America: Painting a Nation

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Theater Scene

Everett Shinn

Date: 1903

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1999.136

Text Entries: Atkinson, D. Scott et al. A Proud Heritage: Two Centuries of American Art. Edited by Terry A. Neff. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 1987. Pl. T-161, p. 270 (color). Gerdts, William H. et al. Lasting Impressions: American Painters in France, 1865–1915. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text p. 98; fig. 99, p. 98 (black & white). Gerdts, William H. et al. Impressions de toujours: les peintres américains en France, 1865–1915. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text p. 98; fig. 99, p. 98 (black & white). Theater Scene, Everett Shinn. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, January 1993. Ill. (black & white). Bourguignon, Katherine M. and Elizabeth Kennedy. The People Work: American Perspectives, 1840–1940. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 10, 23, 30 (checklist); ill. p. 43 (color). Bourguignon, Katherine M. and Elizabeth Kennedy. Le Travail à l'oeuvre: les artistes américains, 1840–1940. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 10, 23, 30 (checklist); ill. p. 43 (color). Kennedy, Elizabeth et al. The Eight and American Modernisms. (exh. cat., New Britain Museum of American Art, New Britain, Connecticut and Milwaukee Art Museum, Milwaukee, Wisconsin). Chicago, Illinois: Terra Foundation for American Art, 2009. Text pp. 130, 175 (checklist); Ill. p. 133 (color). Art Across America. (exh. cat., National Museum of Korea, Los Angeles County Museum of Art, The Museum of Fine Arts, Houston, Philadelphia Museum of Art and the Terra Foundation for American Art). Seoul, South Korea: National Museum of Korea, 2013. (English and Korean versions). Text pp. 39, 265; ill. fig. 41, p. 39 (color), p. 264 (color). America: Painting a Nation. (exh. cat., Art Gallery of New South Wales, the Los Angeles County Museum of Art, the Museum of Fine Arts, Houston, the National Museum of Korea, the Philadelphia Museum of Art and the Terra Foundation for American Art). Sydney, Australia: Art Gallery of New South Wales, 2013. Text pp. 37, 160; ill. cat. no. 51, p. 161 (color). Pathways to Modernism: American Art, 1865-1945. (exh. cat. Shanghai Museum with Art Institute of Chicago and Terra Foundation for American Art). Shanghai: Shanghai Museum, 2018. Text p. 104; ill. p. 105 (color). Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text p. 191; ill. p. 191 (color). Piccoli, Valéria, Fernanda Pitta, and Taylor Poulin. Pelas ruas: vida moderna e experiências urbanas na arte dos Estados Unidos, 1893-1976. (exh. cat., Pinacoteca do Estado de São Paulo and Terra Foundation for American Art). São Paulo, Brazil: Pinacoteca do Estado de São Paulo, 2022. Pl. p. 101 (color).

