Dated Web objects 1880-1919

Advanced Search

Filters

170 results

Road near Honfleur

John H. Twachtman

Date: c. 1885

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

Object number: 1989.15

Text Entries: Thorpe, Jonathan. "John H. Twachtman." The Arts 2 (October 1921): 5–10. Text p. 5. Wickenden, Robert J. The Arts and Etchings of John Henry Twachtman. New York: Frederick Keppel & Co., 1921. Text p. 29. "Old and New: George Inness, J. H. Twachtman and Some Others." New York Tribune (January 7, 1923): n. p. Ill. 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. 208; pl. 48, p. 209 (color). 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. 208; pl. 48, p. 209 (color). Baskett, Mary Welsh. John Henry Twachtman: American Impressionist, Painter as a Printmaker. A Catalogue Raisonné of His Prints. New York: M. Hausberg, 1999. Fig. 32, p. 17 (black & white). Peters, Lisa N. John Henry Twachtman: An American Impressionist. (exh. cat., High Museum of Art). Atlanta, Georgia: High Museum of Art, 1999. Text p. 62. Denny, Margaret. Road Near Honfleur, John Henry Twachtman. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, April 2003. Ill. (color). Tsinghua University Art Museum. Americans Abroad: Landscape and Artistic Exchange, 1800-1920. (exh. cat. Tsinghua University Art Museum) Beijing: Tsinghua University, 2018. Text p. 96; ill. p. 97 (color). Bourguignon, Katherine and Valerie Reis. The Studio of Nature, 1860-1910: The Terra Collection in Context. (exh. cat, Terra Foundation for American Art with the Musée des Impressionnismes Giverny). Paris, France: Réunion des musées nationaux, 2020. Pl. 45, p. 115 (color).

Evening (Auvers-sur-Oise)

Charles Sprague Pearce

Date: c. 1885-89

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

Object number: 1994.15

Text Entries: Child, Theodore. "American Artists at the Paris Exhibitions." Harper's New Monthly Magazine 79:472 (September 1889): 489–521. Text p. 514 (as Le Soir). Knaufft, Ernest. "Pennsylvania Academy Exhibition." Art Amateur (March 22, 1890): 75. Text p. 75. Blaugrund, Annette. Paris 1889: American Artists at the Universal Exposition. (exh. cat., Pennsylvania Academy of the Fine Arts). Philadelphia, Pennsylvania: Pennsylvania Academy of the Fine Arts in association with Harry N. Abrams, New York, 1989. Text pp. 198, 288 (checklist); ill. no. 237, p. 200 (color). Lublin, Mary. A Rare Elegance: The Paintings of Charles Sprague Pearce. (exh. cat., The Jordan-Volpe Gallery). New York: The Jordan-Volpe Gallery, 1993. Text p. 35; fig. 17, p. 34 (black & white). Sotheby's, New York, New York (May 25, 1994): lot 63. Ill. lot 63. 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. 26 (checklist); ill. p. 47 (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. 26 (checklist); ill. p. 47 (color). Cartwright, Derrick. "The City and Country: American Perspectives 1870–1920." American Art Review 7:1 (January-February 2000): 100-11. Ill. p. 110 (color).

From Shore to Shore

Joseph H. Boston

Date: 1885

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

Object number: 1999.13

Text Entries: Cartwright, Derrick R. Waves and Waterways: American Perspectives, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 26 (checklist); ill. p. 39 (color). Cartwright, Derrick R. Rivières et rivages: les artistes américains, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 26 (checklist); ill. p. 39 (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 p. 173; ill. p. 173 (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, 144; ill. p. 36 (color detail), cat. no. 43, p. 145 (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. 130; ill. p. 130 (color).

