Dated Web objects 1880-1919

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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).

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

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.

Maud on a Stairway

James Abbott McNeill Whistler

Date: 1884–85

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

Object number: 1999.150

Text Entries: Whistler's Muses The women in James McNeill Whistler's life were often his subjects. His most famous work of art is the portrait of his mother. Whistler's favorite models were also often his mistresses. Around 1870, Maud Franklin replaced long-term companion Joanna Hiffernan, who is immortalized in Symphony in White, No. 1: The White Girl, 1862 (Washington D. C., National Gallery of Art). Beatrice (or Trixie) Godwin, the widow of a friend, married Whistler in 1888. A devoted couple, the artist was bereft when she died in 1896. Known for a violent temper and her English appearance, Maud Franklin was intelligent and sophisticated, but highly independent and very jealous although devoted to Whistler. Calling herself Mrs. Whistler, she lived with the artist for approximately fifteen years becoming his business manager, agent, housekeeper, cook, and adviser. Depictions of Franklin appear in all Whistler's media and hint at her sustained role as his muse. While her fashionable attire is carefully portrayed in Maud, Standing and Maud on a Stairway, it is her pose in both that commands our interest. Dynamic color and expressive brushwork dominate in Note in Red: The Siesta where Franklin is shown resting-her strong personality subdued in a decorative pattern.

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).

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).

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).

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).