Works – Dated Web objects 1920-1959 – Collections – Terra Foundation for American Art

John Storrs

Date: December 29, 1930

Credit Line: Terra Foundation for American Art: Gift of Michelle Storrs Booz

Object number: 2008.2

Text Entries: In his preparatory sketch for <a href="http://collection.terraamericanart.org/objects/1606">Politics (TF 2008.1)</a>, John Storrs precisely details the lines and shapes he used in the final, painted version of the composition, noting the relative values of the colors for the painting by means of various densities of shading. Even the scattered dots on the light-colored central shape, the only seemingly casual element among the composition's sharply edged and carefully ordered forms, correspond almost completely with their placement in the painting. Storrs's methodical and deliberate creative process, surely influenced by the architectural practice of his father, is underscored by his precise dating of the sketch (in the European order of day-month-year) and his inscription of the dimensions of the canvas for the painted version, a forty-inch square, at the lower right.

untitled [tree limbs and roots]

Pierre Daura

Date: 1934

Credit Line: Terra Foundation for American Art, Gift of Martha R. Daura

Object number: 2000.17

Text Entries: The thirty-three paintings, drawings, and prints and one sketchbook in the Pierre Daura Study Collection represent a cross-section of this versatile artist's work and span his entire career. They demonstrate his abilities as a draftsman, painter, and printmaker in a variety of media, and highlight his concern for specific themes and subjects. The earliest work, <a href="http://collection.terraamericanart.org/objects/843">untitled [Boats in Harbor] (TF 2000.37)</a>, which may date to the artist's adolescent years, evinces a precocious sense of color and form along with an awareness of the then-current expressive emphasis on tactile paint and exaggerated hues. Similar qualities are evident in the latest dated work, <a href="http://collection.terraamericanart.org/objects/840"> untitled [Daura House] (TF 2000.11)</a>, in which angular planes and vivid brushwork superimpose a modernist sensibility on the medieval irregularity of the artist's home in the southern French town of St. Cirq-Lapopie, a lifelong source of inspiration. Other works attest to Daura's attraction to streetscapes and architectural subjects in his native Spain and in Paris. <a href="http://collection.terraamericanart.org/objects/807">Untitled [chimneys] (TF 2000.13)</a> and <a href="http://collection.terraamericanart.org/objects/808"> untitled [streetlights] (TF 2000.14)</a> of 1921, his economical renderings of Paris scenes, prophesy his involvement by the decade's end in the short-lived avant-garde group Cercle et Carré (Circle and Square), dedicated to a reductivist non-representational art based on geometry. Although Daura experimented with abstraction throughout his career, his art was fundamentally grounded in the truths he found in the visible world around him. Like many other early twentieth-century modernist artists, Daura worked out problems of composition and color in still life arrangements. The figure nonetheless remained central to his art, from intimate nude studies to the numerous bust self-portraits he created in the course of his career. The artist explored his own elegant features and penetrating gaze in the media of drawing <a href="http://collection.terraamericanart.org/objects/810 "> untitled [Daura] (TF 2000.16)</a>, engraving <a href="http://collection.terraamericanart.org/objects/823"> untitled [Daura with scarf] (TF 2000.28)</a>, and oil painting <a href="http://collection.terraamericanart.org/objects/846"> untitled [Daura, winter cap] (TF 2000.40)</a>. <a href="http://collection.terraamericanart.org/objects/826"> Un Observador de la 59 Brigada Mixta, Teruel, 1937 (TF 2000.31)</a> is his self-portrait as a military observer in a brigade of anti-Fascist fighters during the Spanish Civil War in 1937. Daura devoted many other portrait heads and figural compositions to recording the experience of individual fighters, and he created a series of powerful print images to express the horrors of the conflict for soldiers and civilians alike, as in <a href="http://collection.terraamericanart.org/objects/827"> CIVILISATION 1937: Bronchales Teruel, Facist Clean-up, Spain (TF 2000.32)</a> and <a href="http://collection.terraamericanart.org/objects/828"> CIVILISATION 1937: The Innocent Victims of Valdecuenca Teruel (TF 2000.33)</a>, two examples from the group ironically titled <1>Civilisation 1937. During World War II, by which time he had settled in Virginia with his American-born wife and their daughter, Daura made poster designs promoting the war effort on the home front, of which <a href="http://collection.terraamericanart.org/objects/829">untitled [Americans at Work] (TF 2000.34)</a> and <a href="http://collection.terraamericanart.org/objects/830">untitled [Remember Pearl Harbor] (TF 2000.35)</a> are examples. In Daura's paintings, form largely takes precedence over color, an approach born out in his tireless activity as a draftsman. Daura also was a prolific printmaker who experimented in virtually every medium of intaglio technique, often combining them for a variety of effects. In an untitled view of his own house <a href="http://collection.terraamericanart.org/objects/822">untitled [Maison Daura] (TF 2000.27)</a>, a picturesque medieval structure in the southern French town of St. Cirq-Lapopie, for example, he juxtaposed the delicate lines of etching and the soft, blurry tones of aquatint. Vivid contrasts of light and dark areas infuse drama into Daura's view of a Spanish town in <a href="http://collection.terraamericanart.org/objects/820">Asco - Spain (TF 2000.25)</a>. His use of formal means to energize his compositions is a unifying feature of the wide-ranging body of work Daura created in the course of his prolific career.

