Dated Web objects 1920-1959

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Welcome to Our City

Charles Demuth

Date: 1921

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

Object number: 1993.3

Text Entries: American Painting 1900–1950. (exh. cat., Lowe Gallery, University of Miami). Miami, FL: Lowe Gallery, 1952. Text p. 1, cat. no. 12 (as Entrance to the City). Farnham, Emily. Charles Demuth: His Life, Psychology and Works. PhD dissertation, Ohio State University, 1959. Vol. II. Text pp. 108, 575, no. 416. Farnham, Emily. Charles Demuth: Behind a Laughing Mask. Norman, Oklahoma: University of Oklahoma Press, 1971. Text p. 120. Eiseman, Alvord L. Charles Demuth. New York: Watson-Guptill Publications, 1982. Text p. 17. Fahlman, Betsy. Pennsylvania Modern: Charles Demuth of Lancaster. (exh. cat., Philadelphia Museum of Art). Philadelphia, Pennsylvania: Philadelphia Museum of Art, 1983. Text p. 20. Haskell, Barbara. Charles Demuth. (exh. cat., Whitney Museum of American Art). New York: Whitney Museum of American Art in association with Harry N. Abrams, Inc., Publishers, 1987. Ill. p. 131 (black & white). Falhman, Betsy.”Charles Demuth’s Paintings of Lancaster Architecture: New Discoveries and Observations.” Arts Magazine 61, no. 7 (March 1987): 24–29. Text p. 24; ill. p. 24, fig.2 (black & white). Falhman, Betsy. “The Charles Demuth Retrospective at the Whitney Museum of American Art” Arts Magazine 62 (March 1988): 52–54. Text p. 53. Sotheby's New York, New York (Sale 6373, December 3, 1992): lot 153. Text, lot 153; ill. cover (color), lot 153 (color). Art & Auction (October 1993): cover. Ill. cover. Weinberg, Jonathon. Speaking for Vice: Homosexuality in the Art of Charles Demuth, Marsden Hartley, and the First American Avant-Garde. New Haven, Connecticut: Yale University Press, 1993. Text pp. 214, 21; ill. p. 215, fig. 74 (color). Welcome to Our City, Charles Demuth. Collection Cameo sheet, Terra Museum of Art, Chicago, Illinois, July 1994. Ill. (black & white). 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. 24 (checklist); ill. p. 30 (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. 24 (checklist); ill. p. 30 (color). 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. p. 2 (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. Ill. p. 2 (color). Cartwright, Derrick. "The City and Country: American Perspectives, 1870–1920." American Art Review 7, no. 1 (January-February 2000): 100–11. Ill. p. 108 (color). 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. 172, 194; ill. pp. 14 (color), 173 (color), 194 (black & white). 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. 172, 194; ill. cover (color detail), pp. 14 (color), 173 (color), 194 (black & white). Derouet, Christian et al. "Paris, capitale de l'Amérique." L'avant-garde américaine à Paris, 1918–1939. Edited by Sophie Lévy. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Ill. p. 53, cat. no. 23 (color). Derouet, Christian et al. A Transatlantic Avant-Garde: American Artists in Paris, 1918–1939. Edited by Sophie Lévy. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Ill. p. 53, cat. no. 23 (color). Mullaney, Tom. "Terra's Next Move." Art & Antiques (September 2003): 21. Text p. 21; ill. p. 21 (color). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., National Museum of China, Beijing; Shanghai Museum). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. Text p. 198; ill. p. 215 (color). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., National Museum of China, Beijing; Shanghai Museum). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Chinese edition). Text p. 198; ill. p. 215 (color). Art In America: 300 years of Innovation. Hong Kong: Wen Wei Publishing Co. Ltd, 2007. (in Chinese), Ill. p. 121 (color). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., The Pushkin Museum of Fine Arts, Moscow, Russia). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Russian edition). Ill. cover (color), p. 113 (color). Davidson, Susan, ed. Art in the USA: 300 años de innovación. (exh. cat., Guggenheim Museum Bilbao). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. Ill. p. 153 (color). Hambleton, Gross. Governing Cities in the Urban Era. New York, NY: Palgrave MacMillan US, 2007. Text “Acknowledgment section”. Ill. cover (color). Fahlman, Betsy and Claire Barry. Chimneys and Towers: Charles Demuth’s Late Paintings of Lancaster. (exh. cat. Amon Carter Museum) Philadelphia, PA: University of Pennsylvania Press, 2008. Text pp. 101, 134. Brock, Charles, Nancy Anderson, and Harry Cooper. American Modernism: The Shein Collection. (exh. cat., National Gallery of Art, Washington DC) Washington DC: National Gallery of Art, 2010. Text p. 45. Lampe, Anne M. Demuth in the City of Lights. (exh. cat. Woodmere Art Museum, Philadelphia, Pennsylvania). Philadelphia, Pennsylvania: Woodmere Art Museum, 2011. Text p. 18; ill. p. 19, fig. 28 (color). Art Across America. (exh. cat., National Museum of Korea, Los Angeles County Museum of Art, Museum of Fine Arts, Houston, Philadelphia Museum of Art and the Terra Foundation for American Art). Seoul, South Korea: National Museum of Korea, 2013. Text p. 281; ill. p. 280 (color). America: Painting a Nation. (exh. cat., Art Gallery of New South Wales, Los Angeles County Museum of Art, Museum of Fine Arts, Houston, National Museum of Korea, Philadelphia Museum of Art and the Terra Foundation for American Art). Sydney, Australia: Art Gallery of New South Wales, 2013. Text p. 178; ill. p. 179, cat. no. 60 (color), back cover flap (color detail). Bourguignon, Katherine M., Lauren Kroiz, and Leo G. Mazow. America’s Cool Modernism: O’Keeffe to Hopper. Oxford, United Kingdom: Ashmolean Museum of Art & Archaeology–University of Oxford, 2018. Text p. 33, cat. no. 24 (checklist); ill. pp. 32, 126 (color). Pathways to Modernism: American Art, 1865-1945. (exh. cat. Shanghai Museum with Art Institute of Chicago and Terra Foundation for American Art). Shanghai: Shanghai Museum, 2018. Text p. 122; ill. p. 123 (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. 258; ill. p. 258 (color).