Salem Willows

Maurice Brazil Prendergast

Date: 1904

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1999.120

Text Entries: "Annual Exhibition at the Academy." Philadelphia Inquirer (January 19, 1902): II: 12. Text p. 12 (perhaps reference to Terra painting). Edgerton, Giles [Mary Fanton Roberts]. "The Younger American Painters: Are They Creating a National Art?" Craftsman 13 (February 1908): 512–32. Ill. p. 525 (as The Promenade). "'The Eight' Stir Up Many Emotions." Newark Evening News (May 8, 1909): 4. Ill. p. 4. Pepper, Charles Hovey. "Is Drawing to Disappear in Artistic Individuality?" The World To-Day 19 (July 1910): 716–19. Text p. 719. Cary, Elizabeth Luther. "The Maurice Prendergast Memorial Exhibition." New York Times (February 25, 1934): X: 12. Text p. 12X. Rhys, Hedley Howell. Maurice Prendergast: The Sources and Development of His Style. PhD dissertation, Harvard University, 1952. Text pp. 31, 87–88, 93, 128, 152. "Prendergast-Country's First Modern Artist." Boston Sunday Herald (October 23, 1960): 32. Ill. p. 32. Rhys, Hedley Howell. Maurice Prendergast, 1859–1924. (exh. cat., Museum of Fine Arts). Boston and Cambridge, Massachusetts: Museum of Fine Arts, Boston and Harvard University Press, 1960. Text p. 40, 69 (checklist); ill. no. 12, p. 114 (black & white). Green, Eleanor. Maurice Prendergast: Art of Impulse and Color. (exh. cat., University of Maryland Art Gallery). College Park, Maryland: University of Maryland, 1976. Text pp. 22, 43, 44, 48, 115; ill. p. 22 (black & white). Green, Eleanor. "Maurice Prendergast, Myth and Reality." American Art Review 4 (July 1977): 89–103. Text p. 90. Langdale, Cecily. Monotypes by Maurice Prendergast in the Terra Museum of American Art. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Museum of American Art, 1984. Text p. 144. Sokol, David M. "The Terra Museum of American Art, Evanston, Illinois." The Magazine Antiques 126:5 (November 1984): 1156–69. Pl. XXV, p. 1166 (color). Fairbrother, Trevor J. et al. The Bostonians: Painters of an Elegant Age, 1870–1930. (exh. cat., Museum of Fine Arts). Boston, Massachusetts: Museum of Fine Arts, 1986. Ill. no. 52, p.141 (black & white). Strickler, Susan E. American Traditions in Watercolor: The Worcester Art Museum Collection. Worcester, Massachusetts: The Worcester Art Museum Collection, 1987. Text p. 142. Atkinson, D. Scott et al. A Proud Heritage: Two Centuries of American Art. Edited by Terry A. Neff. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 1987. Text p. 35; pl. T-117, p. 226 (color). Salem Willows, Maurice Brazil Prendergast. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, July 1989. Ill. (black & white). Clark, Carol, Nancy Mowll Mathews and Gwendolyn Owens. Maurice Brazil Prendergast; Charles Prendergast: A Catalogue Raisonné. Munich, Germany and Williamstown, Massachusetts: Prestel-Verlag and The President and Trustees of Williams College, 1990. No. 46, p. 223; pl. 37, p. 144 (color), ill. no. 46, p. 233. Mathews, Nancy Mowll. Maurice Prendergast. (exh. cat., Williams College Museum of Art). Munich, Germany and Williamstown, Massachusetts: Prestel-Verlag and The President and Trustees of Williams College, 1990. Text p. 19; fig. 13, p. 19 (black & white). Milroy, Elizabeth. Painters of a New Century: The Eight. (exh. cat., Milwaukee Art Museum). Milwaukee, Wisconsin: Milwaukee Art Museum, 1991. Text p. 141 (checklist); ill. p. 50 (color). Wattenmaker, Richard J. Maurice Prendergast. New York: Harry N. Abrams, Inc., Publishers in association with The National Museum of American Art, Smithsonian Institution, 1994. Text pp. 72–73; ill. p. 10 (color), pl. 51, p. 73 (black & white). Regard sur cinq années d'expositions (Five years of Exhibitions at a Glance). Chicago, Illinois: Terra Foundation for the Arts, 1997. Ill. p. 58 (color). Side by Side: Works from the Terra Foundation for the Arts and the Detroit Institute of Arts. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text p. 17; ill. p. 16 (color). Deux collections en regard: oeuvres de la Terra Foundation for the Arts et du Detroit Institute of Arts. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text p. 17; ill. p. 16 (color). Kennedy, Elizabeth. "American Artists and the Louvre." American Art Review (June 2006): 98–107. Text p. 103; ill. p. 103 (color). Kennedy, Elizabeth et al. The Eight and American Modernisms. (exh. cat., New Britain Museum of American Art, New Britain, Connecticut and Milwaukee Art Museum, Milwaukee, Wisconsin). Chicago, Illinois: Terra Foundation for American Art, 2009. Text pp. 111-112, 175 (checklist); Ill. p. 124 (color).Román, Dulce M. Monet and American Impressionism. (exh. cat. Samuel P. Harn Museum of Art, University of Florida, Gainesville). Gainesville, Florida: University of Florida, 2015. Ill. p. 139 (color). Art Across America. (exh. cat., National Museum of Korea, Los Angeles County Museum of Art, The Museum of Fine Arts, Houston, Philadelphia Museum of Art and the Terra Foundation for American Art). Seoul, South Korea: National Museum of Korea, 2013. (English and Korean versions). Text pp. 39, 267; ill. fig. 43, p. 39 (color), p. 266 (color). America: Painting a Nation. (exh. cat., Art Gallery of New South Wales, the Los Angeles County Museum of Art, the Museum of Fine Arts, Houston, the National Museum of Korea, the Philadelphia Museum of Art and the Terra Foundation for American Art). Sydney, Australia: Art Gallery of New South Wales, 2013. Text p. 162; ill. cat. no. 52, p. 163 (color). Homann, Joachim, Trevor J. Fairbrother, Nancy Mowill Mathews, Joseph J. Rishel and Richard J. Wattenmaker. Maurice Prendergast: By the Sea. (exh. cat., Bowdoin College Museum of Art). Brunswick, Maine: Bowdoin College Museum of Art and DelMonico Books, an imprint of Prestel Publishing, Munich, London and New York, 2013. Text p. 109; fig. 23, p. 109 (color). Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text p. 192; ill. p. 192 (color). Piccoli, Valéria, Fernanda Pitta, and Taylor Poulin. Pelas ruas: vida moderna e experiências urbanas na arte dos Estados Unidos, 1893-1976. (exh. cat., Pinacoteca do Estado de São Paulo and Terra Foundation for American Art). São Paulo, Brazil: Pinacoteca do Estado de São Paulo, 2022. Pl. p. 36 (color).

