Dated Web objects 1960 and after

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Date: 1968

Credit Line: Terra Foundation for American Art, Gift in memory of Emiliano Sorini, printmaker

Object number: 2004.17

Text Entries: Sorini, Emiliano. Gropper - Catalogue Raisonné of the Etchings. San Francisco: Alan Wofsy Fine Arts, 1998. No. 113, p. 113.

Top Man

Date: 1968

Credit Line: Terra Foundation for American Art, Gift in memory of Emiliano Sorini, printmaker

Object number: 2004.18

Text Entries: Sorini, Emiliano. Gropper - Catalogue Raisonné of the Etchings. San Francisco: Alan Wofsy Fine Arts, 1998. No. 111, p. 111.

On the Death of My Father

Shelly Terman Canton

Date: 1968

Credit Line: Terra Foundation for American Art, Gift of Mr. Irving D. Canton

Object number: C1990.1

Text Entries: Shelly Canton 1930/1987 [sic]: Drawings and Prints. (exh. cat., Fairweather Hardin Gallery). Chicago, Illinois: Fairweather Hardin Gallery, 1987. [This impression no. 8/25 illustrated on page accompanying the conclusion of the catalogue's biography of the artist]

Plate for Self-Portrait

Raphael Soyer

Date: 1974

Credit Line: Terra Foundation for American Art, Gift in memory of Emiliano Sorini, printmaker

Object number: 2004.3.1

Text Entries: On the surface of this copper plate Raphael Soyer created the original image for his etching Self Portrait, which he printed in two states (<a href="http://collection.terraamericanart.org/objects/1370">TF 2004.4</a>, <a href="http://collection.terraamericanart.org/objects/1377">TF 2004.7</a>). The artist drew a series of lines on the plate that, with the aid of acid, were incised on the metal surface. Due to the nature of the printing process, the printed impressions reverse the image on the plate. While the copper surface is somewhat murky and hard to read, the evident clusters of lines, when inked, translate into a touching representation of the elderly artist's face. Etching plates such as this are relative rarities, for many artists limit the number of impressions they print by defacing or destroying their plates after printing. However, such objects can yield valuable insights into an artist's working methods when compared with various states of the resulting etching.

Self-Portrait

Raphael Soyer

Date: 1974

Credit Line: Terra Foundation for American Art,Gift in memory of Emiliano Sorini, printmaker

Object number: 2004.4

Text Entries: This etching by Raphael Soyer is an earlier state of the <a href="http://collection.terraamericanart.org/objects/1377">Self Portrait (TF 2004.7)</a> the artist made at age seventy-five from a still-extant copper plate <a href="http://collection.terraamericanart.org/objects/1398">(TF 2004.3.1)</a>. It is one of numerous self-images this realist artist made throughout his career to record his appearance at a particular time of life. For this state of the print, Soyer almost completely delineated the main features of his face and head, while the splotchy background is not yet fully resolved. He made this impression to check his progress in realizing the image. Comparison between this impression and the finished etching reveals that between the two states Soyer added more shading to further modulate the tonal areas on the face and neck, thereby heightening the illusion of three-dimensionality, and added dense cross-hatching to evoke a dark, shadowy background.

Self-Portrait (with Wife)

Raphael Soyer

Date: 1974

Credit Line: Terra Foundation for American Art, Gift in memory of Emiliano Sorini, printmaker

Object number: 2004.6

Text Entries: Cole, Sylvan with foreword by Jacob Kainen. Raphael Soyer: Fifty Years of Printmaking 1917–1967. New York: Da Capo Press, 1967. No. 107 [cites 1964 version of this print].

Self-Portrait

Raphael Soyer

Date: 1974

Credit Line: Terra Foundation for American Art, Gift in memory of Emiliano Sorini, printmaker