Rue du Singe qui Pêche

Charles Demuth

Date: 1921

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

Object number: 1999.44

Text Entries: "The Downtown Gallery Papers; Charles Demuth #35," Archives of American Art, Roll ND/30, Frames #50, 51, 54, 55, 74, 75, 77, 78–81, 183, 184. Ritchie, Andrew Carnduff. Charles Demuth. (exh. cat., The Museum of Modern Art). New York: The Museum of Modern Art, 1950. Ill. p. 72. The Classic Tradition in Contemporary Art. (exh. cat., Walker Art Center). Minneapolis, Minnesota: Walker Art Center, 1953. Ill. p. 17. Farnham, Emily. Charles Demuth: His Life, Psychology and Works. PhD dissertation, Ohio State University, 1959. Vol. I, fig. 37, p. 409, vol. II, text p. 560. The Precisionist View in American Art. (exh. cat., Walker Art Center). Minneapolis, Minnesota: Walker Art Center, 1960. Cat. p. 55. An Exhibition of Works of Art, Lent by the Alumni of Williams College. (exh. cat., Williams College Museum of Art). Williamstown, Massachusetts: Williams College Museum of Art, 1962. Text p. 18. Charles Demuth: the Mechanical Encrusted on the Living. (exh. cat., The Art Galleries, University of California, Santa Barbara). Santa Barbara, California: The Art Galleries, University of California, Santa Barbara, 1971. Text p. 20. Farnham, Emily. Charles Demuth: Behind a Laughing Mask. Norman, Oklahoma: University of Oklahoma Press, 1971. Text pp. 120, 148, 206. Hunter, Sam. American Art of the 20th Century. New York: Harry N. Abrams, 1972. Ill. no. 201, p. 118 (black & white). Eiseman, Alvord L. A Study of the Development of an Artist: Charles Demuth. PhD dissertation, New York University, 1976. Vol. I, text pp. 366–69, ill. p. 367. Second Williams College Alumni Loan Exhibition. (exh. cat., Williams College Museum of Art). Williamstown, Massachusetts: Williams College Museum of Art, 1976. Text p. 14; cat. 15, p. 38. Norton, Thomas E., ed. Homage to Charles Demuth: Still Life Painter of Lancaster. Ephrata, Pennsylvania: Science Press, 1978. Ill. p. 74. Buildings: Architecture in American Modernism. (exh. cat., Hirschl & Adler Galleries, Inc.). New York: Hirschl & Adler Galleries, Inc., 1980. Text p. 28; ill. no. 23, p. 29. "Weekend [review of "The Geometric Tradition in American Painting, 1920–80]." The New York Times (Friday, April 11, 1980). Text. "Hirschl & Adler Exhibition Review." New York Daily News (November 21, 1980). Pisano, Ronald G. An American Place. (exh. cat., The Parrish Art Museum). Southampton, New York: The Parrish Art Museum, 1981. Ill. no. 1 (black & white). "Parrish Art Museum Exhibition Review." Newsday (July 9, 1981). Eiseman, Alvord L. Charles Demuth. New York: Watson-Guptill Publications, 1982. Text pp. 16, 65; pl. 26, p. 64 (color). Fernand Léger and the Modern Spirit. (exh. cat., The Museum of Fine Arts, Houston). Houston, Texas: The Museum of Fine Arts, 1982. Text p. 181; fig. 9, p. 182. Tsujimoto, Karen. Images of America: Precisionist Painting and Modern Photography. (exh. cat., San Francisco Museum of Modern Art). Seattle, Washington: Published for the San Francisco Museum of Modern Art by University of Washington Press, 1982. Text no. 39, p. 233 (checklist). Haskell, Barbara. Charles Demuth. (exh. cat., Whitney Museum of American Art). New York: Whitney Museum of American Art in association with Harry N. Abrams, Inc., Publishers, 1987. Pl. 68, p. 156 (color) 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-170, p. 279 (color). Rue du Singe qui Pêche, Charles Demuth. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, November 1988. Ill. (black & white). Clair, Jean, ed. The 1920s: Age of the Metropolis. Montreal, Canada: The Montreal Museum of Fine Arts, 1991. Text p. 357, pl. 474, p. 363 (color). 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 pp. 14, 24 (checklist); fig. 6, p. 14 (black & white). 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 pp. 14, 24 (checklist); fig. 6, p. 14 (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 pp. 37, 60 (checklist); pl. 10, p. 37 (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 pp. 37, 60 (checklist); pl. 10, p. 37 (color). Inheriting Cubism: The Impact of Cubism on American Art, 1909–1936. (exh. cat., Hollis Taggart Galleries). New York: Hollis Taggart Galleries, 2001. Text pp. 39-40; ill. p. 40 (black and white). American Art 1908–1947: From Winslow Homer to Jackson Pollock. (exh. cat. Reunion des musées nationaux). Paris, France: Editions de la Reunion des musées nationaux, 2001. Text pp. 104–15; ill. p. 121 (color). 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 p. 172. 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 p. 172. Derouet, Christian et al. A Transatlantic Avant-Garde: American Artists in Paris, 1918–1939. Edited by Sophie Lévy. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Cat. no. 21, p. 51 (color). Derouet, Christian et al. "Paris, capitale de l'Amérique." L'avant-garde américaine à Paris, 1918–1939. Edited by Sophie Lévy. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Cat. no. 21, p. 51 (color). Fahlman, Betsy and Claire Barry. Chimneys and Towers: Charles Demuth's Late Paintings of Lancaster. (exh. cat., Amon Carter Museum). Fort Worth, Texas: Amon Carter Museum, 2007. Text pp. 78,80, 197; ill. fig.37, p. 79 (color). Lampe, Anne M. Demuth in the City of Lights. (exh. cat. Woodmere Art Museum, Philadelphia, Pennsylvania). Philadelphia, Pennsylvania: Woodmere Art Museum, 2011. Text p. 18; ill. fig. 28, p. 19 (color). La Ville Magique. (exh. cat., Lille Métropole Musée d'Art Moderne d'Art Contemporain et d'Art Brut). Lille, France: Lille Métropole Musée d'Art Moderne d'Art Contemporain et d'Art Brut and Editions Gaillmard, 2012. Ill. cat. no. 119, p. 151 (color). Bourguignon, Katherine M., Lauren Kroiz, and Leo G. Mazow. America’s Cool Modernism: O’Keeffe to Hopper. Oxford, United Kingdom: Ashmolean Museum of Art & Archaeology–University of Oxford, 2018. Text p. 45, cat. no. 23 (checklist); ill. pp. 45, 126 (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 p. 165; ill. p. 166 (color).