Construction

Max Weber

Date: 1915

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1987.31

Text Entries: Though born in Russia, at the age of ten Max Weber moved with his family to Brooklyn, New York. After art training at the Pratt Institute, he returned to Europe and studied in Paris from 1905 to 1908. These years were crucial to Weber's development as a painter: he helped to found the New Society of American Artists in Paris, exhibited at the Salon d'Automne in 1908 and established himself in avant-garde artistic circles. Returning to the United States, Weber assumed an active role in introducing modernism to America as he restlessly searched to uncover the underlying structure of objects and define a twentieth-century artistic language. Even though he received discouraging and often abusive criticism from the art press, he continued to draw inspiration from the French avant-garde. Construction was painted at a time when Weber was America's leading experimenter in the cubist idiom. Despite the architectural association of its title, Construction is similar to a series of landscape scenes that Weber produced during the same year, and the rich earth tones of brown, blue and green also evoke nature. Weber, however, consciously converted three-dimensional natural forms onto canvas by fracturing surfaces into planes and facets that produce multiple views and perspectives. After 1920, his modernism evolved into a more figurative style that addressed post-World War I social changes and problems. Until the end, Weber fluctuated between abstraction and representation, never completely abandoning his cubist experiments or his expressionistic human figures.

Welcome to Our City

Charles Demuth

Date: 1921

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1993.3

Text Entries: American Painting 1900–1950. (exh. cat., Lowe Gallery, University of Miami). Miami, FL: Lowe Gallery, 1952. Text p. 1, cat. no. 12 (as Entrance to the City). Farnham, Emily. Charles Demuth: His Life, Psychology and Works. PhD dissertation, Ohio State University, 1959. Vol. II. Text pp. 108, 575, no. 416. Farnham, Emily. Charles Demuth: Behind a Laughing Mask. Norman, Oklahoma: University of Oklahoma Press, 1971. Text p. 120. Eiseman, Alvord L. Charles Demuth. New York: Watson-Guptill Publications, 1982. Text p. 17. Fahlman, Betsy. Pennsylvania Modern: Charles Demuth of Lancaster. (exh. cat., Philadelphia Museum of Art). Philadelphia, Pennsylvania: Philadelphia Museum of Art, 1983. Text p. 20. Haskell, Barbara. Charles Demuth. (exh. cat., Whitney Museum of American Art). New York: Whitney Museum of American Art in association with Harry N. Abrams, Inc., Publishers, 1987. Ill. p. 131 (black & white). Falhman, Betsy.”Charles Demuth’s Paintings of Lancaster Architecture: New Discoveries and Observations.” Arts Magazine 61, no. 7 (March 1987): 24–29. Text p. 24; ill. p. 24, fig.2 (black & white). Falhman, Betsy. “The Charles Demuth Retrospective at the Whitney Museum of American Art” Arts Magazine 62 (March 1988): 52–54. Text p. 53. Sotheby's New York, New York (Sale 6373, December 3, 1992): lot 153. Text, lot 153; ill. cover (color), lot 153 (color). Art & Auction (October 1993): cover. Ill. cover. Weinberg, Jonathon. Speaking for Vice: Homosexuality in the Art of Charles Demuth, Marsden Hartley, and the First American Avant-Garde. New Haven, Connecticut: Yale University Press, 1993. Text pp. 214, 21; ill. p. 215, fig. 74 (color). Welcome to Our City, Charles Demuth. Collection Cameo sheet, Terra Museum of Art, Chicago, Illinois, July 1994. Ill. (black & white). Cartwright, Derrick R. The City and the Country: American Perspectives, 1870–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1999. Text p. 24 (checklist); ill. p. 30 (color). Cartwright, Derrick R. Ville et campagne: les artistes américains, 1870–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1999. Text p. 24 (checklist); ill. p. 30 (color). Cartwright, Derrick R. and Paul J. Karlstrom. American Moderns, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Ill. p. 2 (color). Cartwright, Derrick R. and Paul J. Karlstrom. L'Amérique et les modernes, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Ill. p. 2 (color). Cartwright, Derrick. "The City and Country: American Perspectives, 1870–1920." American Art Review 7, no. 1 (January-February 2000): 100–11. Ill. p. 108 (color). Bourguignon, Katherine M. and Elizabeth Kennedy. An American Point of View: The Daniel J. Terra Collection. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text pp. 172, 194; ill. pp. 14 (color), 173 (color), 194 (black & white). Bourguignon, Katherine M. and Elizabeth Kennedy. Un regard transatlantique. La collection d'art américain de Daniel J. Terra. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text pp. 172, 194; ill. cover (color detail), pp. 14 (color), 173 (color), 194 (black & white). Derouet, Christian et al. "Paris, capitale de l'Amérique." L'avant-garde américaine à Paris, 1918–1939. Edited by Sophie Lévy. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Ill. p. 53, cat. no. 23 (color). Derouet, Christian et al. A Transatlantic Avant-Garde: American Artists in Paris, 1918–1939. Edited by Sophie Lévy. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Ill. p. 53, cat. no. 23 (color). Mullaney, Tom. "Terra's Next Move." Art & Antiques (September 2003): 21. Text p. 21; ill. p. 21 (color). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., National Museum of China, Beijing; Shanghai Museum). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. Text p. 198; ill. p. 215 (color). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., National Museum of China, Beijing; Shanghai Museum). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Chinese edition). Text p. 198; ill. p. 215 (color). Art In America: 300 years of Innovation. Hong Kong: Wen Wei Publishing Co. Ltd, 2007. (in Chinese), Ill. p. 121 (color). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., The Pushkin Museum of Fine Arts, Moscow, Russia). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Russian edition). Ill. cover (color), p. 113 (color). Davidson, Susan, ed. Art in the USA: 300 años de innovación. (exh. cat., Guggenheim Museum Bilbao). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. Ill. p. 153 (color). Hambleton, Gross. Governing Cities in the Urban Era. New York, NY: Palgrave MacMillan US, 2007. Text “Acknowledgment section”. Ill. cover (color). Fahlman, Betsy and Claire Barry. Chimneys and Towers: Charles Demuth’s Late Paintings of Lancaster. (exh. cat. Amon Carter Museum) Philadelphia, PA: University of Pennsylvania Press, 2008. Text pp. 101, 134. Brock, Charles, Nancy Anderson, and Harry Cooper. American Modernism: The Shein Collection. (exh. cat., National Gallery of Art, Washington DC) Washington DC: National Gallery of Art, 2010. Text p. 45. Lampe, Anne M. Demuth in the City of Lights. (exh. cat. Woodmere Art Museum, Philadelphia, Pennsylvania). Philadelphia, Pennsylvania: Woodmere Art Museum, 2011. Text p. 18; ill. p. 19, fig. 28 (color). Art Across America. (exh. cat., National Museum of Korea, Los Angeles County Museum of Art, Museum of Fine Arts, Houston, Philadelphia Museum of Art and the Terra Foundation for American Art). Seoul, South Korea: National Museum of Korea, 2013. Text p. 281; ill. p. 280 (color). America: Painting a Nation. (exh. cat., Art Gallery of New South Wales, Los Angeles County Museum of Art, Museum of Fine Arts, Houston, National Museum of Korea, Philadelphia Museum of Art and the Terra Foundation for American Art). Sydney, Australia: Art Gallery of New South Wales, 2013. Text p. 178; ill. p. 179, cat. no. 60 (color), back cover flap (color detail). Bourguignon, Katherine M., Lauren Kroiz, and Leo G. Mazow. America’s Cool Modernism: O’Keeffe to Hopper. Oxford, United Kingdom: Ashmolean Museum of Art & Archaeology–University of Oxford, 2018. Text p. 33, cat. no. 24 (checklist); ill. pp. 32, 126 (color). Pathways to Modernism: American Art, 1865-1945. (exh. cat. Shanghai Museum with Art Institute of Chicago and Terra Foundation for American Art). Shanghai: Shanghai Museum, 2018. Text p. 122; ill. p. 123 (color). Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text p. 258; ill. p. 258 (color).

