Dated Web objects 1880-1919

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Twilight, East Hampton

Mary Nimmo Moran

Date: 1880

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

Object number: 1996.82

Text Entries: Mary Nimmo Moran began etching landscapes in 1879 while her husband, a painter of Western landscapes, was away on an extended trip. Rather than making sketches on paper first, she carried her copper plates out of doors and incised bold, spontaneous lines directly onto them, translating areas of foliage and shadow into patterned areas of dark upon dark. Upon his return Thomas Moran submitted four of his wife's prints to the New York Etching Club, and over the following ten years Mary Nimmo Moran exhibited her work both in American cities and in London, where she met John Ruskin and was elected to the Royal Society of Painter-Etchers. She signed many of her prints with her initials to disguise her gender, and consistently deferred to her husband before the public; "I may say I have always been my Husband's pupil," she wrote. The high point of Moran's artistic career in the United States came in 1893 at the World's Columbian Exposition in Chicago, where she won a medal.

The Life Line

Winslow Homer

Date: 1884

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

Object number: 1996.8

Text Entries: Goodrich, Lloyd. The Graphic Art of Winslow Homer. (exh. cat., Museum of Graphic Art, New York). Washington, D.C.: Smithsonian Institute Press, 1968. No. 91, pp. 32–33. Howe, Katherine S., ed. Winslow Homer Graphics: From the Mavis P. and Mary Wilson Kelsey Collection of Winslow Homer Graphics. Houston, Texas: The Museum of Fine Arts, 1977. E2, p. 45. Engel, Charlene. "'For Those in Peril on the Sea:' The Intaglio Prints of Winslow Homer." Print Review 20 (1985): 23–40 (particularly see pp. 28–31 about The Life Line). Cikovsky, Jr., Nicolai and Franklin Kelly. Winslow Homer. (exh. cat., National Gallery of Art). Washington, D.C.: National Gallery of Art, 1995. No. 132, pp. 184–85, 223–25. The Life Line, Winslow Homer. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, October 1998. Ill. (black & white) [specific reference to Terra print]. 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 pp. 20, 27 (checklist); fig. 14, p. 20 (black & white) [specific reference to Terra print]. 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 pp. 20, 27 (checklist); fig. 14, p. 20 (black & white) [specific reference to Terra print]. Lévy, Sophie, ed. Winslow Homer: Poet of the Sea. (exh. cat., Musée d'Art Américain Giverny and the Dulwich Picture Gallery). Chicago, Illinois: Terra Foundation for American Art, 2006. Text p. 142 (checklist); ill., p. 98 (color). Deneberg, Thomas A., ed. Weatherbeaten: Winslow Homer and Maine. (exh. cat. Portland Museum of Art, Portalnd, Maine. New Haven and London: Yale University Press; Portland, Maine" Portland Museum of Art, 2012. Text, pp. 16, 156 (checklist); ill. fig. 17, p. 16 (color).

Gardiner's Bay from Fresh Pond, Long Island

Mary Nimmo Moran

Date: 1884

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

Object number: 1996.83

French Landscape

John H. Twachtman

Date: c. 1885

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

Object number: 2004.2

Text Entries: Wickenden, Robert J. The Art and Etchings of John Henry Twachtman. New York: Frederick Keppel and Company, 1921, pp. 20–30. Baskett, Mary Welsh. John Henry Twachtman: American Impressionist Painter as a Printmaker; A Catalogue Raisonné of His Prints. New York: M. Hausberg, 1999. No. 17, pp. 95–96.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. 44, p. 114 (color).

Harbor at Night

John H. Twachtman

Date: c. 1885–88

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

Object number: 1996.51

Text Entries: Baskett, Mary Welsh. John Henry Twachtman: American Impressionist Painter as a Printmaker: A Catalogue Raisonné of His Prints. New York: Meg Hausberg, 1999. No. 14, pp. 88–89. [specific reference to Terra print on p. 88 (third state)]. 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. 46, p. 116 (color).

Holland Dykes

John H. Twachtman

Date: 1885–88

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

Object number: 1996.71

Text Entries: Baskett, Mary Welsh. John Henry Twachtman: American Impressionist Painter as a Printmaker: A Catalogue Raisonné of His Prints. New York: Meg Hausberg, 1999. No. 16, pp. 92–93. [specific reference to Terra print on p. 92 (third state)].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. 47, p. 116 (color).

