Dated Web objects 1920-1959

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The Green Chair

John Graham

Date: 1928

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

Object number: 1999.60

Text Entries: Exceptional in Thomas Wilmer Dewing's oeuvre in that its title identifies the hired model, the painting of Madelaine is a perfect example of late-nineteenth-century work whose female subject appealed to many artists and art collectors. Typical of the style for which Dewing is lauded, the painting's meaning is rooted in its female subject; it is a meditation on beauty associated exclusively with the feminine sphere. The figure inhabits a private world far from the hustle and bustle of the era's burgeoning urban areas. Dewing eschews an academic or scientific approach, and the canvas, with its softened forms and hazy colors, becomes a study of mood, evocative of otherworldly delights and fancies. In contrast, John Graham uses the subject of woman as a springboard for formalist concerns such as color and composition. Graham began painting at the late age of thirty-six and his abstracted forms reflect his belief that "Art is always a discovery, revelation, penetrating emotional precisions, space and color organizations." Similar to Madelaine, Graham's female subject offers her profile for contemplation; yet angular and stylized, it reflects Graham's interest not in European classicism but rather in African art-a source of inspiration for many artists of the era. Depicted in a sardonic pose of modesty and coyness, the nude female figure becomes the modernist's coquette. An additional touch of irony appears in the work's title-The Green Chair-which attempts to draw the viewer's attention away from the nude female, undermining her importance as a subject.

untitled [grey pitcher]

Pierre Daura

Date: 1928

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

Object number: 2000.9

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.

Boat Going through Inlet

Arthur Dove

Date: c. 1929

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

Object number: 2015.6

Text Entries: Arthur G. Dove, (exh. cat., An American Place). New York: An American Place, 1930. Text (checklist), cat. no. 8. Arthur G. Dove, Charles Sheeler, (exh. cat., Contemporary Arts Museum, Houston). Houston, Texas: Contemporary Arts Museum, 1951. Text (checklist), cat. no. 3 (as Ship Coming Thru Inlet). Vintage Moderns, American Pioneer Artists: 1903‒1932, (exh. cat., The New Gallery, Iowa City, Iowa). Iowa City, Iowa: The University of Iowa, 1962. Text p. 12 (checklist, no. 20); ill. p. 12, no. 20 (black & white). Forerunners of American Abstraction, (exh. cat. Carnegie Institute Museum of Art, Pittsburgh Pennsylvania). Pittsburgh, Pennsylvania: Carnegie Institute Museum of Art, 1971. Text, cat. no. 25 (as Going thro' Inlet). Morgan, Ann Lee. Toward the Definition of Early Modernism in America: A Study of Arthur Dove. PhD dissertation, The University of Iowa, 1973. Text p. xi, no. 30.3 (list of illustrations); ill. p. 501, fig. 30.3 (black & white). Morgan, Ann Lee. Arthur Dove: Life and Work, with a Catalogue Raisonné, Newark, Delaware: University of Delaware Press, 1984. Text p. 179, cat. no. 30.3. Ill. p. 180 (black & white). Christie’s, New York, New York (Sale JOSEPHINE-3744, May 21, 2015): lot 6. Ill. lot 6 (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. 64, cat. no. 29 (checklist); ill. p. 132 (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. 130; ill. p. 131 (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 pp. 262, 263; ill. p. 262, detail pp. 264–265 (color).

Beach, St. Jean de Luz

William Glackens

Date: 1929

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

Object number: 1988.8

Text Entries: Glackens, Ira. William Glackens and the Ashcan Group: The Emergence of Realism in American Art. New York: Crown Publishers, Inc., 1957. Text p. 240; ill. p. 236 (black and white). Glackens, Ira. William Glackens and the Eight: The Artists Who Freed American Art. New York: Crown Publishers, 1957. Text p. 240; ill. following p. 236. William Glackens in Retrospect. (exh. cat., City Art Museum). St. Louis, City Art Museum, 1966. Cat. no. 66 (black and white). American Paintings V. New York: Berry-Hill Galleries, Inc., 1988. Text p. 154; ill. (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. 101; fig. 103, p. 101 (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. 101; fig. 103, p. 101 (black & white). Gerdts, William H. William Glackens. New York: Abbeville Press, 1996. Text p. 140; pl. 116, p. 141 (black & white). Wattenmaker, Richard J. The Sketchbook Studies of William Glackens, Archives of American Art Journal 44: 1–2 (2004): p. 40 (black & white). Kennedy, Elizabeth et al. The Eight and American Modernisms. (exh. cat., New Britain Museum of American Art, New Britain, Connecticut and Milwaukee Art Museum, Milwaukee, Wisconsin). Chicago, Illinois: Terra Foundation for American Art, 2009. Text pp. 48, 175 (checklist); Ill. p. 55 (color). Kennedy, Elizabeth. "The Eight and American Modernisms" American Art Review 21.2 (March-April 2009): 118-127. Ill. p. 123 (color). Berman, Avis, ed. William Glackens. (exh. cat. Museum of Art, Fort Lauderdale, Parrish Art Museum, and Barnes Foundation). New York: Skira Rizzoli Publications, Inc. in Association with the Barnes Foundation, 2014. Text pp. 150, 199, 274, 276 (checklist); ill. pl. 96 (color), p. 218.

untitled [bowl, matches, Bryn Mawr]

Pierre Daura

Date: 1929

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

Object number: 2000.39

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.

Taos Canyon

Joseph Henry Sharp

Date: c. 1930

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

Object number: 1999.134

Text Entries: America the Beautiful: Landscapes from Home, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, October 16, 2001–January 13, 2002. A Place on the Avenue: Terra Museum of American Art Celebrates 15 Years in Chicago, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, November 16, 2002–February 16, 2003. Collection Cameo, Terra Museum of American Art, Chicago, Illinois, August–September 2003. Highlights from the Collection of the Terra Foundation for the Arts, Union League Club of Chicago, Illinois (organizer). Venue: Union League Club of Chicago, Illinois, July 20–October 31, 2004.

untitled [village and Lot river in winter]

Pierre Daura

Date: 1930–33

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

Object number: 2000.10

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.

Pip and Flip

Reginald Marsh

Date: 1932

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

Object number: 1999.96

Text Entries: Born in Paris, the second son of two American artists, Reginald Marsh moved back to the United States with his family when he was two years old. His artistic career began when he attended Yale University where he became an art editor for the Yale Record and often illustrated the articles that appeared in it. Upon graduation, Marsh began free-lance illustrating for New York papers and periodicals such as the Evening Post, the Herald, Vanity Fair, Harper's Bazaar and The New Yorker. In the early 1920s, Marsh, who had by then earned a reputation as a master draftsman, determined to become a painter and enrolled at the Art Students League, where he studied with John Sloan, Kenneth Hayes Miller, and George Luks. A trip to Europe in 1925 reinforced his desire to paint and at museums such as the Louvre in Paris, Marsh exhaustively studied and copied the work of Delacroix, Rubens, Titian, and Michelangelo. Back in New York, Marsh observed the individuals and crowds in the off-beat neighborhoods of lower Manhattan, around the Bowery, Third Avenue, and Fourteenth Street. He filled sketchbooks with renderings and notations of details and colors-more than 150 of these books are extant today and contain over 20,000 images-and created full-scale work back in his Fourteenth Street studio. Pip and Flip is a perfect example of Marsh at his best. The raucous crowd in front of the advertisements for the oversized exotic twins, Pip and Flip from Peru, and Major Mite, the smallest man on earth, animates the classically-balanced pyramidic composition. Marsh's expert under-drawing is visible through the transparent layers of egg-yolk tempera, a medium Marsh was introduced to by his friend Thomas Hart Benton and one that he employed in the 1930s (Marsh's quest for a color medium that would complement, not obscure, his under-drawing was lifelong). Pip and Flip offers a glimpse of Depression-era New York filtered through the lens of Marsh, a scene part reality and part fantasy.

Portrait of Luigi Maratti

Susan Macdowell Eakins

Date: 1932

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

Object number: 2000.1

Text Entries: Recognition for Susan Macdowell Eakins' work has long been intertwined with recognition of her gender. Eakins' first success as a promising student at the Pennsylvania Academy of Fine Arts was the Mary Smith Prize for a woman artist from Philadelphia, awarded in 1879. Her marriage shortly afterward to her teacher Thomas Eakins brought her own painting nearly to a halt, as she devoted herself to assisting with his career. Only after her husband's death in 1916 did Eakins seriously take up her brush again. Her portrait of Italian sculptor and painter Luigi Maratti, himself an alumnus of the Pennsylvania Academy, is typical of the kind of psychological portraiture grounded in a warm, earth-toned palette that Eakins and her husband developed.

Summer, Greenland

Rockwell Kent

Date: 1932–33

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

Object number: 1998.2

Text Entries: All requests for permission to reproduce the art work of Rockwell Kent should be directed to: The Plattsburgh State Art Museum, 101 Broad Street, Plattsburgh, NY, 12901 The Following credit line should appear when Rockwell Kent's work is reproduced: Plattsburgh State Art Museum, Rockwell Kent Gallery and Collection

Coney Island

Harry Roseland

Date: 1933

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

Object number: 1993.12

Text Entries: Harry Roseland was enormously successful in his chosen specialty: his genre paintings won prizes and awards when exhibited in his lifetime. Largely self-taught as an artist, Roseland painted landscapes, portraits and still lifes before specializing in the painting of African-American themes of the rural South that he is best known for. Though Roseland never lived or traveled in the South, his depictions of African Americans in a Southern setting, mostly domestic interiors, were seen as authentic. By the first decade of the twentieth century, however, Roseland's sensitive renderings were seen as nostalgic and outmoded. Around 1930, Roseland turned from rural subjects to an urban theme that he knew first-hand: Coney Island. This popular New York locale was just a subway ride away from his Brooklyn residence and it served as the motif for a group of paintings. Roseland's adroitness at capturing a sense of place, manifest in his earlier work, is also evident in Coney Island. In his depiction, Roseland seems to capture the experience of being at Coney Island-offering an expanse of beach and boardwalk from a slightly elevated point-of-view amid the hustle and bustle of the crowd.

Sailboat, Brooklyn Bridge, New York Skyline

John Marin

Date: 1934

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

Object number: 2006.1

Text Entries: Reich, Sheldon. John Marin: A Stylistic Analysis and Catalogue Raisonné. 2 vols. Tucson: University of Arizona Press, 1970. Ill. no. 34.23, p. 664 (black & white). Fine, Ruth E. John Marin. (exh. cat., National Gallery of Art). New York: Abbeville Press, Publishers, 1990. Text p. 158; pl. 1148, p. 158 (color). Little, Carl. "John Marin's Kepper." Bangor Metro Magazine (April 2007): 26–27, 33. Text p. 33; ill. p. 26–27 (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 version). Ill. p. 162 (color). 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. 32, 37 (checklist); ill. fig. 3, p. 32 (color). Tedeschi, Martha with Kristi Dahm. John Marin's Watercolors: A Medium for Modernism. (exh. cat., The Art Institute of Chicago, Chicago, Illinois). Chicago: The Art Institute of Chicago and New Haven and London: Yale University Press, 2010. Text pp. 73–74, 127; ill. fig. 62a, p. 73, pl. 53, p. 125 (color). Wilkin, Karen. Art: John Marin in Chicago(review), The New Criterion 29, 7 (March 2011). Text p. 47. Art Across America. (exh. cat., National Museum of Korea, Los Angeles County Museum of Art, The Museum of Fine Arts, Houston, Philadelphia Museum of Art and the Terra Foundation for American Art). Seoul, South Korea: National Museum of Korea, 2013. (English and Korean versions). Text p. 305; ill. p. 304 (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. 194; ill. cat. no. 68, p. 195, (color). Gillespie, Sarah Kate, Kimberly Orcutt, Janice Simon, and Meredith Ward. Icon of Modernism: Representing the Brooklyn Bridge, 1883–1950. (exh. cat., Georgia Museum of Art, University of Georgia). Athens, Georgia: Georgia Museum of Art, University of Georgia, 2016. Text p. 69; p. 117, cat. no. 25; ill. p. 117, cat. no. 25 (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. 134; ill. p. 135 (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. 269; ill. p. 269 (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. Pl. p. 48 (color).