Slaves

Thomas Hart Benton

Date: 1925

Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund

Object number: 2003.4

Text Entries: Benton, Thomas H. “My American Epic in Paint.” Creative Art 3:6 (December 1928): 31–36. Ill. p. 35 (black & white). M. K. P., “U.S. History in Panels: Murals are Good Examples of Thomas Hart Benton’s Art.” Kansas City Times (January 6, 1936): 106. Text p. 106. Freund, Karl. “Thomas Hart Benton—Realist: Nothing But the Truth, with Hogarthian Vengeance.” Ringmaster: The World in Caricature 1:4 (November 1936): 33–38, 45. Ill. p. 34 (black & white), as “Slavery.” Adams, Henry. Thomas Hart Benton: An American Original. (exh. cat., Nelson-Atkins Museum of Art). New York: Knopf, 1989. Ill. p. 124 (color). Doss, Erika Lee. Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism. Chicago, Illinois: University of Chicago Press, 1991. Fig. 1.3, p. 13. “Quick Sketches: Benton Goes to Terra.” American Artist 68:744 (July 2004): 14. Text p. 14. Ill p. 14 (color). Kennedy, Elizabeth and Olivier Meslay, eds. American Artists and the Louvre. (exh. cat., Musée du Louvre). Chicago: Terra Foundation for American Art; Paris: Musée du Louvre Éditions, 2006. Text p. 140, cat. no. 25; ill. p. 141 (color). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., National Art Museum of China, Beijing, China; Shanghai Museum, Shanghai, China). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. Ill. p. 221 (color). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., National Art Museum of China, Beijing, China; Shanghai Museum, Shanghai, China). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Chinese edition). Ill. p. 221 (color). Art In America: 300 years of Innovation. Hong Kong: Wen Wei Publishing Co. Ltd, 2007. Text p. 123 (in Chinese); Ill. p. 123 (color). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., The Pushkin Museum of Fine Arts, Moscow, Russia). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Russian edition). Ill. p. 117 (color). Davidson, Susan, ed. Art in the USA: 300 años de innovación. (exh. cat., Guggenheim Museum, Bilbao). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Spanish edition). Ill. p. 165 (color). Conrads, Margaret C., ed. The Collections of the Nelson-Atkins Museum of Art: American Paintings to 1945. Kansas City, MO: The Nelson-Atkins Museum of Art, 2007. Text p. 69; Ill. p. 66 (black & white). Bailly, Austen Barron. “Painting the American Historical Epic: Thomas Hart Benton and Race, 1919–1936.” PhD diss., University of California, Santa Barbara, March 2009. Text p. xix [Fig. I.8, not illustrated], 2, 14–15, 97, 102, 108–109, 203–205, 208, 226–227, 252, 293, 296–297, 303, 341 n.6. Bailly, Austen Barron. “Art for America: Race in Thomas Hart Benton’s Murals, 1919–19136.” Indiana Magazine of History 105:2 (June 2009): 150–166. Text pp. 151, 155, 159. Art Across America. (exh. cat., National Museum of Korea, Los Angeles County Museum of Art, The Museum of Fine Arts, Houston, Philadelphia Museum of Art and the Terra Foundation for American Art). Seoul, South Korea: National Museum of Korea, 2013. (English and Korean versions). Text pp. 41, 285; ill. p. 41, fig. 50 (color), p. 284 (color). America: Painting a Nation. (exh. cat., Art Gallery of New South Wales, the Los Angeles County Museum of Art, the Museum of Fine Arts, Houston, the National Museum of Korea, the Philadelphia Museum of Art and the Terra Foundation for American Art). Sydney, Australia: Art Gallery of New South Wales, 2013. Text p. 206; ill. cat. no. 71, p. 207, (color). Bailly, Austen Barron, ed. American Epics: Thomas Hart Benton and Hollywood. (exh. cat. Peabody Essex Museum). Salem, Massachusetts: Peabody Essex Museum; London: Delmonico Books, 2015. Text, pp. 32, 192; ill. p. 47 (color). Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text p. 207; ill. p. 207 (color).

