{ "objects" : [ { "embark_ID" : 197, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/197", "Disp_Access_No" : "1922.37", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Blue Hydrangeas", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Alice Worthington Ball", "Sort_Artist" : "Ball, Alice Worthington", "Disp_Dimen" : "34 x 40 in. (86.4 x 101.6 cm)", "Disp_Height" : "34 in.", "Disp_Width" : "40 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Alice Worthington Ball studied in Paris and lived variously in Boston, Baltimore, and Gloucester. In 1910, the Christian Science Monitor offered her this early if somewhat backhanded praise: “Miss Ball has mastered the craft and paints like a man.” Four years later, the Boston Evening Transcript was more specific: “Miss Ball is not a timid painter. She wields an emphatic brush.” At the conclusion of her one-person exhibition at MAG in April 1922, she presented this large, harmonious canvas as a gift. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of the artist", "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/22.37_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/22.37_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/22.37_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/22.37_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15719", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 188, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/188", "Disp_Access_No" : "1983.12", "_AccNumSort1" : "", "Disp_Create_DT" : "1939", "_Disp_Start_Dat" : "1939", "_Disp_End_Date" : "1939", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hilda Altschule Coates", "Sort_Artist" : "Coates, Hilda Altschule", "Disp_Dimen" : "42 x 35 in. (106.7 x 88.9 cm)", "Disp_Height" : "42 in.", "Disp_Width" : "35 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "From her limited formal art training, Hilda Altschule Coates evolved a personal and expressive style. What could Coates have embedded in this seemingly symbol-laden still life arranged in a corner of her apartment on Alexander Street? The initial sensation the viewer experiences is vertigo due to the dizzying perspective of the table and the white lily leaning towards the open third-floor window. Curiosity comes next. Who are the seven glasses for? Shouldn’t the lemon be in the empty fruit bowl rather than on the precipitously-tilted table? And why a white lily, traditionally a symbol of purity located near the Virgin Mary in paintings of the Annunciation? Unfortunately, a personal interpretation is lost to us as this painting was given to the Gallery after the artist’s death in 1983. [Label text from It Came From the Vault exhibition, 2013] “My art education is, and has been, without benefit of art school. I say this neither boastfully nor apologetically, simply with a wish to report the facts.” So wrote Hilda Altschule Coates, whose formal art training consisted of an undergraduate painting class while she worked on a degree in natural sciences at Hunter College, and another while pursuing her master’s degree in philosophy at Cornell University. Studying and working on her own, she evolved a style which she felt depended upon emotive rather than cerebral elements for its impact. Many of Altschule’s paintings of the 30s and 40s are studies of interiors that draw the eye around a room and out the window to the world outside. This particular canvas shows the view from her apartment on Alexander Street in Rochester. The eccentric perspective and a fascination with surfaces – the cloudy glass of the goblets, the reflective tray upon which they rest, the warm patina of an antique table, and the glossy leaves of the lily plant – are characteristic of Altschule’s early work. The lily is a symbol of purity; legend has it that the first lily sprang up from the tears Eve shed when she was expelled from the Garden of Eden. [Gallery label text, 1994]", "Dedication" : "Anonymous gift in memory of Willson H. and Hilda Altschule Coates", "Copyright_Type" : "No existing copyright holder", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/83.12_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.12_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.12_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.12_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39388", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 388, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/388", "Disp_Access_No" : "1946.20", "_AccNumSort1" : "", "Disp_Create_DT" : "1946", "_Disp_Start_Dat" : "1946", "_Disp_End_Date" : "1946", "Disp_Title" : "Composition", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Henri Gaudriot", "Sort_Artist" : "Gaudriot, Henri", "Disp_Dimen" : "20 x 16 in. (50.8 x 40.6 cm)", "Disp_Height" : "20 in.", "Disp_Width" : "16 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "composition board", "Disp_Medium" : "Oil on composition board", "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/46.20_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/46.20_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/46.20_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/46.20_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15722", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 406, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/406", "Disp_Access_No" : "1992.29", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "African Violets", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Douglas Warner Gorsline", "Sort_Artist" : "Gorsline, Douglas Warner", "Disp_Dimen" : "20 x 18 1/4 in. (50.8 x 46.4 cm)", "Disp_Height" : "20 in.", "Disp_Width" : "18 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Richard F. Brush", "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/92.29_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92.29_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92.29_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92.29_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "18280", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 439, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/439", "Disp_Access_No" : "1976.22", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1911", "_Disp_Start_Dat" : "1906", "_Disp_End_Date" : "1916", "Disp_Title" : "Spring", "Alt_Title" : "From the Garden", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Webster Hawthorne", "Sort_Artist" : "Hawthorne, Charles Webster", "Disp_Dimen" : "39 1/2 x 39 1/2 in. (100.3 x 100.3 cm)", "Disp_Height" : "39 1/2 in.", "Disp_Width" : "39 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "George Eastman Collection of the University of Rochester", "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/76.22_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/76.22_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/76.22_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/76.22_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12470", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 442, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/442", "Disp_Access_No" : "1976.3", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1890", "_Disp_Start_Dat" : "1885", "_Disp_End_Date" : "1895", "Disp_Title" : "Hummingbird with Cattleya and Dendrobium Orchids", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Martin Johnson Heade", "Sort_Artist" : "Heade, Martin Johnson", "Disp_Dimen" : "22 1/4 x 14 3/8 in. (56.5 x 36.5 cm)", "Disp_Height" : "22 1/4 in.", "Disp_Width" : "14 3/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Two masterpieces of nature – the hummingbird and the orchid – were subjects that Martin Johnson Heade painted repeatedly. Beginning in 1863, Heade made the first of three trips to Brazil to paint the bird that remained a life-long obsession. Heade wrote, “A few years after my appearance in this breathing world I was attacked by the all-absorbing hummingbird craze and it has never left me since.” The exotic South American jungle was a far cry from the marshes and fields of Heade’s native New England, but both landscapes inspired his passion for the natural world and nurtured the intertwined development of his scientific interest and his artistic brilliance. [Gallery label, 2009]", "Dedication" : "Harris K. Prior Memorial Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "The hummingbird in this painting is a Calliphlox amethystina", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/76.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/76.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/76.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/76.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12471", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 501, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/501", "Disp_Access_No" : "1955.191", "_AccNumSort1" : "", "Disp_Create_DT" : "1898", "_Disp_Start_Dat" : "1898", "_Disp_End_Date" : "1898", "Disp_Title" : "Roses", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ada Howe Kent", "Sort_Artist" : "Kent, Ada Howe", "Disp_Dimen" : "7 3/16 x 14 in. (18.2 x 35.5 cm)", "Disp_Height" : "7 3/16 in.", "Disp_Width" : "14 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Ada Howe Kent was a Rochester painter and watercolorist who exhibited nationally with the American Water Color Society. Having studied with James McNeill Whistler in Paris, Kent became enamored of oriental art and accumulated an extensive collection of Japanese prints. A daughter of John H. Kent, first vice-president of the Eastman Dry-plate and Film Company (forerunner of the Eastman Kodak Company), the artist was known for her philanthropic activities, most significantly for the gift of Kent Hall in 1916 to the Rochester Y.W.C.A. as a residence for women. [Gallery label text, 2004]", "Dedication" : "Gift of Mrs. James Haas from the collection of her father, James Somerville", "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/55.191_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.191_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.191_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.191_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15725", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 505, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/505", "Disp_Access_No" : "1956.60", "_AccNumSort1" : "", "Disp_Create_DT" : "1955", "_Disp_Start_Dat" : "1955", "_Disp_End_Date" : "1955", "Disp_Title" : "Lilacs and Books", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Karl Knaths", "Sort_Artist" : "Knaths, Karl", "Disp_Dimen" : "30 x 40 in. (76.2 x 101.6 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "40 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Karl Knaths seldom left his home in Provincetown, where he primarily painted familiar Cape Cod scenes: the rambling lilac bushes that overtake the island in the summer months and the local fishermen and their gear. The 1956 exhibition from which the Gallery purchased Lilacs and Books received a glowing review in the New York Times that predicted, “Knaths’ work may well be part of the work of our time that is likely to endure.” Despite his popularity in the 1950s, his lyrical style was eclipsed in the annals of history by the muscular, dripping abstractions of Jackson Pollock and other Abstract Expressionists. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Copyright Holder Not Found", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/56.60_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/56.60_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/56.60_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/56.60_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13417", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 730, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/730", "Disp_Access_No" : "1951.37", "_AccNumSort1" : "", "Disp_Create_DT" : "1879", "_Disp_Start_Dat" : "1879", "_Disp_End_Date" : "1879", "Disp_Title" : "Anne Mumford Palmer", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Abbott Handerson Thayer", "Sort_Artist" : "Thayer, Abbott Handerson", "Disp_Dimen" : "24 x 19 1/2 in. (61 x 49.5 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "19 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "A vision