Builders of the Desert

Walter Ufer

Date: 1923

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

Object number: 1992.174

Text Entries: Walter Ufer's penchant for depicting realist and socially conscious images of southwestern Native Americans is exemplified in this monumental painting. Ufer portrayed with equal importance the Indians' laborious endeavor of baking bricks for their five hundred-year-old community and the magnificent Taos landscape.

Thomas Sergeant Perry Reading a Newspaper

Lilla Cabot Perry

Date: 1924

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

Object number: 1987.27

Text Entries: Martindale, Meredith. Lilla Cabot Perry: An American Impressionist. (exh. cat., National Museum of Women in the Arts). Washington, D.C.: National Museum of Women in the Arts, 1990. Text pp. 84, 86, no. 64, p. 156; pl. 46, p. 87 (color). 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. 59; fig. 50, p. 59 (black & white). 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. 59; fig. 50, p. 59 (black & white). Lévy, Sophie, et al. Twarze Ameryki: Portrety z kolekcji Terra Foundation for American Art, 1770–1940/Faces of America: Portraits from the collection of the Terra Foundation for American Art, 1770–1940. (exh. cat. International Cultural Center). Cracow, Poland: International Cultural Center, 2006. Ill. front cover (color), p. 100 (color). Sgarbi, Vittorio et al. L'Arte delle Donne dal Rinascimento al Surrealismo. (exh. cat., Palazzo Reale, Milan, Italy). Milan, Italy: Federico Motta Editore, 2007. Text p. 359; ill. p. 240 (color as Thomas Sargeant Perry mentre legge il giornale). Muto, Shuji. American Literature and Culture at the Turn of the Century. Tokyo, Japan: Chuo University Press, 2008. Ill. p. 95 (black & white).

The Spinners

Thomas Hart Benton

Date: 1925–26

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

Object number: 2003.3

Text Entries: “Decorations by Thomas Benton at the New Gallery.” The Evening Sun (February 19, 1927): 16. Ill. p. 16 (black and white). Benton's America: Works on Paper and Selected Paintings. (exh. cat., Hirschl & Adler Galleries, Inc.). New York: Hirschl & Adler Galleries, Inc., 1991. Cat. no. 77, fig. 24, as Industry. “Quick Sketches: Benton Goes to Terra.” American Artist 68: 744 (July 2004): 14. Text p. 14. Ill p. 14 (color), as Industry (Women Spinning). Art In America: 300 years of Innovation. Hong Kong: Wen Wei Publishing Co. Ltd, 2007. Text p. 123 (in Chinese), Ill. p. 122 (color). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., The Pushkin Museum of Fine Arts, Moscow, Russia). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Russian version). Ill. p. 221 (color), as Industry (American Historical Epic, Second Chapter). Davidson, Susan, ed. Art in the USA: 300 años de innovación. (exh. cat., Guggenheim Museum Bilbao). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Spanish version). Ill. p. 165 (color). Conrads, Margaret C., ed. The Collections of the Nelson-Atkins Museum of Art: American Paintings to 1945. Kansas City, MO: The Nelson-Atkins Museum of Art, 2007. Text p. 69; Ill. p. 66 (black & white), as Industry. Bailly, Austen Barron. “Painting the American Historical Epic: Thomas Hart Benton and Race, 1919–1936.” PhD diss., University of California, Santa Barbara, March 2009. Text pp. xxi [Fig. 2.1, not illustrated], 95, 105-109, 296–300, 341 n. 6, 341 n. 8. Da Hopper a Warhol: Pittura Americana del XX secolo a San Marino. (exh. cat., Linea d'ombra). Treviso, Italy: Linea d'ombra, 2012. Text p. 48; ill. p. 49 (color).