Sailboat, Brooklyn Bridge, New York Skyline

John Marin

Date: 1934

Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund

Object number: 2006.1

Text Entries: Reich, Sheldon. John Marin: A Stylistic Analysis and Catalogue Raisonné. 2 vols. Tucson: University of Arizona Press, 1970. Ill. no. 34.23, p. 664 (black & white). Fine, Ruth E. John Marin. (exh. cat., National Gallery of Art). New York: Abbeville Press, Publishers, 1990. Text p. 158; pl. 1148, p. 158 (color). Little, Carl. "John Marin's Kepper." Bangor Metro Magazine (April 2007): 26–27, 33. Text p. 33; ill. p. 26–27 (color). Davidson, Susan, ed. Art in the USA: 300 años de innovación. (exh. cat., Guggenheim Museum Bilbao). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Spanish version). Ill. p. 162 (color). Brownlee, Peter John. Manifest Destiny / Manifest Responsibility: Environmentalism and the Art of the American Landscape. (exh. cat., Loyola University Museum of Art, Chicago, Illinois). Chicago, Illinois: Terra Foundation for American Art and Loyola University Museum of Art, 2008. Text pp. 32, 37 (checklist); ill. fig. 3, p. 32 (color). Tedeschi, Martha with Kristi Dahm. John Marin's Watercolors: A Medium for Modernism. (exh. cat., The Art Institute of Chicago, Chicago, Illinois). Chicago: The Art Institute of Chicago and New Haven and London: Yale University Press, 2010. Text pp. 73–74, 127; ill. fig. 62a, p. 73, pl. 53, p. 125 (color). Wilkin, Karen. Art: John Marin in Chicago(review), The New Criterion 29, 7 (March 2011). Text p. 47. Art Across America. (exh. cat., National Museum of Korea, Los Angeles County Museum of Art, The Museum of Fine Arts, Houston, Philadelphia Museum of Art and the Terra Foundation for American Art). Seoul, South Korea: National Museum of Korea, 2013. (English and Korean versions). Text p. 305; ill. p. 304 (color). America: Painting a Nation. (exh. cat., Art Gallery of New South Wales, the Los Angeles County Museum of Art, the Museum of Fine Arts, Houston, the National Museum of Korea, the Philadelphia Museum of Art and the Terra Foundation for American Art). Sydney, Australia: Art Gallery of New South Wales, 2013. Text p. 194; ill. cat. no. 68, p. 195, (color). Gillespie, Sarah Kate, Kimberly Orcutt, Janice Simon, and Meredith Ward. Icon of Modernism: Representing the Brooklyn Bridge, 1883–1950. (exh. cat., Georgia Museum of Art, University of Georgia). Athens, Georgia: Georgia Museum of Art, University of Georgia, 2016. Text p. 69; p. 117, cat. no. 25; ill. p. 117, cat. no. 25 (color). Pathways to Modernism: American Art, 1865–1945. (exh. cat. Shanghai Museum with Art Institute of Chicago and Terra Foundation for American Art). Shanghai: Shanghai Museum, 2018. Text p. 134; ill. p. 135 (color). Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text p. 269; ill. p. 269 (color). Piccoli, Valéria, Fernanda Pitta, and Taylor Poulin. Pelas ruas: vida moderna e experiências urbanas na arte dos Estados Unidos, 1893-1976. (exh. cat., Pinacoteca do Estado de São Paulo and Terra Foundation for American Art). São Paulo, Brazil: Pinacoteca do Estado de São Paulo, 2022. Pl. p. 48 (color).