Object number: 2004.7

Text Entries: Raphael Soyer's late Self Portrait presents the balding, aged artist in an unflinchingly honest take on the traditional bust portrait, with the subject turned slightly away from the picture plane and light illuminating his head from the right against a plain dark background. Soyer peers out at the viewer from under arched eyebrows, but his abstracted gaze and somber expression hint at a more powerful inner vision—one that sees into the murkiness of his own future rather than out at the world around him. A self-portrait was one of the very first etchings Soyer made, in 1917, when he was a teenaged art student. Over the course of his career, he made many intense, close-up self-portraits in painting and various drawing and printmaking media. At age seventy-five, Soyer worked with his longtime collaborator, master intaglio printer Emiliano Sorini, to realize this poignant self-image that conveys the artist's honest scrutiny of his aged visage and recognition of his own mortality. As he explained in his later years: "I've painted and drawn myself countless times because, frankly, I am an introvert and introverts are involved with themselves. Usually, I draw and paint myself when I am alone, moody and unshaven, recalling mentally self-portraits by favorite masters. When I was young and painted a self portrait, I tried to imagine what I would look like old. Now when I paint myself I remember my youthful self-portraits and what I looked like then and meditate on what time does to all of us." Comparison of the original etched plate <a href="http://collection.terraamericanart.org/objects/1398">(TF 2004.3.1)</a>, the print's first state <a href="http://collection.terraamericanart.org/objects/1370">(TF 2004.4)</a>, and this example of the second state of this self-portrait yields insights into Soyer's graphic process. Between the first and second states, he strengthened the outlines of the head and the contrasts of light and dark between the sparsely etched area at the bottom of the print and the dark tones of the background surrounding the head achieved by dense cross-hatching. Soyer's use of line and variety of strokes results in an image of this seemingly frail, wispy haired old man, with a small, set mouth and a pointed chin. To indicate the collar, sleeves, and front of his simple white shirt, he strategically placed a few lines. Soyer's dark upraised eyebrows above his unflinching, deep-set eyes compel the viewer to confront him as a fellow human being.

[Nude Model and the Artist in the Studio]

Raphael Soyer

Date: 1976

Credit Line: Terra Foundation for American Art, Gift in memory of Emiliano Sorini, printmaker

Object number: 2004.5

Text Entries: In this untitled etching by Raphael Soyer, a nude woman stands beside a dark screen, grasping its edge as if about to enter its enclosure. Cast-off clothes are draped over the screen. She looks toward a short man in profile, just visible at the left edge of the image. This figure is probably the artist himself, holding several stretched canvases under his arm. Instead of being presented in a formal pose, the nude appears to be conferring with the artist, presumably just before or after a modeling session. By severely cropping the artist's body and dedicating the right half of the composition to the dark tones of the flat screen, Soyer focused attention on the centrally placed nude. Portrayed in an unguarded moment, as if unaware that she is the subject of the image, she is distinctly unidealized: a no-longer young woman with rather unkempt hair, heavy features, and a sturdy body. In the 1930s, Soyer began to make drawings, paintings, and prints of nude models in his studio. He usually captured them in informal poses, often in the act of dressing or undressing, to heighten the spontaneity and casual intimacy of his images. By showing the artist apparently entering the scene in this work, Soyer emphasizes the process behind the creation of images of the nude. In its informality and assertion of the model as an ordinary woman, Soyer's print recalls <a href="http://collection.terraamericanart.org/people/135">George Bellows's</a> earlier painting <a href="http://collection.terraamericanart.org/objects/500">Nude Girl, Miss Leslie Hall (TF 1999.5)</a>, in which the model is shown as if dressing herself following a posing session.