Nocturne: Palaces

James Abbott McNeill Whistler

Date: 1886

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

Object number: 1996.52

Text Entries: Kennedy, Edward Guthrie. The Etched Work of Whistler. Illustrated by reproductions in collotype of the different states of the plates. New York: Grolier Club, 1910. No. 202. Fine, Ruth E. Drawing Near: Whistler Etchings from the Zelman Collection. (exh. cat., Los Angeles County Museum of Art). Los Angeles, California: Los Angeles County Museum of Art, 1984. No. 60, pp. 134–35. Lochnan, Katharine A. The Etchings of James McNeill Whistler. New Haven, Connecticut and London, England: Art Gallery of Ontario and Yale University Press, 1984. No. 201. Melot, Michel. The Impressionist Print; Translated from the French by Caroline Beamish. New Haven, Connecticut: Yale University Press, 1996. Text pp. 187–88; fig. 209, p. 187. MacDonald, Margaret F. Palaces in the Night: Whistler in Venice. Hampshire, England: Lund Humphries, 2001. Text pp. 71, 84, 115, 120, 124, 137; fig. 126, p. 123. 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. 108, 206; ill. pp. 109 (color), 206 (black & white). [specific reference to Terra print] 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. 108, 206; ill. pp. 109 (color), 206 (black & white). [specific reference to Terra print]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. Text p. 53; Pl. 37, p. 103 (color).

The Half Dome—View from Moran Point

Thomas Moran

Date: 1887

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

Object number: 1996.63

Text Entries: Thomas Moran, N.A., Mary Nimmo Moran, S.P.E.: A Catalogue of Complete Etched Works of Thomas Moran, N.A., and N. Nimmo Moran, S.P.E. New York: Christian Klackner Galleries, 1889. No. 60, p. 15. Bruhn, Thomas P. American Etching: The 1880s. (exh. cat., William Benton Museum of Art). Storrs, Connecticut: William Benton Museum of Art, University of Connecticut, 1985. No. 16, pp. 47–48. Friese, Nancy with Anne Morand et al. The Prints of Thomas Moran in the Thomas Gilcrease Institute of American History and Art. (exh. cat., Thomas Gilcrease Institute of American History and Art). Tulsa, Oklahoma: Thomas Gilcrease Museum Association, 1986. Fig. 20, pp. 18, 36. Amory, Dita and Marilyn Symmes. Nature Observed, Nature Interpreted: Nineteenth-Century American Landscape Drawings & Watercolors from the National Academy of Design and Cooper-Hewitt, National Design Museum, Smithsonian Institution. (exh. cat., National Academy of Design). Washington, D.C.: Smithsonian Institution, 1995, pp. 107–111. The South Dome, Yosemite Valley, Thomas Moran. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, February 1999. Ill. (black & white). [specific reference to Terra print] 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. 17, 37 (checklist); Ill. p. 10 (color).

Inner Harbor, Bridgeport

John H. Twachtman

Date: c. 1888-89

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

Object number: 1996.75

Text Entries: Baskett, Mary Welsh. John Henry Twachtman: American Impressionist Painter as a Printmaker; A Catalogue Raisonné of His Prints. New York: M. Hausberg, 1999. Text no. 25, p. 110. [specific reference to Terra print]

Perils of the Sea

Winslow Homer

Date: 1888

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

Object number: 1995.38

Text Entries: Winslow Homer's two fisherwomen from the fishing village of Cullercoats stand steadfast and vigilant as they wait for news of their husbands' boats. The rescue house and the group of men looking out to sea serve as a foil for the female figures who, heroic in posture, suggest an air of quiet calm in the presence of possible calamity. The inhabitants of the English village would remain an important subject for Homer and his many depictions of fisherwomen, in everyday tasks such as knitting, often underscore the symbiotic relationships between the fisherwomen and their male counterparts, which relied on an observance of strictly gendered roles.