Clown with Drum

Walt Kuhn

Date: 1942

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.172

Text Entries: Walt Kuhn takes his place in the history of art as one of the organizers of the 1913 International Exhibition of Modern Art-often known as the Armory Show-which introduced European modernist art and its tenets to the American public. Like many artists of the time, Kuhn began his career as a cartoonist, working for publications such as Life, Puck, and the New York Sunday Sun. Painting came later and Kuhn pursued it passionately. In 1901, he traveled to Europe to study art and within four years started on a series that would encompass over 3,000 nude studies. Kuhn's early interest in European modernism shifted, however, and by the early 1920s his focus was local; he created figurative work depicting the subjects around him in New York. It is this later work for which Kuhn is best known, specifically his renderings of vaudeville actors and circus performers. Clown with Drum is a remarkable example of this genre. Joe Pascucciello, a local "bag-puncher," served as model and is portrayed in the preferred style of Kuhn: instead of the big ring and the bright lights of the performance space, the viewer is given a glimpse behind the scene, a sensitive rendering from a privileged position shared by the artist.

Bar-b-que

Jacob Lawrence

Date: 1942

Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund

Object number: 2013.1

Text Entries: Nesbett, Peter T. and Michelle DuBois. Jacob Lawrence: Paintings, Drawings and Murals (1935-1999): A Catalogue Raisonné. Seattle: University of Washington Press, 2000. Text p. 68, cat. no. 42–16, ill. pl. 42–16 (color). America: Painting a Nation. (exh. cat., Art Gallery of New South Wales, Los Angeles County Museum of Art, Museum of Fine Arts, Houston, National Museum of Korea, Philadelphia Museum of Art and the Terra Foundation for American Art). Sydney, Australia: Art Gallery of New South Wales, 2013. Text pp. 27, 37, 216; ill. p. 217, cat. no. 76 (color). Soutif, Daniel. The Color Line: Les Artistes Africains-Américains et la Ségrégation 1865–2016. (exh. cat. Musée du quai Branly). Paris: Flammiron, 2016. ill. p. 315 (color). Pathways to Modernism: American Art, 1865–1945. (exh. cat. Shanghai Museum with Art Institute of Chicago and Terra Foundation for American Art). Shanghai: Shanghai Museum, 2018. Text p. 158; ill. p. 159 (color). Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text pp. 230, 231; ill. p. 230, detail pp. 232–233 (color).

Adolescence

Milton Avery

Date: 1947

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.3

Text Entries: Milton Avery started his artistic career in his early twenties. Due to the untimely death of his father, brother and brother-in-law, Avery started work at a young age to help support his extended family, which at one point consisted of nine women and children. After taking on various jobs such as an assembler in a screw factory, a lathe man, and mechanic, Avery saw an advertisement that promised "Money for lettering." He enrolled in a lettering class at the Connecticut League of Art Students and went on to take life drawing classes. In 1926, Avery met Sally Michel, a successful illustrator and fellow artist. Two years later they were married. Through her illustrating assignments, Sally was able to support the fine art endeavors of herself as well as Avery.Modernist art-particularly that of the French artist Henri Matisse-had a tremendous influence on Avery's work. In Adolescence, forms are simplified and flattened, creating a decorative effect, and the subtle variations of hue reveal Avery's mastery of color (it is this adroitness with color that would later influence Color Field artists such as Mark Rothko). The painting depicts Avery's daughter March at the age of fifteen and was exhibited in 1947 at Durand-Ruel's gallery in New York. This was Avery's first solo exhibition and, as his daughter was featured in all of the exhibited works, the show was aptly titled My Daughter, March. Concerned with capturing the essence of adolescence, this painting expresses the universal through the particular and stands as a classic example of Avery's fully developed style.