untitled [tree limbs and roots]

Pierre Daura

Date: 1934

Credit Line: Terra Foundation for American Art, Gift of Martha R. Daura

Object number: 2000.18

Text Entries: The thirty-three paintings, drawings, and prints and one sketchbook in the Pierre Daura Study Collection represent a cross-section of this versatile artist's work and span his entire career. They demonstrate his abilities as a draftsman, painter, and printmaker in a variety of media, and highlight his concern for specific themes and subjects. The earliest work, <a href="http://collection.terraamericanart.org/objects/843">untitled [Boats in Harbor] (TF 2000.37)</a>, which may date to the artist's adolescent years, evinces a precocious sense of color and form along with an awareness of the then-current expressive emphasis on tactile paint and exaggerated hues. Similar qualities are evident in the latest dated work, <a href="http://collection.terraamericanart.org/objects/840"> untitled [Daura House] (TF 2000.11)</a>, in which angular planes and vivid brushwork superimpose a modernist sensibility on the medieval irregularity of the artist's home in the southern French town of St. Cirq-Lapopie, a lifelong source of inspiration. Other works attest to Daura's attraction to streetscapes and architectural subjects in his native Spain and in Paris. <a href="http://collection.terraamericanart.org/objects/807">Untitled [chimneys] (TF 2000.13)</a> and <a href="http://collection.terraamericanart.org/objects/808"> untitled [streetlights] (TF 2000.14)</a> of 1921, his economical renderings of Paris scenes, prophesy his involvement by the decade's end in the short-lived avant-garde group Cercle et Carré (Circle and Square), dedicated to a reductivist non-representational art based on geometry. Although Daura experimented with abstraction throughout his career, his art was fundamentally grounded in the truths he found in the visible world around him. Like many other early twentieth-century modernist artists, Daura worked out problems of composition and color in still life arrangements. The figure nonetheless remained central to his art, from intimate nude studies to the numerous bust self-portraits he created in the course of his career. The artist explored his own elegant features and penetrating gaze in the media of drawing <a href="http://collection.terraamericanart.org/objects/810 "> untitled [Daura] (TF 2000.16)</a>, engraving <a href="http://collection.terraamericanart.org/objects/823"> untitled [Daura with scarf] (TF 2000.28)</a>, and oil painting <a href="http://collection.terraamericanart.org/objects/846"> untitled [Daura, winter cap] (TF 2000.40)</a>. <a href="http://collection.terraamericanart.org/objects/826"> Un Observador de la 59 Brigada Mixta, Teruel, 1937 (TF 2000.31)</a> is his self-portrait as a military observer in a brigade of anti-Fascist fighters during the Spanish Civil War in 1937. Daura devoted many other portrait heads and figural compositions to recording the experience of individual fighters, and he created a series of powerful print images to express the horrors of the conflict for soldiers and civilians alike, as in <a href="http://collection.terraamericanart.org/objects/827"> CIVILISATION 1937: Bronchales Teruel, Facist Clean-up, Spain (TF 2000.32)</a> and <a href="http://collection.terraamericanart.org/objects/828"> CIVILISATION 1937: The Innocent Victims of Valdecuenca Teruel (TF 2000.33)</a>, two examples from the group ironically titled <1>Civilisation 1937. During World War II, by which time he had settled in Virginia with his American-born wife and their daughter, Daura made poster designs promoting the war effort on the home front, of which <a href="http://collection.terraamericanart.org/objects/829">untitled [Americans at Work] (TF 2000.34)</a> and <a href="http://collection.terraamericanart.org/objects/830">untitled [Remember Pearl Harbor] (TF 2000.35)</a> are examples. In Daura's paintings, form largely takes precedence over color, an approach born out in his tireless activity as a draftsman. Daura also was a prolific printmaker who experimented in virtually every medium of intaglio technique, often combining them for a variety of effects. In an untitled view of his own house <a href="http://collection.terraamericanart.org/objects/822">untitled [Maison Daura] (TF 2000.27)</a>, a picturesque medieval structure in the southern French town of St. Cirq-Lapopie, for example, he juxtaposed the delicate lines of etching and the soft, blurry tones of aquatint. Vivid contrasts of light and dark areas infuse drama into Daura's view of a Spanish town in <a href="http://collection.terraamericanart.org/objects/820">Asco - Spain (TF 2000.25)</a>. His use of formal means to energize his compositions is a unifying feature of the wide-ranging body of work Daura created in the course of his prolific career.

Hay Meadows

Adolf Dehn

Date: 1938

Credit Line: Terra Foundation for American Art, Gift of Mrs. Henrietta Roig

Object number: C1984.2

Text Entries: Extended loan, Vassar College Art Gallery, Poughkeepsie, New York, until 1984.

City Scene

Francis Chapin

Date: c. 1940

Credit Line: Terra Foundation for American Art, Gift of Bridges Collection

Object number: C1994.23

Text Entries: Figures and Forms: Selections from the Terra Foundation for the Arts, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, May 9–July 9, 2000.

Mother Earth

Emil Bisttram

Date: 1940

Credit Line: Terra Foundation for American Art, Gift of Aaron Galleries

Object number: C1993.26

Text Entries: Cartwright, Derrick R. and Paul J. Karlstrom. American Moderns, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Ill. no. 15, p. 70 (black & white). Cartwright, Derrick R. and Paul J. Karlstrom. L'Amérique et les modernes, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Ill. no. 15, p. 70 (black & white). 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. 31, 34 (checklist); Ill. Pl. 17, p. 53 (color).

Dancing Figures

Emil Bisttram

Date: 1941

Credit Line: Terra Foundation for American Art, Gift of Aaron Galleries

Object number: C1993.27

Text Entries: Gustafson, Elaine D. and Susan E. Strickler. The Second Wave: American Abstraction of the 1930s and 1940s. Worcester, Massachusetts: Worcester Art Museum, 1991, pp. 114–15. Cartwright, Derrick R. and Paul J. Karlstrom. American Moderns, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 60 (checklist); pl. 5, p. 32 (color). Cartwright, Derrick R. and Paul J. Karlstrom. L'Amérique et les modernes, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 60 (checklist); pl. 5, p. 32 (color).

untitled [Americans at Work]

Pierre Daura

Date: 1942

Credit Line: Terra Foundation for American Art, Gift of Martha R. Daura

Object number: 2000.34

Text Entries: Macià, Teresa. Pierre Daura (1896–1976). Barcelona, Spain: Ambit Serveis Editoriales, S.A., 1999. Ill. p. 157 (color).

Sierra Madre at Monterrey

Edward Hopper

Date: 1943

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

Object number: 1994.18

Text Entries: Hopper, Edward. Record Books. Vol. III, p. 105. Goodrich, Lloyd. Edward Hopper. New York: Harry N. Abrams, 1978. Ill. p. 260 (black & white). Sotheby's New York, New York (Sale 6568, May 25, 1994): lot 111. Ill. lot 111 (color). Sierra Madre at Monterrey, Edward Hopper. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, September 1997. Ill. (black & white). Cartwright, Derrick R. and Paul J. Karlstrom. American Moderns, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 61 (checklist). Cartwright, Derrick R. and Paul J. Karlstrom. L'Amérique et les modernes, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 61 (checklist). 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 p. 36 (checklist). 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. 235; ill. p. 235 (color). Mazow, Leo, with Sarah G. Powers. Edward Hopper and the American Hotel. (exh cat. Virigina Museum of Fine Arts). Richmond, VA: Virginia Museum of Fine Arts, distributed by Yale University Press, 2019. Text pp. 135–36; ill. p. 136 (color).

untitled [Remember Pearl Harbor]

Pierre Daura

Date: 1942

Credit Line: Terra Foundation for American Art, Gift of Martha R. Daura

Object number: 2000.35

Text Entries: The thirty-three paintings, drawings, and prints and one sketchbook in the Pierre Daura Study Collection represent a cross-section of this versatile artist's work and span his entire career. They demonstrate his abilities as a draftsman, painter, and printmaker in a variety of media, and highlight his concern for specific themes and subjects. The earliest work, <a href="http://collection.terraamericanart.org/objects/843">untitled [Boats in Harbor] (TF 2000.37)</a>, which may date to the artist's adolescent years, evinces a precocious sense of color and form along with an awareness of the then-current expressive emphasis on tactile paint and exaggerated hues. Similar qualities are evident in the latest dated work, <a href="http://collection.terraamericanart.org/objects/840"> untitled [Daura House] (TF 2000.11)</a>, in which angular planes and vivid brushwork superimpose a modernist sensibility on the medieval irregularity of the artist's home in the southern French town of St. Cirq-Lapopie, a lifelong source of inspiration. Other works attest to Daura's attraction to streetscapes and architectural subjects in his native Spain and in Paris. <a href="http://collection.terraamericanart.org/objects/807">Untitled [chimneys] (TF 2000.13)</a> and <a href="http://collection.terraamericanart.org/objects/808"> untitled [streetlights] (TF 2000.14)</a> of 1921, his economical renderings of Paris scenes, prophesy his involvement by the decade's end in the short-lived avant-garde group Cercle et Carré (Circle and Square), dedicated to a reductivist non-representational art based on geometry. Although Daura experimented with abstraction throughout his career, his art was fundamentally grounded in the truths he found in the visible world around him. Like many other early twentieth-century modernist artists, Daura worked out problems of composition and color in still life arrangements. The figure nonetheless remained central to his art, from intimate nude studies to the numerous bust self-portraits he created in the course of his career. The artist explored his own elegant features and penetrating gaze in the media of drawing <a href="http://collection.terraamericanart.org/objects/810 "> untitled [Daura] (TF 2000.16)</a>, engraving <a href="http://collection.terraamericanart.org/objects/823"> untitled [Daura with scarf] (TF 2000.28)</a>, and oil painting <a href="http://collection.terraamericanart.org/objects/846"> untitled [Daura, winter cap] (TF 2000.40)</a>. <a href="http://collection.terraamericanart.org/objects/826"> Un Observador de la 59 Brigada Mixta, Teruel, 1937 (TF 2000.31)</a> is his self-portrait as a military observer in a brigade of anti-Fascist fighters during the Spanish Civil War in 1937. Daura devoted many other portrait heads and figural compositions to recording the experience of individual fighters, and he created a series of powerful print images to express the horrors of the conflict for soldiers and civilians alike, as in <a href="http://collection.terraamericanart.org/objects/827"> CIVILISATION 1937: Bronchales Teruel, Facist Clean-up, Spain (TF 2000.32)</a> and <a href="http://collection.terraamericanart.org/objects/828"> CIVILISATION 1937: The Innocent Victims of Valdecuenca Teruel (TF 2000.33)</a>, two examples from the group ironically titled <1>Civilisation 1937. During World War II, by which time he had settled in Virginia with his American-born wife and their daughter, Daura made poster designs promoting the war effort on the home front, of which <a href="http://collection.terraamericanart.org/objects/829">untitled [Americans at Work] (TF 2000.34)</a> and <a href="http://collection.terraamericanart.org/objects/830">untitled [Remember Pearl Harbor] (TF 2000.35)</a> are examples. In Daura's paintings, form largely takes precedence over color, an approach born out in his tireless activity as a draftsman. Daura also was a prolific printmaker who experimented in virtually every medium of intaglio technique, often combining them for a variety of effects. In an untitled view of his own house <a href="http://collection.terraamericanart.org/objects/822">untitled [Maison Daura] (TF 2000.27)</a>, a picturesque medieval structure in the southern French town of St. Cirq-Lapopie, for example, he juxtaposed the delicate lines of etching and the soft, blurry tones of aquatint. Vivid contrasts of light and dark areas infuse drama into Daura's view of a Spanish town in <a href="http://collection.terraamericanart.org/objects/820">Asco - Spain (TF 2000.25)</a>. His use of formal means to energize his compositions is a unifying feature of the wide-ranging body of work Daura created in the course of his prolific career.

untitled [nude]

Pierre Daura

Date: 1945–53

Credit Line: Terra Foundation for American Art, Gift of Martha R. Daura

Object number: 2000.19

Text Entries: The thirty-three paintings, drawings, and prints and one sketchbook in the Pierre Daura Study Collection represent a cross-section of this versatile artist's work and span his entire career. They demonstrate his abilities as a draftsman, painter, and printmaker in a variety of media, and highlight his concern for specific themes and subjects. The earliest work, <a href="http://collection.terraamericanart.org/objects/843">untitled [Boats in Harbor] (TF 2000.37)</a>, which may date to the artist's adolescent years, evinces a precocious sense of color and form along with an awareness of the then-current expressive emphasis on tactile paint and exaggerated hues. Similar qualities are evident in the latest dated work, <a href="http://collection.terraamericanart.org/objects/840"> untitled [Daura House] (TF 2000.11)</a>, in which angular planes and vivid brushwork superimpose a modernist sensibility on the medieval irregularity of the artist's home in the southern French town of St. Cirq-Lapopie, a lifelong source of inspiration. Other works attest to Daura's attraction to streetscapes and architectural subjects in his native Spain and in Paris. <a href="http://collection.terraamericanart.org/objects/807">Untitled [chimneys] (TF 2000.13)</a> and <a href="http://collection.terraamericanart.org/objects/808"> untitled [streetlights] (TF 2000.14)</a> of 1921, his economical renderings of Paris scenes, prophesy his involvement by the decade's end in the short-lived avant-garde group Cercle et Carré (Circle and Square), dedicated to a reductivist non-representational art based on geometry. Although Daura experimented with abstraction throughout his career, his art was fundamentally grounded in the truths he found in the visible world around him. Like many other early twentieth-century modernist artists, Daura worked out problems of composition and color in still life arrangements. The figure nonetheless remained central to his art, from intimate nude studies to the numerous bust self-portraits he created in the course of his career. The artist explored his own elegant features and penetrating gaze in the media of drawing <a href="http://collection.terraamericanart.org/objects/810 "> untitled [Daura] (TF 2000.16)</a>, engraving <a href="http://collection.terraamericanart.org/objects/823"> untitled [Daura with scarf] (TF 2000.28)</a>, and oil painting <a href="http://collection.terraamericanart.org/objects/846"> untitled [Daura, winter cap] (TF 2000.40)</a>. <a href="http://collection.terraamericanart.org/objects/826"> Un Observador de la 59 Brigada Mixta, Teruel, 1937 (TF 2000.31)</a> is his self-portrait as a military observer in a brigade of anti-Fascist fighters during the Spanish Civil War in 1937. Daura devoted many other portrait heads and figural compositions to recording the experience of individual fighters, and he created a series of powerful print images to express the horrors of the conflict for soldiers and civilians alike, as in <a href="http://collection.terraamericanart.org/objects/827"> CIVILISATION 1937: Bronchales Teruel, Facist Clean-up, Spain (TF 2000.32)</a> and <a href="http://collection.terraamericanart.org/objects/828"> CIVILISATION 1937: The Innocent Victims of Valdecuenca Teruel (TF 2000.33)</a>, two examples from the group ironically titled <1>Civilisation 1937. During World War II, by which time he had settled in Virginia with his American-born wife and their daughter, Daura made poster designs promoting the war effort on the home front, of which <a href="http://collection.terraamericanart.org/objects/829">untitled [Americans at Work] (TF 2000.34)</a> and <a href="http://collection.terraamericanart.org/objects/830">untitled [Remember Pearl Harbor] (TF 2000.35)</a> are examples. In Daura's paintings, form largely takes precedence over color, an approach born out in his tireless activity as a draftsman. Daura also was a prolific printmaker who experimented in virtually every medium of intaglio technique, often combining them for a variety of effects. In an untitled view of his own house <a href="http://collection.terraamericanart.org/objects/822">untitled [Maison Daura] (TF 2000.27)</a>, a picturesque medieval structure in the southern French town of St. Cirq-Lapopie, for example, he juxtaposed the delicate lines of etching and the soft, blurry tones of aquatint. Vivid contrasts of light and dark areas infuse drama into Daura's view of a Spanish town in <a href="http://collection.terraamericanart.org/objects/820">Asco - Spain (TF 2000.25)</a>. His use of formal means to energize his compositions is a unifying feature of the wide-ranging body of work Daura created in the course of his prolific career.

untitled [nude]

Pierre Daura

Date: 1945–53

Credit Line: Terra Foundation for American Art, Gift of Martha R. Daura

Object number: 2000.20

Text Entries: The thirty-three paintings, drawings, and prints and one sketchbook in the Pierre Daura Study Collection represent a cross-section of this versatile artist's work and span his entire career. They demonstrate his abilities as a draftsman, painter, and printmaker in a variety of media, and highlight his concern for specific themes and subjects. The earliest work, <a href="http://collection.terraamericanart.org/objects/843">untitled [Boats in Harbor] (TF 2000.37)</a>, which may date to the artist's adolescent years, evinces a precocious sense of color and form along with an awareness of the then-current expressive emphasis on tactile paint and exaggerated hues. Similar qualities are evident in the latest dated work, <a href="http://collection.terraamericanart.org/objects/840"> untitled [Daura House] (TF 2000.11)</a>, in which angular planes and vivid brushwork superimpose a modernist sensibility on the medieval irregularity of the artist's home in the southern French town of St. Cirq-Lapopie, a lifelong source of inspiration. Other works attest to Daura's attraction to streetscapes and architectural subjects in his native Spain and in Paris. <a href="http://collection.terraamericanart.org/objects/807">Untitled [chimneys] (TF 2000.13)</a> and <a href="http://collection.terraamericanart.org/objects/808"> untitled [streetlights] (TF 2000.14)</a> of 1921, his economical renderings of Paris scenes, prophesy his involvement by the decade's end in the short-lived avant-garde group Cercle et Carré (Circle and Square), dedicated to a reductivist non-representational art based on geometry. Although Daura experimented with abstraction throughout his career, his art was fundamentally grounded in the truths he found in the visible world around him. Like many other early twentieth-century modernist artists, Daura worked out problems of composition and color in still life arrangements. The figure nonetheless remained central to his art, from intimate nude studies to the numerous bust self-portraits he created in the course of his career. The artist explored his own elegant features and penetrating gaze in the media of drawing <a href="http://collection.terraamericanart.org/objects/810 "> untitled [Daura] (TF 2000.16)</a>, engraving <a href="http://collection.terraamericanart.org/objects/823"> untitled [Daura with scarf] (TF 2000.28)</a>, and oil painting <a href="http://collection.terraamericanart.org/objects/846"> untitled [Daura, winter cap] (TF 2000.40)</a>. <a href="http://collection.terraamericanart.org/objects/826"> Un Observador de la 59 Brigada Mixta, Teruel, 1937 (TF 2000.31)</a> is his self-portrait as a military observer in a brigade of anti-Fascist fighters during the Spanish Civil War in 1937. Daura devoted many other portrait heads and figural compositions to recording the experience of individual fighters, and he created a series of powerful print images to express the horrors of the conflict for soldiers and civilians alike, as in <a href="http://collection.terraamericanart.org/objects/827"> CIVILISATION 1937: Bronchales Teruel, Facist Clean-up, Spain (TF 2000.32)</a> and <a href="http://collection.terraamericanart.org/objects/828"> CIVILISATION 1937: The Innocent Victims of Valdecuenca Teruel (TF 2000.33)</a>, two examples from the group ironically titled <1>Civilisation 1937. During World War II, by which time he had settled in Virginia with his American-born wife and their daughter, Daura made poster designs promoting the war effort on the home front, of which <a href="http://collection.terraamericanart.org/objects/829">untitled [Americans at Work] (TF 2000.34)</a> and <a href="http://collection.terraamericanart.org/objects/830">untitled [Remember Pearl Harbor] (TF 2000.35)</a> are examples. In Daura's paintings, form largely takes precedence over color, an approach born out in his tireless activity as a draftsman. Daura also was a prolific printmaker who experimented in virtually every medium of intaglio technique, often combining them for a variety of effects. In an untitled view of his own house <a href="http://collection.terraamericanart.org/objects/822">untitled [Maison Daura] (TF 2000.27)</a>, a picturesque medieval structure in the southern French town of St. Cirq-Lapopie, for example, he juxtaposed the delicate lines of etching and the soft, blurry tones of aquatint. Vivid contrasts of light and dark areas infuse drama into Daura's view of a Spanish town in <a href="http://collection.terraamericanart.org/objects/820">Asco - Spain (TF 2000.25)</a>. His use of formal means to energize his compositions is a unifying feature of the wide-ranging body of work Daura created in the course of his prolific career.