The Bath

Mary Cassatt

Date: 1890–91

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

Object number: 1994.4

Text Entries: Ives, Colta Feller. The Great Wave: The Influence of Japanese Woodcuts on French Prints. New York: The Metropolitan Museum of Art, 1974. Text pp. 45–55 (discusses Mary Cassatt print The Bath, here titled The Tub, cited specifically on pp. 46–47 as Cassatt's first attempt to follow Utamaro's model). Breeskin, Adelyn Dohme. The Graphic Work of Mary Cassatt: A Catalogue Raisonné. 2nd ed. Washington, D.C.: Smithsonian Institution Press, 1979. No. 143, pp. 61–62; ill. p. 140 (color). Getlin, Frank. Mary Cassatt: Paintings and Prints. New York: Abbeville Press, 1980. Text p. 76; ill. p. 77 (color impression from The National Gallery of Art). Breeskin, Adelyn Dohme. Mary Cassatt: Graphic Art. (exh. cat., Smithsonian Institution Traveling Exhibition Service). Washington, D.C.: Smithsonian Institution Press, 1981. No. 32 (color impression from the Museum of Art, Carnegie Institute). Mathews, Nancy Mowll and Barbara Stern Shapiro. Mary Cassatt: The Color Prints. (exh. cat., Museum of Fine Arts). Boston, Massachusetts: Museum of Fine Arts, 1989. No. 5, pp. 103–109. Reymond, Nathalie. Un regard américain sur Paris (An American Glance at Paris). Chicago, Illinois: Terra Foundation for the Arts, 1997. Text p. 28; ill. p. 26 (color). [specific reference to Terra print] Barter, Judith A. Mary Cassatt, Modern Woman. (exh. cat., The Art Institute of Chicago). Chicago, Illinois: The Art Institute of Chicago, 1998. No. 56, p. 278 (color impression from The Art Institute of Chicago, acc. no. 1932.1287). Adelson, Warren et al. Mary Cassatt: Prints and Drawings from the Artist's Studio. (exh. cat., Adelson Galleries, Inc.). Princeton, New Jersey: Princeton University Press, 2000. Text pp. 76–79; ill. pp. 76-79 (color). Cartwright, Derrick R. The Extraordinary and the Everyday: American Perspectives, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 8; fig. 8, p. 8 (black & white). [specific reference to Terra print] Cartwright, Derrick R. L'Héroïque et le quotidian: les artistes américains, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 8; fig. 8, p. 8 (black & white). [specific reference to Terra print] Mary Cassatt: Impressions. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for American Art, 2005; Paris: Le Passage Paris–New York Éditions, 2005. Text p. 56 (checklist); ill. p. 61 (color). Matthews, Nancy Mowll. Mary Cassatt: Friends and Family. (exh. cat., Shelburne Museum). Shelburne, Vermont: Shelburne Museum, Inc., 2008. Text p. 22; ill. fig. 24, p. 24 (color).

Maternal Caress

Mary Cassatt

Date: 1890–91

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

Object number: 1994.5

Text Entries: Ives, Colta Feller. The Great Wave: The Influence of Japanese Woodcuts on French Prints. New York: The Metropolitan Museum of Art, 1974. Text pp. 45–55 (discusses Mary Cassatt print Maternal Caress, cited specifically on pp. 48–49). Breeskin, Adelyn Dohme. The Graphic Work of Mary Cassatt: A Catalogue Raisonné. 2nd ed. Washington, D.C.: Smithsonian Institution Press, 1979. No. 150, p. 64; ill. p. 146 (color). Getlin, Frank. Mary Cassatt: Paintings and Prints. New York: Abbeville Press, 1980. Text p. 90; ill. p. 91 (color impression from The National Gallery of Art). Mathews, Nancy Mowll and Barbara Stern Shapiro. Mary Cassatt: The Color Prints. (exh. cat., Museum of Fine Arts). Boston, Massachusetts: Museum of Fine Arts, 1989. No. 12, pp. 140-44. Maternal Caress, Mary Cassatt. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, February 1995. Ill. (black & white). [specific reference to Terra print] Regard sur cinq années d'expositions (Five years of Exhibitions at a Glance). Chicago, Illinois: Terra Foundation for the Arts, 1997. Text p. 113; ill. p. 108 (color). [specific reference to Terra print] Barter, Judith A. Mary Cassatt, Modern Woman. (exh. cat., The Art Institute of Chicago). Chicago, Illinois: The Art Institute of Chicago, 1998. No. 63, p. 285 (color impression from The Art Institute of Chicago, acc. no. 1932.1288). Mancoff, Debra N. Mary Cassatt: Reflections of Women's Lives. London, England: Frances Lincoln, 1998. Text p. 88; ill. p. 89 (color). [specific reference to Terra print] Mary Cassatt: Impressions. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for American Art, 2005; Paris: Le Passage Paris–New York Éditions, 2005. Text p. 56 (checklist); ill. p. 59 (color). Vanessa Lecomte, editor. Portrait of a Lady : peinture et photographies américains (exh. cat., Musée d'Art Américain Giverny and Musée des beaux-arts de Bordeaux). Chicago, Illinois: Terra Foundation for American Art, 2008. Text (checklist) p. 93.