Disp_Start_Dat" : "1924", "_Disp_End_Date" : "1924", "Disp_Title" : "Tom Cafferty", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Robert Henri", "Sort_Artist" : "Henri, Robert", "Disp_Dimen" : "22 1/4 x 20 1/8 in. (56.5 x 51.1 cm)", "Disp_Height" : "22 1/4 in.", "Disp_Width" : "20 1/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Robert Henri, the leader of the Urban Realist movement, sought truth in art above all else. Henri promoted this revolutionary idea in support of a uniquely American art. [Gallery label text, 2007] In addition to providing guidance and inspiration (as well as occasional financial assistance) to many artists, Robert Henri was himself a very fine painter. Wherever he taught, he gathered around him eager and enthusiastic students who benefited from his instruction. He moved to New York in 1900 and taught at William Merritt Chase's school for a few years. In 1909, he established his own school, and also taught painting at the radical Ferrer School established by former Rochesterian Emma Goldman. Although a member of the National Academy of Design, Henri actively promoted non-juried exhibitions and the work of younger, less traditional artists. Dictums such as "Know what the old masters did…They made their language. You make yours. All the past can help you" gave his followers the confidence to paint in their own way. During the 1920s, Henri lived in Ireland and painted a young boy named Tom Cafferty, who was the subject of this painting and a number of others. Characteristically, Henri painted him in a very loose and colorful style, with energetic brush strokes. [Gallery label text, 2003]", "Dedication" : "Gift of Mrs. Granger A. Hollister", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "See May 2010 article in Apollo magazine about the McGlothlin collection in Florida, promised to the Virginia Musuem of Fine Arts; they own another version of this portrait which is titled "Listening Boy." KSchauber, Curatorial Research Ass''t See discussion of Henri''s portraits of Tom Cafferty and other Irish children in the Gerald Peters Gallery catalogue "Robert Henri: The Painted Spirit," 2005, pp. 29-31", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/26.1_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/26.1_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/26.1_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/26.1_A4.jpg", "IsPrimary" : "1", "_SurrogateID" : "33959", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "See other views on disk: MAG 100622", "View" : "" } , ] },{ "embark_ID" : 5218, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5218", "Disp_Access_No" : "1924.38", "_AccNumSort1" : "", "Disp_Create_DT" : "1922-1923", "_Disp_Start_Dat" : "1922", "_Disp_End_Date" : "1923", "Disp_Title" : "Girl with a Tricorne (Vénitienne)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Henri Matisse", "Sort_Artist" : "Matisse, Henri", "Disp_Dimen" : "24 3/8 x 20 in. (61.9 x 50.8 cm)", "Disp_Height" : "24 3/8 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of James Sibley Watson", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/24.38_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/24.38_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/24.38_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/24.38_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "16513", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5064, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5064", "Disp_Access_No" : "1968.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1731", "_Disp_Start_Dat" : "1731", "_Disp_End_Date" : "1731", "Disp_Title" : "Charles Gaspard Guillaume de Vintimille du Luc, Archbishop of Paris (1656-1746)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hyacinthe Rigaud", "Sort_Artist" : "Rigaud, Hyacinthe", "Disp_Dimen" : "61 7/8 x 52 3/4 in. (157.2 x 134 cm)", "Disp_Height" : "61 7/8 in.", "Disp_Width" : "52 3/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Next to the King, the archbishop of Paris was one of the most powerful men in France, and he surrounded himself with only the finest quality. Rigaud was the leading French portraitist of the early eighteenth century, often painting kings and royal families. His account book reveals that Archbishop Vintimille du Luc paid 3,000 livres (the French currency of the time) for this masterful likeness. The painting documents the archbishop's character and stature. The mild expression admirably suggests the conciliatory nature that made Vintimille du Luc famous for his diplomatic skills. Writing materials close at hand and a vest library in the background allude to his scholarly attainments and his work. His sumptuous attire, the exquisite workmanship of his desk and chair, and the theatrical backdrop of cloth are calculated to impress the viewer with the archbishop's power and wealth. [Gallery label text, 2008]", "Dedication" : "Gift of the Women's Council of the Memorial Art Gallery", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Per Barryte or Rosenthal, note on back of stretcher: “1655-1746 / Charles Gaspard Guillaume de Vintim. Du Luc, arch, de Paris, duc de St. Cloud, pair de Eveque de Marseille 1 juin 1684 a 1er fevrier 17 Archeveque de Aix (1ere febrier 1708 a 12 mai 1729) Archeveque de Paris (12 mars 1729 a 13 mars 17) Commandeur de l’ordre St. Esprit le 30 juin 1724 ce tableau aurait été peint par Hyacinthe Rigaud en 1731 [ ] un prix de 3000#”", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/68.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/68.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/68.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/68.