Morning at Breakwater, Shinnecock

William Merritt Chase

Date: c. 1897

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

Object number: 1999.30

Text Entries: William Merritt Chase, an Indiana native, fascinated the New York art world with his sumptuously decorated studio and his sophisticated personal demeanor. Art studies in New York and Munich and extensive European travel developed his highly refined aesthetic attitude. President of the Society of American Artists for a decade and a popular teacher for thirty-seven years, Chase was one of the most influential artists in America. From 1891 to 1903, he pioneered one of the first and most important of the outdoor art programs, the Shinnecock Summer Art School on Long Island, New York. Chase, whose early reputation was associated with impressionism, was unanimously elected by The Ten to replace John Twachtman after his death in 1902. In Morning at Breakwater, Shinnecock Chase imaginatively contrasts the stark and rugged rocks, the man-made breakwater on Shinnecock and Peconic Bays, with the harmonious play of mothers and children on the sand united under a brilliant sunny sky. Employing divergent artistic styles in the painting as well, the artist's precise delineation of acute diagonal lines, which establish a classic perspective, is veiled by his lightly colored palette and his fluid brushwork implying an impressionistic style. Yet, the picture's calculated composition rebukes the effect of a summer morning scene spontaneously captured while painting outdoors.

Carlyle's Sweetstuff Shop

James Abbott McNeill Whistler

Date: c. 1887

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

Object number: 1992.147

Text Entries: Although born in the United States, James McNeill Whistler made England his adopted home, and these two works depict shops in his London neighborhood. Architectural elements are the focus of these paintings: the windows and doorways become a study of shapes, colors, and composition. The ambiguity of the scenes further obscures any narrative. Are the figures in the doorways going in, coming out, or just relaxing? There is a suggestion of action yet observance of activity goes unfulfilled. The works present an unassuming image of a particular place and time observed by Whistler, with figures-as does the viewer-peering curiously in windows and doorways.

Brook, Giverny

Theodore Wendel

Date: 1887

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

Object number: 1987.13

Text Entries: 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 pp. 47, 164; pl. 21, p. 165 (color). 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 pp. 47, 164; pl. 21, p. 165 (color). Gerdts, William H. Monet's Giverny: An Impressionist Colony. New York: Abbeville Press, 1993. Text pp. 49, 64; pl. 53, p. 64 (color). Bourguignon, Katherine M. et al. Impressionist Giverny: A Colony of Artists, 1885–1915. (exh. cat. Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for American Art, 2007. Text. pp. 35, 76, 212 (checklist); cat. p. 85 (color). Bourguignon, Katherine M., Shunsuke Kijima and Sanjiro Minamikawa. Monet and the Artists of Giverny: The Beginning of American Impressionism. (exh. cat. Kitakyushu Municipal Museum of Art, The Bunkamura Museum of Art, Tokyo, and The Okayama Prefectural Museum of Art). Fukuoka, Japan: The Nishinippon Shimbun, 2010. Text cat. no. 26, pp.76 (in Japanese), 182-83 (in English); ill. p. 76 (color). Bruce, Tobi and Joan Padgett, eds., Into the Light: The Paintings of William Blair Bruce (1859-1906). (exh. cat., Art Gallery of Hamilton). Ontario: Art Gallery of Hamilton, 2014. Fig 3.5 p. 116 (color), text p. 117. 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. 133; ill. p. 133 (color). Buckley, Laurene. Theodore Wendel: True Notes of American Impressionism. North Adams: The Artist Book Foundation, 2019. Text pp. 37, 46; ill. p. 104 (color). Bourguignon, Katherine and Valerie Reis. The Studio of Nature, 1860-1910: The Terra Collection in Context. (exh. cat, Terra Foundation for American Art with the Musée des Impressionnismes Giverny). Paris, France: Réunion des musées nationaux, 2020. Pl. 51, p. 125 (color).

Flowers: Peonies and Snowballs

Louis Ritter

Date: 1887

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

Object number: 1987.29

Text Entries: A bouquet composed of peonies and branches of flowers called snowballs sits on a table. The flowers are in full bloom with their blossoms weighing down their stems, except for a few wilted peonies that lie at the foot of the ceramic vase. Like many American artists, Louis Ritter received academic training in his country, which he complemented with a sojourn in Europe. He entered the Royal Academy of Munich, then a few years later, the Académie Julian. In 1887 he discovered Giverny, but spent little time there. His painting, however, was forever changed by this visit, as his touch became more nimble, his colors lighter. Still life had long been considered a secondary genre in the art world. But in the 1860s, a younger generation of artists rehabilitated it. Thus Fantin-Latour, and even Manet and Monet, took a fresh approach to this theme. The subject itself was of little importance, for it served as a pretext for experiments with color. In this painting, the dominant tone is a rather dark reddish-brown. The dazzling white of the snowballs makes us aware of a pattern of light hues that comes to a climax at the very top of the canvas and energizes the composition. If Ritter's choice of flowers reminds us of the bouquets of peonies painted by Manet, his style nevertheless remained quite traditional. The artist reveals his talent through the rendering of textures: the rough clay of the vase brings out the fluffiness of the white flowers and the velvety elegance of the red peonies.