Kleberg

Jamie Wyeth

Date: 1984

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

Object number: 1992.164

Text Entries: Jamie Wyeth. (exh. cat., Coe Kerr Gallery, Inc.). New York: Coe Kerr Gallery, Inc., 1984. Text p. 2; ill. cover (color). "Jamie Wyeth at Coe Kerr Gallery." Art New/U.S.A. (Summer 1984). Text p. 10; ill. p. 10 (black & white). Preble, Michael. Jamie Wyeth: An American View. (exh. cat., Portland Museum of Art). Portland, Maine: Portland Museum of Art, Portland, Maine, 1984. Text pp. 8, 37 (checklist). Duff, James H. et al. An American Vision; Three Generations of Wyeth Art: N. C. Wyeth, Andrew Wyeth, James Wyeth. (exh. cat., Brandywine River Museum). Boston, Massachusetts: Little, Brown and Company, 1987. Ill. p. 62 (color). 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. Ill. p. 296, pl. T-187 (color). Kleberg, Jamie Wyeth. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, September 1991. Ill. (black & white). Dog Days by Jamie Wyeth. (exh. cat., Brandywine River Museum). Chadds Ford, Pennsylvania: Brandywine River Museum, 2007. Text p. 23; ill. p. 22 (color). Associated Press. “Black-eyed dog art up for auction.” Chicago Sun-Times (February 27, 2011): 3A. Text p. 3A. Davis, Elliot Bostwick. Jamie Wyeth. (exh. cat., Museum of Fine Arts, Boston) Boston: MFA Publications, 2014. Text p. 95; p. 197, cat. no. 65; ill. cover (color, detail); p. 122, cat. no. 65 (color). <a href="http://www.artandantiquesmag.com/2014/07/jamie-wyeth-paintings/" target="_blank">“Portrait.”</a> Art & Antiques Magazine (July 2014). Accessed January 16, 2017. Text. Keyes, Bob. <a href="http://www.pressherald.com/2014/07/20/jamie-wyeth-revealed/" target="_blank">"Boston museum opens major Jamie Wyeth retrospective.”</a> The Portland Press Herald (July 20, 2014). Accessed January 13, 2017. Ill. (color). <a href="http://wsimag.com/art/11080-jamie-wyeth" target="_blank">"Jamie Wyeth."</a> Wall Street International (September 10, 2014). Accessed January 16, 2017. Text; ill. (color). Standring, Timothy J. Wyeth: Andrew & Jamie in the Studio (exh. cat., Denver Art Museum). Denver, CO: Denver Art Museum in association with Yale University Press, 2015. Text p. 102, cat. no. 61; ill. p. 103, cat. no. 61 (color); p. 204, cat. no. 61 (checklist). Conway, Terry. <a href="http://www.thehuntmagazine.com/feature/2015/01/jamies-world/" target="_blank">"Jamie’s World.”</a> The Hunt Magazine (January 19, 2015). Accessed January 16, 2017. Text (as Kleberg, Partly Cloudy); ill. (color, as Kleberg). Saul, Ann. <a href="http://www.nysun.com/arts/get-real/89017/" target="_blank">"Get Real." </a> The New York Sun (January 26, 2015). Accessed January 16, 2017. Text. Talorico, Patricia and Maureen Milford. <a href="http://www.delawareonline.com/story/entertainment/arts/2015/02/25/frigid-tempatures-put-chill-jamie-wyeth-exhibition/24032281/" target="_blank">"Museum removes 14 Wyeth paintings to avoid damage.” </a> Delaware Online (February 25, 2015). Accessed January 16, 2017. Text; ill. (color detail, appears in installation photograph). Rinaldi, Ray Mark. <a href="http://www.denverpost.com/2015/11/12/dam-tries-to-rewrite-art-history-nearly-succeeds/" target="_blank">“DAM tries to rewrite art history. Nearly succeeds.”</a> The Denver Post (November 12, 2015). Accessed January 16, 2017. Text. Rawlings, Irene. <a href ="https://www.saturdayeveningpost.com/2016/07/born-to-paint/" target="_blank">“Jamie Wyeth: Born to Paint.” </a>The Saturday Evening Post (July/August 2016). Accessed January 16, 2017. Text; ill. (color, detail).

Kalounna in Frogtown

Jamie Wyeth

Date: 1986

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

Object number: 1992.163

Text Entries: The youngest child of artist Andrew Wyeth and the grandson of illustrator N.C. Wyeth, Jamie Wyeth showed an interest in art at an early age. Following the sixth grade, Wyeth was schooled at home by his own request and began a period of formal art training. He later studied with his father at the family's Pennsylvania farm and studio founded by his grandfather. By the age of twenty, Wyeth had his first solo exhibition and was soon known for his depictions of such celebrities as Andy Warhol and John F. Kennedy. Wyeth continually draws upon his surroundings for inspiration and his native Pennsylvania landscape has provided a powerful source of imagery. With his carefully controlled realist technique and tight, spare compositions, Wyeth transforms the ordinary into the monumental. Kalounna in Frogtown depicts the eleven-year-old Kalounna, a Laotian refugee who lived with his parents on Wyeth's farm. Wearing a tee-shirt from the popular television show Dallas with arms at his side, Kalounna fills the foreground of the painting. A figure that commands attention, he appears as an adolescent in transition, both vulnerable and confrontational.