of fresh beauty in her portrait, Anne Mumford Palmer lived a life that was hardly placid. Born to a Rochester lawyer and his wife, Palmer moved to New York City after her father became the treasurer of Western Union. She was a good friend of the distinguished American writer Henry Adams and his wife, Clover. An adventurous marriage to Englishman E. Nelson Fell included draining swamps in Florida to build a British colony called Fellsmere. Four years were spent with their three children on the Siberian steppes where Nelson Fell supervised a mining operation. When Anne Mumford Palmer, age 22, was painted by Abbott Thayer, newly returned from studying in France, her life lay ahead of her like a limitless ocean. When she sold the painting to MAG founder Emily Sibley Watson in 1930, she was nearing the end of her remarkable journey, and would die seven years later. More remains to be learned about an interesting life. [Gallery label text, 2009]", "Dedication" : "Gift of the Estate of Emily and James Sibley Watson", "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/51.37_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.37_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.37_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.37_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12983", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image (loaded 7/19/00) to be replaced with professional scan.", "View" : "" } , ] },{ "embark_ID" : 4138, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4138", "Disp_Access_No" : "1982.9", "_AccNumSort1" : "", "Disp_Create_DT" : "1686", "_Disp_Start_Dat" : "1686", "_Disp_End_Date" : "1686", "Disp_Title" : "Floral Still Life", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rachel Ruysch", "Sort_Artist" : "Ruysch, Rachel", "Disp_Dimen" : "45 1/8 x 34 3/8 in. (114.6 x 87.3 cm)", "Disp_Height" : "45 1/8 in.", "Disp_Width" : "34 3/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Acquired with contributions made in memory of Brenda Rowntree by her friends, through the Acquisition Fund of the Women's Council, and the Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Netherlands", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/82.9_A8.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/82.9_A8.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/82.9_A8.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/82.9_A8.jpg", "IsPrimary" : "1", "_SurrogateID" : "38876", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in situ as installed; frame cropped out in Photoshop.", "View" : "" } , ] },{ "embark_ID" : 5065, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5065", "Disp_Access_No" : "1950.4", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1732", "_Disp_Start_Dat" : "1727", "_Disp_End_Date" : "1737", "Disp_Title" : "Venus and Cupid", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "François Boucher", "Sort_Artist" : "Boucher, François", "Disp_Dimen" : "15 7/8 x 12 5/8 in. (40.3 x 32.1 cm)", "Disp_Height" : "15 7/8 in.", "Disp_Width" : "12 5/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Rococo, from the French word rocaille (rockwork or shell), was an 18th century decorative style that reacted against the classical tradition of the Academy and instead stressed color, light, movement, and a frank pleasure in living. The easy flowing brushwork and the luminous colors show the influence of Rubens. As a rococo painter, François Boucher worked primarily in the service of Madame de Pompadour, mistress to Louis XV. His paintings satisfied the taste of a sophisticated public which was sensitive to the most subtle relations of color and liked pictures hung on the light paneling of even the smallest room. This intimate painting of "Venus and Cupid," with its sensuously modeled nudes, embodies the French 18th century tendency to transform the Baroque style into one of more delicate elaboration and elegance. An 18th-century engraving, which P. Aveline made after the painting, is inscribed "F. Boucher pinxit." [Gallery label text, 2008]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Painting has been cut down and relined onto a new canvas and stretcher, so only the picture itself is original.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/50.4_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/50.4_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/50.4_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/50.4_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "43849", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk MAG 150528", "View" : "" } , ] },{ "embark_ID" : 6391, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6391", "Disp_Access_No" : "1995.4", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1920", "_Disp_Start_Dat" : "1915", "_Disp_End_Date" : "1925", "Disp_Title" : "Peonies", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jiang Cai", "Sort_Artist" : "Cai, Jiang", "Disp_Dimen" : "89 3/4 x 17 11/16 in. (228 x 45 cm)", "Disp_Height" : "89 3/4 in.", "Disp_Width" : "17 11/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Ink", "Support" : "paper", "Disp_Medium" : "Ink on paper", "Info_Page_Comm" : "", "Dedication" : "Tribute Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "China", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Translation of poem from L. J. Wender Fine Chinese Paintings, NY: by Chen Shizeng (aka Chen Hengke) (1876-1923): Who is going to compile the manual of flower paintings? / The deep Spring color is already recorded under her wrist. / She has washed out all the female forms In order to continue the Nan Lou [Chen Shu, 1660-1736] style with bold strokes.", "Images": [ ] },{ "embark_ID" : 6569, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6569", "Disp_Access_No" : "1955.132", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1600", "_Disp_Start_Dat" : "1595", "_Disp_End_Date" : "1605", "Disp_Title" : "Allegory of Vanity: Lady with a Mirror", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Flemish artist", "Sort_Artist" : "Flemish artist", "Disp_Dimen" : "13 x 10 in. 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