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17991", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "After conservation", "View" : "" } , ] },{ "embark_ID" : 5049, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5049", "Disp_Access_No" : "1953.8", "_AccNumSort1" : "", "Disp_Create_DT" : "1630-1635", "_Disp_Start_Dat" : "1630", "_Disp_End_Date" : "1635", "Disp_Title" : "Two Musicians", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Bernardo Strozzi", "Sort_Artist" : "Strozzi, Bernardo", "Disp_Dimen" : "45 5/8 x 47 7/8 in. (115.9 x 121.6 cm)", "Disp_Height" : "45 5/8 in.", "Disp_Width" : "47 7/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This scene of a middle-aged lute player and young violinist illustrates many qualities of Baroque art. Both musicians look directly out from the painting, their eye contact and lively expressions establishing a sympathetic psychological relationship with their audience. A parapet that separates performer from spectator links imaginary and actual space; dramatic lighting, naturalistic details and richly saturated colors all merge to intensify the viewer’s visual experience. The meaning of Two Musicians leaves much to the imagination. The two figures here could suggest a contrast between naïve youth and experienced age; the violin and the lute both refer to ideas of balance and harmony. Concert scenes sometimes symbolize the sense of hearing or the idea of harmony and love. Whatever the interpretation, these paintings of concerts were, like the music they represent, extremely popular with their public during the Baroque period. As a young man, Strozzi entered a monastery where he painted religious subjects. After his father’s death, he was allowed to leave the monastery to support his mother; he refused, though, to return after she died and was forced to flee his native Genoa. In 1631, he settled in Venice, where he became a Roman Catholic prelate, or church official. He enjoyed continuous success as a painter for the rest of his life. [Gallery label text] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Per catalogue raisonne, one of eighteen versions of this scene.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.8_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.8_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.8_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.8_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "15969", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.8_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.8_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.8_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.8_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "29168", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned by Andy Olenick April 2009 from a 1999 transparency shot by James Via. Master exists only in TIF form, not DNG. On disk 090407", "View" : "" } , ] },{ "embark_ID" : 4827, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4827", "Disp_Access_No" : "1987.1", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1792-1793", "_Disp_Start_Dat" : "1792", "_Disp_End_Date" : "1793", "Disp_Title" : "The Death of Richard II", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Francis Wheatley", "Sort_Artist" : "Wheatley, Francis", "Disp_Dimen" : "78 x 60 in. (198.1 x 152.4 cm)", "Disp_Height" : "78 in.", "Disp_Width" : "60 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Francis Wheatley was best known for his historical paintings, scenes of daily life, and portraits. He trained at the Royal Academy in London and became the director of the Society of Artists in 1774. Debts and an unfortunate affair with the wife of a colleague led to his abrupt departure from England to Ireland. He returned in 1783, when he began painting illustrations for works by contemporary authors. The success of these “painted illustrations” led to major commissions, including the one for this monumental painting from the print publisher Robert Bowyer. One of Bowyer’s most ambitious projects was an illustrated edition of David Hume’s "The History of England." It comprised not only a lavish publication, but the creation of a “History Gallery” for the public display of the original paintings. According to Bowyer’s prospectus, the paintings were intended “to rouse the passions, to fire the mind with emulation of heroic deeds, or to inspire it with detestation of criminal actions.” Wheatley responded to this challenge by depicting the more dramatic version of Richard’s death, in which he was beheaded rather than starved in prison. The theatrical gestures and expressions, lurid coloring, and bold brushwork serve to heighten the violent drama of the events. In the end, the project was a financial disaster; the paintings from the gallery, including Wheatley’s "The Death of Richard II," were sold in a lottery in 1807. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "English", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/87.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/87.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/87.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/87.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17184", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4828, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4828", "Disp_Access_No" : "1987.2", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1792-1793", "_Disp_Start_Dat" : "1792", "_Disp_End_Date" : "1793", "Disp_Title" : "Study for "The Death of Richard II"", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Francis Wheatley", "Sort_Artist" : "Wheatley, Francis", "Disp_Dimen" : "14 1/2 x 11 1/2 in. (36.8 x 29.2 cm)", "Disp_Height" : "14 1/2 in.", "Disp_Width" : "11 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "English", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/87.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/87.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/87.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/87.2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "16970", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }