Dated Web objects 1880-1919

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The Cider Mill

John George Brown

Date: 1880

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

Object number: 1992.19

Text Entries: (modified anniversary publication entry) The son of a poor family in Durham, England, John George Brown served as an apprentice to a glass cutter during his youth. He supplemented his training with evening drawing classes, and in 1852 moved to Edinburgh to study art. After a brief stay in London, Brown immigrated to the United States, where he found work in Brooklyn, New York, sketching stained-glass window designs. The year 1855 marked a redirection for Brown: he enrolled at the National Academy of Design in New York City and, along with Winslow Homer and Eastman Johnson, rented a studio in the Tenth Street Studio Building. In 1861 Brown helped found the Brooklyn Art Association, and the following year he was naturalized as a citizen of the United States. By this time, Brown had developed his signature subject-anecdotal images of children-for which he enjoyed consistent success throughout his career. While Brown gained his fame painting mischievous urban boys, including bootblacks, newsboys, and street toughs, his summer vacations in the Catskills and the Adirondack Mountains inspired a more sentimental view of childhood in a rural setting. In The Cider Mill five girls indulge in the late summer pleasure of the apple harvest. Seated in front of wooden barrels of cider, each bites into a crisp, ripe apple. Every element in the scene alludes to abundance: the overflowing basket in the foreground, the ripening corn in the distance, and the bright fall foliage that hangs like fringe from the trees. With their full, round faces and glowing complexions, the girls seem to embody wholesome health and innocence.

Two Snipes

Richard La Barre Goodwin

Date: c. 1880–1902

Credit Line: Terra Foundation for American Art, Gift of Mr. and Mrs. John Estabrook

Object number: C1982.2

Text Entries: Sharp, Kevin, ed. Wild Spaces, Open Seasons: Hunting and Fishing in American Art. (exh. cat., Dixon Gallery and Gardens, Joslyn Art Museum, Shelburne Museum, and Amon Carter Museum of Art). Norman, Oklahoma: University of Oklahoma Press, 2016. Text pp. 14, 76, 175, cat. no. 24 (checklist); ill. p. 79, fig. 2.17 (color).

Squirrel with Nuts

Joseph Decker

Date: c. 1880–1889

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

Object number: 1992.32

Text Entries: American Paintings III 1985. New York: Berry-Hill Galleries, Inc., 1985. Text p. 49; ill. p. 49 (color). Reynolds, Gary A. and Shelly Mehlman Dinhofer. Now Reposing in the Green-Wood Cemetery...Artists, Heroes, Villains and Other Illustrious Residents. (exh. cat., Museum of the Borough of Brooklyn). Brooklyn, New York: Museum of the Borough of Brooklyn, 1986. No. 23, p. 4. 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-82, p. 191 (color). Gerdts, William H. Joseph Decker: Still Lifes, Landscapes and Images of Youth. (exh. cat., Coe-Kerr Gallery, Inc.). New York: Coe-Kerr Gallery, Inc., 1988. Pl. V (color). Southgate, M. Therese. "The Cover." The Journal of the American Medical Association 266:16 (October 23/30 1991): cover, 2180. Text p. 2180; ill. cover (color). Southgate, M. Therese. The Art of JAMA III: Covers and Essays from the Journal of the American Medical Association. Chicago, Illinois: American Medical Association, 2011. Text p. 60; ill. opposite p. 60 (color).

Small Yacht Racing

Samuel S. Carr

Date: 1881

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

Object number: 1992.23

Text Entries: Sotheby's New York, New York (April 20, 1979): lot 35. Ill. lot 35 (black & white). Carter, Curtis L. et al. Changes: Art in America 1881/1981. (exh. cat., Marquette University). Milwaukee, Wisconsin: Marquette University, 1981. Text p. 24; ill. p. 24 (black & white). 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-54, p. 163 (color). Lynes, Russell, William H. Gerdts, and Donald Kuspit. At the Water's Edge: 19th and 20th Century American Beach Scenes. (exh. cat., Tampa Museum of Art). Tampa, Florida: Tampa Museum of Art, 1989. Text pp. 10, 121 (checklist), 128; ill. p. 66 (black & white). Small Yacht Racing, Samuel S. Carr. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, June 1992. Ill. (black & white).

The Butler Hard Rubber Factory

Edward Lamson Henry

Date: 1882

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

Object number: 1999.71

Text Entries: American Paintings III. New York: Berry-Hill Galleries, Inc., 1985. Text p. 72; ill. p. 72. 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-57, p. 166 (color). The Works of E. L. Henry: Recollections. (exh. cat., The R. W. Norton Art Gallery). Shreveport, Louisiana: The R. W. Norton Art Gallery, 1987. Ill. 22 (color). The Butler Hard Rubber Factory, Edward Lamson Henry. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, August 1988. Ill. (black & white). Society for Industrial Archeology Newsletter 21:4 (November 5–8, 1992): 8. Text p. 8; ill. p. 8 (black & white).

Lacroix-St. Ouen, Oise

Dennis Miller Bunker

Date: 1883

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

Object number: 1987.11

Text Entries: A solitary hunter stands at the edge of the woods with a rifle propped on his shoulder. The dense foliage has faded into autumnal shades of russet and yellow, while the gray skies and puddles in the foreground also indicate the change in season. Though painted in loose brushstrokes with just hints of detail, the full signature with date and title indicate that this painting was intended as an exhibition piece.In 1882, Dennis Miller Bunker arrived in Paris to refine the artistic skills he had been developing at the National Academy of Design under the guidance of William Merritt Chase. Upon the advice of fellow artists, he chose to enroll at the prestigious École des Beaux-Arts where he would study rigorously for two years in the atelier of Jean-Léon Gérôme. After months cooped-up in painting studios in Paris, Bunker would spend his summers seeking artistic inspiration in the plein air of the French countryside with fellow painters. The present canvas depicts the landscape around the small town of Lacroix-St. Ouen at the edge of the forest of Compiègne, where Bunker chose to spend the summer of 1883.For many American painters, classical training in the French capital was a necessary rite of passage, and for Bunker it would play a crucial role in his artistic development. In France, he further developed his already skilful draughtsmanship and brushwork. Inspired by the Barbizon School and the work of Camille Corot, Bunker acquired a mastery of light and form. For years after his return to the United States, he would complain that he missed the gray skies of France that had allowed him to paint calmly. (French version)Un chasseur solitaire se tient à l'orée du bois, son fusil à l'épaule. Le feuillage épais a pris ses teintes rousses et jaunes d'automne. Le gris du ciel et des flaques au premier plan évoque aussi le changement de saison. Les traits de pinceau sont assez larges et les détails ne sont que suggérés. Cependant, la signature et le titre indiquent que le tableau était destiné à être exposé.Dennis Miller Bunker arrive à Paris en 1882 afin de perfectionner ses talents développés à la National Academy of Design sous la direction de William Merritt Chase. Sur les conseils d'autres artistes, il choisit de s'inscrire à la prestigieuse École des Beaux-Arts, où il étudie deux ans dans l'atelier de Jean-Léon Gérôme. Après des mois dans les ateliers parisiens, Bunker se rend l'été à la campagne cherchant l'inspiration en plein air en compagnie d'autres peintres. Cette toile représente le paysage aux environs de la petite ville de Lacroix-St. Ouen, à l'orée de la forêt de Compiègne. Bunker y séjourne au cours de l'été 1883.Pour de nombreux peintres américains, une formation académique dans la capitale française est un passage obligé. Cet enseignement joue un rôle crucial dans la carrière de Bunker. En France, il perfectionne ses talents de dessinateur et sa touche. Inspiré par l'école de Barbizon et l'œuvre de Camille Corot, Bunker apprend à maîtriser les effets de lumière et la composition. Des années après son retour aux Etats-Unis, il se plaint avec nostalgie de ne plus voir les ciels gris de France qui lui ont permis de peindre dans le calme de leurs tonalités.

Champ de blé

Charles Harold Davis

Date: 1883

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

Object number: 1992.12

Text Entries: Charles Harold Davis was first exposed to French contemporary painting when viewing an exhibition of Barbizon paintings at the Boston Athenaeum in 1874. The French Barbizon School was named after the Barbizon village near the Forest of Fontainebleau, where Jean-Francois Millet had settled in the 1840s. Millet had many admirers in the United States, especially in Boston, where his work was collected and exhibited. Davis emulated a muted, Barbizon-inspired palette and in 1881, after studying in Paris for a year, settled in the village of Fleury, near Barbizon. After his return to the United States in 1890, Davis lived in Mystic, Connecticut, and later adopted the high-keyed palette of Impressionism.

Pic-Nic Prospect Park, Brooklyn

Samuel S. Carr

Date: 1883

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

Object number: 1992.22

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-55, p. 164 (color). Gallatti, Barbara. William Merritt Chase: Modern American Landscapes, 1886–1890. (exh. cat., Brooklyn Museum of Art). New York: Brooklyn Museum of Art in association with Harry N. Abrams, 1999. Text p. 64; fig. 19, p. 64 (black & white).

The River

John H. Twachtman

Date: c. 1883–85

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

Object number: 1989.1

Text Entries: A Cincinnati native, John Twachtman was not only a principal founder of The Ten but also its spiritual leader. The artist, the single member of the group to study at art academies in both Munich and Paris, persistently experimented to achieve his innovative style. In contrast to his friends who just spent summers in the countryside, Twachtman lived permanently outside of Greenwich, Connecticut in order to concentrate on painting the scenery around his home in the varied seasons. For a brief five years, the originality of Twachtman's works insured that The Ten's annual exhibitions were acclaimed as representing modern art-a reality that faded away, however, as his friends grew older and more conservative in their artistic practice and outlook. Twachtman summered in the French countryside during his years at the Académie Julian from 1883 to 1885. In a departure from most other American expatriate artists, he interpreted nature based on impressionism's concepts of optical sensations-light and color-not in narratives of rural peasantry. A palette of earth tones, applied in a thin application of paint, is brightened by the silvery reflections of water and sky in The River. While its flat design indicates the artist's interest in Japanese art, it is Twachtman's portrayal of a "damp atmosphere," an invitation to quiet meditation that is remarkable.

Note in Red: The Siesta

James Abbott McNeill Whistler

Date: by 1884

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

Object number: 1999.149

Text Entries: A brilliant portraitist known for his full-length canvases, James McNeill Whistler used this small panel to capture the lounging figure of his mistress, Maud Franklin. During her more than fifteen-year association with Whistler, Franklin often modeled for the artist. For this oil on panel, Whistler was less concerned with expressing Maud's identity than with capturing the languorous mood of the setting, which is wonderfully off-set by Whistler's expressive brushwork. Swirls of paint compose the forms, and a liberal use of red pigment further animates the scene. Such exuberance of mood and material is less obvious in Whistler's later works on panel, evidenced by the examples in this room.

Brittany Town Morning, Larmor

Dennis Miller Bunker

Date: 1884

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

Object number: 1991.1

Text Entries: A brilliant manipulation of paint to express the fugitive nature of light, this canvas of the French coastal village of Larmor marks a turning point in the young artist's oeuvre-his academic artistic training from the United States synthesized with French en plein air concerns. Dennis Miller Bunker's career was furthered bolstered by the friendship of artist John Singer Sargent and the patronage of Boston socialite Isabella Stewart Gardner, yet was ultimately cut short by his untimely death at the age of 29.

The Village Printing Shop, Haarlem, Holland

Charles Frederick Ulrich

Date: 1884

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

Object number: 1992.137

Text Entries: "The American Art Association Inaugural Exhibition. III." The Studio 1:9 (December 6, 1884): 100–102. Text p. 101. Montezuma. "My Note Book." Art Amateur 12:2 (January 1885): 28–29. Text p. 28. The American Painting Collection of Mrs. Norman B. Woolworth. (exh. cat., Coe Kerr Gallery, Inc.). New York: Coe Kerr Gallery, Inc., 1970. Ill. no. 110, p. 63 (as The Village Print Shop). Williams, Jr., Hermann Warner. Mirror to the American Past: A Survey of American Genre Painting: 1750–1900. Greenwich, Connecticut: New York Graphic Society, 1973. Text p. 206; fig. 200, p. 207 (black & white as The Village Print Shop). Hills, Patricia. The Painters' America: Rural and Urban Life, 1810–1910. (exh. cat., Whitney Museum of American Art). New York: Praeger Publishers in association with the Whitney Museum of American Art, 1974. Text p. 121; ill. no. 143, p. 121 (black & white as The Village Print Shop). Hoopes, Donelson. American Narrative Painting. (exh. cat., Los Angeles County Museum of Art). Los Angeles, California: Los Angeles County Museum of Art in association with Praeger Publishers, Inc., 1974. Text p. 176; ill. no. 84, p. 177 (black & white as The Village Print Shop). The Magazine Antiques 114:4 (October 1978): 646. Ill. p. 646 (color as The Village Print Shop). West, Richard. Munich and American Realism in the 19th Century. (exh. cat., E. B. Crocker Art Gallery). Sacramento, California: E. B. Crocker Art Gallery, 1978. Text p. 62; ill. p. 107 (black & white as Village Print Shop). Annual Report. Lawter Chemicals, Inc., 1979. Ill. cover. Sokol, David M. "The Terra Museum of American Art, Evanston, Illinois." The Magazine Antiques 126:5 (November 1984): 1156–69. Pl. V, p. 1158 (color as The Village Print Shop). 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-124, p. 233 (color as The Village Print Shop). Southgate, M. Therese. "The Cover." The Journal of the American Medical Association 263:7 (February 16, 1990): 928. Text p. 928; ill. cover (color as The Village Print Shop). Da Costa Nunes, Jadviga M. Painting Progress: American Art & the Idea of Technology, 1800–1917. Allentown, Pennsylvania: Allentown Art Museum, 1991. Ill. cover (color as The Village Print Shop). Amrhein, Manfred. Philatelic Literature: A History and a Select Bibliography From 1861 to 1991. Vol. 1. San Jose, Costa Rica: Manfred Amrhein, 1992. Ill. p. 132 (color as The Village Print Shop). Bott, Katarine M. ViceVersa: Deutsche Maler In Amerika, Amerikanische Maler in Deutschland, 1813–1913 (Vice Versa: German Painters in America, American Painters in Germany, 1813–1913). (exh. cat., Deutsches Historisches Museum). Munchen, Germany: Hirmer Verlag, 1996. Ill. (color). Stott, Annette. Holland Mania: The Unknown Dutch Period in American Art and Culture. Woodstock, New York: Overlook Press, 1998. Text pp. 110–13; fig. 61 (color). 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. 22, 30 (checklist); ill. cover (color), p. 39 (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. 22, 30 (checklist); ill. cover (color), p. 39 (color). McCullough, Holly Koons and Annette Stott. Dutch Utopia: American Artists in Holland, 1880–1914. American Art Review (September 2009): 108–15. Text pp. 112–13; ill. p. 113 (color). Dutch Utopia: American Artists in Holland, 1880–1914. (exh. cat., Telfair Museum of Art) Savannah, Georgia: Telfair Books, 2009. Text, pp. 25, 220 (cat. 70), ill. pp. 20, detail (color), 221 (color).