The River Epte, Giverny

Willard Metcalf

Date: 1887

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

Object number: 1989.6

Text Entries: River Epte As did Monet, American artists responded to the colorful contrast and reflections of the Epte River, a tributary of the Seine, and its decorative row of poplar trees. The surface density or texture of John Leslie Breck's The River Epte, Giverny was created by adding layers of pigment. The artist's compositional devices, for example, cropping the left side of the riverbank, make the viewer feel physically present at the scene. Landscape painter Willard Leroy Metcalf's The River Epte, Giverny is an example of the fluid, sketchy brushwork typical of rapid plein-air application-in this case an oil sketch, a study made on site for a larger more finished work. In his Giverny landscapes, Metcalf applied the free and easy brushwork, which lends a sense of freshness and immediacy associated with the impressionist style. Visiting his friend Metcalf, Louis Ritter painted Willows and Stream, Giverny in the traditional landscape colors of brown and green rather than the bright color palette favored by impressionists. Despite its hazy atmosphere, the color, form, space and perspective are traditional indicating that Ritter modified impressionism's principles, as did most Americans, to suit his own personal style.

Willows and Stream, Giverny

Louis Ritter

Date: 1887

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

Object number: 1992.129

La Sieste (The Rest)

Robert Vonnoh

Date: 1887

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

Object number: 1992.139

Text Entries: This outdoor sketch was one of the earliest that Robert Vonnoh created during his extended stay in the village of Grez-sur-Loing near the Forest of Fontainebleu, the site of a popular artists' colony in the nineteenth century. The picturesque French countryside left an indelible mark on Vonnoh and he would make landscape, in addition to portraits, a mainstay of his art career. In 1894, a critic noted that Vonnoh "is deeply interested in the study of light, but he confines himself to no one phase of it. . . . His work is not superficial, for he reproduces the character, the atmosphere of the scene." Here, Vonnoh captured through paint the quiet pace of work in the glaring afternoon sunlight.

A Red Note: Fête on the Sands, Ostend

James Abbott McNeill Whistler

Date: 1887

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

Object number: 1992.155

Text Entries: Beginning in the 1880s, Whistler painted nearly all of his outdoor scenes on small wood panels en plein air (outdoors). While traveling with his brother on holiday, Whistler created this atmospheric evocation of the Belgian seaport and popular resort of Ostend, in which a welcoming crowd presumably cheers the ship of King Leopold II into harbor. The individuals in the crowd merge to create a horizontal strip of color that forms a layer with the beach, water, and sky, while the two figures on the right in the foreground add depth to the otherwise flattened composition. As its title alludes, the painting contains "notes" of red-the Belgian flag, the British Red Ensign, and touches in the crowd-that serve as the "visual music" that Whistler sought in his work. A brownish wash melds the pictorial elements together and acts as a veil that undercuts the immediacy of subject. Shrouded in this misty layer, it becomes a scene of quiet contemplation rather than one of festive activity for the occasion. When exhibited in 1887, a critical review described this small seascape as "an impression merely, and those who can see the poetry of faint impressions of light and shadow will get something out of it."

The Lily Pond

Willard Metcalf

Date: 1887

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

Object number: 1993.5

Text Entries: James Carroll Beckwith's application of pure pigment and use of saturated color demonstrates his interest in ideas associated with plein-air painting and its attendant color theories. The horizontal bands of multiple shades of green are heighten by patches of undiluted red color in French Spring. Continuing his summer experiences of plein-air painting, Willard Leroy Metcalf deftly used a wide range of greens in The Lily Pond thereby creating a tonal effect that was enriched by a judicious use of pale to bright yellow to suggest vibrant sunlight, contrasting against the shadowy reflections.