Slaves

Thomas Hart Benton

Date: 1925

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

Object number: 2003.4

Text Entries: Benton, Thomas H. “My American Epic in Paint.” Creative Art 3:6 (December 1928): 31–36. Ill. p. 35 (black & white). M. K. P., “U.S. History in Panels: Murals are Good Examples of Thomas Hart Benton’s Art.” Kansas City Times (January 6, 1936): 106. Text p. 106. Freund, Karl. “Thomas Hart Benton—Realist: Nothing But the Truth, with Hogarthian Vengeance.” Ringmaster: The World in Caricature 1:4 (November 1936): 33–38, 45. Ill. p. 34 (black & white), as “Slavery.” Adams, Henry. Thomas Hart Benton: An American Original. (exh. cat., Nelson-Atkins Museum of Art). New York: Knopf, 1989. Ill. p. 124 (color). Doss, Erika Lee. Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism. Chicago, Illinois: University of Chicago Press, 1991. Fig. 1.3, p. 13. “Quick Sketches: Benton Goes to Terra.” American Artist 68:744 (July 2004): 14. Text p. 14. Ill p. 14 (color). Kennedy, Elizabeth and Olivier Meslay, eds. American Artists and the Louvre. (exh. cat., Musée du Louvre). Chicago: Terra Foundation for American Art; Paris: Musée du Louvre Éditions, 2006. Text p. 140, cat. no. 25; ill. p. 141 (color). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., National Art Museum of China, Beijing, China; Shanghai Museum, Shanghai, China). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. Ill. p. 221 (color). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., National Art Museum of China, Beijing, China; Shanghai Museum, Shanghai, China). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Chinese edition). Ill. p. 221 (color). Art In America: 300 years of Innovation. Hong Kong: Wen Wei Publishing Co. Ltd, 2007. Text p. 123 (in Chinese); Ill. p. 123 (color). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., The Pushkin Museum of Fine Arts, Moscow, Russia). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Russian edition). Ill. p. 117 (color). Davidson, Susan, ed. Art in the USA: 300 años de innovación. (exh. cat., Guggenheim Museum, Bilbao). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Spanish edition). Ill. p. 165 (color). Conrads, Margaret C., ed. The Collections of the Nelson-Atkins Museum of Art: American Paintings to 1945. Kansas City, MO: The Nelson-Atkins Museum of Art, 2007. Text p. 69; Ill. p. 66 (black & white). Bailly, Austen Barron. “Painting the American Historical Epic: Thomas Hart Benton and Race, 1919–1936.” PhD diss., University of California, Santa Barbara, March 2009. Text p. xix [Fig. I.8, not illustrated], 2, 14–15, 97, 102, 108–109, 203–205, 208, 226–227, 252, 293, 296–297, 303, 341 n.6. Bailly, Austen Barron. “Art for America: Race in Thomas Hart Benton’s Murals, 1919–19136.” Indiana Magazine of History 105:2 (June 2009): 150–166. Text pp. 151, 155, 159. 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 pp. 41, 285; ill. p. 41, fig. 50 (color), p. 284 (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 p. 206; ill. cat. no. 71, p. 207, (color). Bailly, Austen Barron, ed. American Epics: Thomas Hart Benton and Hollywood. (exh. cat. Peabody Essex Museum). Salem, Massachusetts: Peabody Essex Museum; London: Delmonico Books, 2015. Text, pp. 32, 192; ill. p. 47 (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. 207; ill. p. 207 (color).

untitled [plate, bananas and pears]

Pierre Daura

Date: 1924–30

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

Object number: 2000.36

Text Entries: Macià, Teresa. Pierre Daura (1896–1976). Barcelona, Spain: Ambit Serveis Editoriales, S.A., 1999. Ill. p. 48 (color as Still Life).

Super Table

Stuart Davis

Date: 1925

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

Object number: 1999.37

Text Entries: The son of two artists, Stuart Davis grew up with family friends such as John Sloan, George Luks, and Robert Henri. Davis enjoyed an art career that spanned five decades and by the early 1940s was acknowledged as an important figure in twentieth-century American art. Davis's formal art training began at the young age of sixteen when he enrolled in Robert Henri's newly opened school in New York. Three years later, five of his watercolors were included in the pivotal exhibition of modern art, the 1913 Armory Show. This show also initiated Davis's interest in European modernist movements. In particular, the work of Henri Matisse, Paul Gauguin, and Vincent van Gogh greatly appealed to Davis for their depictions embodied his ideal that even abstract art had subject matter. If Davis's work shows an influence of European art, it is always fused with American elements. In a list of items that determined his abstract paintings, for example, he included: "Civil War and skyscraper architecture; the brilliant colors on gasoline stations; chain-store fronts and taxicabs; the music of Bach; synthetic chemistry; the poetry of Rimbaud; fast travel by train, auto and airplane which brought new and multiple perspectives; electric signs; the landscape and boats of Gloucester, Mass.; 5 and 10 cent store kitchen utensils; movies and radio; etc." Super Table-a modern twist on the traditional still life-represents a pivotal stage in Davis's oeuvre, before recognizable subject matter is subsumed to form and color.

Purple and Green Leaves

Helen Torr

Date: 1927

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

Object number: 1999.142

Text Entries: Women should keep voices and color (in painting) lower. - Helen Torr, diary entry, 1938 What one critic has referred to as Helen Torr's "idiosyncratic, almost naïve sense of reality" infused her small paintings of shells, leaves and feathers with a luminous presence, but it also interfered with her efforts to sell and exhibit her work. When in 1927 the influential New York photographer and dealer Alfred Stieglitz refused to show her paintings alongside those of her husband, Arthur Dove (Stieglitz maintained Torr's work was "too frail for the room"), his wife Georgia O'Keeffe displayed them in a separate gallery of works by women. Despite some favorable critical response and Dove's hearty encouragement, Torr struggled with an acute awareness of her own flaws. Having nursed her husband throughout a debilitating illness during the 1940s, she gave up painting completely upon his death.

untitled [bridge at Vers (Spidoleine)]

Pierre Daura

Date: 1927

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

Object number: 2000.8

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, as in <a href="http://collection.terraamericanart.org/objects/837"> untitled [grey pitcher] (TF 2000.9)</a>. 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 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.

Illinois Central

George Josimovich

Date: 1927

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

Object number: 2004.1

Text Entries: Seventh Annual Exhibition of the Chicago No-Jury Society of Artists. (exh. cat. Chicago Society of Artists). Chicago, Illinois: Chicago Society of Artists, 1928. Text p. 11, cat. no. 180 (checklist, as I.C.). Defining the Edge: Early American Abstraction. (exh. cat., Laguna Art Museum, Michael Rosenfeld Gallery), New York, NY: Michael Rosenfeld Gallery, 1998. Text pp. 32, 54 (checklist); ill. p. 32 (color). George Josimovich: American Purist. Chicago, Illinois: Robert Adams Fine Art, Inc., Chicago, Illinois, 2004. Ill. (color). Camper, Fred. <a href="http://www.chicagoreader.com/chicago/hot-and-cold-visions/Content?oid=915701 " target="_blank">“Hot and Cold Visions.”</a> Chicago Reader (June 3rd, 2004). Accessed January 25, 2017. Text. Illinois Central, George Josimovich. Brochure for International Conference for Narratives About American Art. John F. Kennedy Institute for American Studies, Berlin, and Terra Foundation for American Art, Chicago, IL, May 24–26, 2007. Ill. cover (color). Cozzolino, Robert. Art in Chicago: Resisting Regionalism, Transforming Modernism. (exh. cat., Pennsylvania Academy of the Fine Arts). Philadelphia, Pennsylvania: Pennsylvania Academy of the Fine Arts, 2007. Text p. 17; ill. p. 25 (color detail); pl. 7, p. 29 (color). Cypriano, Fabio. “Paisagem nas Américas trata encanto pela natureza sem simplificação.” Folha de São Paulo (March 27, 2016): illustrada C3. Text. Eleutério, Maria de Lourdes. “Paisagem nas Américas.” Remate de Males 36, no. 1 (January–June 2016): 301–309. Text p. 307. Bourguignon, Katherine M., Lauren Kroiz, and Leo G. Mazow. America’s Cool Modernism: O’Keeffe to Hopper. Oxford, United Kingdom: Ashmolean Museum of Art & Archaeology–University of Oxford, 2018. Text p. 68, cat. no.42 (checklist); ill. pp. 69, 140 (color). Pathways to Modernism: American Art, 1865-1945. (exh. cat. Shanghai Museum with Art Institute of Chicago and Terra Foundation for American Art). Shanghai: Shanghai Museum, 2018. Text p. 132; ill. p. 133 (color). Piccoli, Valéria, Fernanda Pitta, and Taylor Poulin. Pelas ruas: vida moderna e experiências urbanas na arte dos Estados Unidos, 1893-1976. (exh. cat., Pinacoteca do Estado de São Paulo and Terra Foundation for American Art). São Paulo, Brazil: Pinacoteca do Estado de São Paulo, 2022. Text p. 13, 38; pl. p. 50 (color).

Grenoble

Charles Prendergast

Date: 1927

Credit Line: Terra Foundation for American Art, Gift of Kraushaar Galleries, New York

Object number: 2012.1

Text Entries: The David C. Driskell Center. American Landscapes. (exh. cat, The David C. Driskell Center at the University of Maryland, College Park). College Park, MD: The David C. Driskell Center, 2021. Ill. p. 85 (color).