Works – New Web objects Landscape – Collections – Terra Foundation for American Art

Joseph Pennell

Date: 1904

Credit Line: Terra Foundation for American Art, Gift of Mr. and Mrs. John Estabrook

Object number: C1983.7

Text Entries: Cartwright, Derrick R. The City and the Country: American Perspectives, 1870–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1999. Text p. 26 (checklist). Cartwright, Derrick R. Ville et campagne: les artistes américains, 1870–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1999. Text p. 26 (checklist).

Sails

Arthur Dove

Date: 1911–12

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

Object number: 1993.10

Text Entries: Chicago Evening Post Literary Review (March 29, 1912). Chamberlain, Joseph Edgar. "Pattern Painting by A. G. Dove." Evening Mail, New York (March 2, 1912): 8. "News and Notes of the Art World: Plain Pictures," New York Times (March 3, 1912): sec. 5, p. 15. Cook, George Cram. "Causerie (Post-Impressionism After Seeing Mr. Dove's Pictures," Friday Review, New York (n.d.; btw. May 1911 and August 1912). Wight, Frederick S. Arthur G. Dove. (exh. cat., Art Galleries of the University of California, Los Angeles). Berkeley, California: University of California Press, 1958. Ill. p. 33 (black & white). Homer, William Innes. "Identifying Arthur Dove's 'The Ten Commandments. '" The American Art Journal 12:3 (Summer 1980): 21–32. Text p. 27; ill. no. 5, p. 27 (black & white). Sails, Arthur G. Dove. Collection Cameo sheet, Terra Museum of American Art, Chicago, Ilinois, May 1994. Ill. (black & white). Morgan, Ann Lee. Arthur Dove: Life and Work, with a Catalogue Raisonné. Newark, Delaware: University of Delaware Press, 1984. Text pp. 43, 109–10; ill. no. 11/12.8, p. 110 (black & white). Cohn, Sherrye. Arthur Dove: Nature as Symbol. Ann Arbor, Michigan: UMI Research Press, 1985. Text pp. 26, 51, 95; fig. 8, p. 124 (black & white). Balken, Debra Bricker. Arthur Dove: A Retrospective. (exh. cat., Addison Gallery of American Art, Phillips Academy, Andover and The Phillips Collection, Washington, D.C.). Andover: Addison Gallery of American Art; Cambridge: MIT Press, Massachusetts Institute of Technology in association with The Phillips Collection, Washington, D.C., 1997. Text p. 21; ill. no. 11, p. 44 (color). Kirschner, Melanie. Arthur Dove: Watercolors and Pastels. New York: George Braziller Publisher, 1998. Text pp. 28, 31–32, 116; pl. 3, p. 75 (color). Loughery, John. “Subject Matter in Modern Art.” The Hudson Review 51: 2 (Summer 1998). Text p. 389. 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. Pl. 11, p. 38 (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. Pl. 11, p. 38 (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. 156, 195; ill. pp. 11 (color), 157 (color), 195 (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. 156, 195; ill. pp. 11 (color), 157 (color), 195 (black & white). Balkin, Debra Bricker. Dove/O'Keefe: Circles of Influence. (exh. cat., Sterling and Francine Clark Art Institute, Williamstown, Massachusetts). New Haven and London: Yale University Press, 2009. Text p. 22; ill. fig. 18, p. 23 (color). Timpano, Nathan J., Pan American Modernism: Avant-Garde Art in Latin America and the United States. Edited by Patricia García-Vélez Hanna. Coral Gables, Florida: Lowe Art Museum, University of Miami, 2013. Text pp. 30–31 (in spanish and english); ill. 2, p. 31 (color). DeLue, Rachael Z. Arthur Dove: Always Connect. Chicago: The University of Chicago Press, 2016. Text pp. 92–93, 95, 226. Ill. p. 92, fig. 67 (black & white). 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. 251; ill. p. 251 (color).

A Walk: Poplars

Arthur Dove

Date: 1912 or 1913

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

Object number: 1999.47

Text Entries: Exhibition of Paintings and Drawings Showing the Later Tendencies in Art (exh. cat., The Pennsylvania Academy of the Fine Arts). Philadelphia: The Pennsylvania Academy of the Fine Arts, 1921. Text p. 15 (checklist), no. 123. Solomon, Alan. Arthur G. Dove – A Retrospective Exhibition. (exh. cat., White Art Museum, Cornell University). Ithaca, New York: Cornell University Press, 1954. Text pp. 7, 9. Wight, Frederick S. Arthur G. Dove. (exh. cat., Art Galleries of the University of California, Los Angeles). Berkeley, California: University of California Press, 1958. Text p. 46; ill. p. 34 (color). Campbell, Lawrence. "Dove: Delicate Innovator: Retrospective at the Whitney Museum and Exhibition of Watercolors at Downtown Gallery." Art News 57, no. 6 (October 1958): 28–29, 57–58. Ill. p. 29 (color). The Decade of the Armory Show: New Directions in American Art, 1910–1920. (exh. cat., Whitney Museum of American Art, 1963). New York: Whitney Museum of American Art, 1963. Text p. 73 (checklist), cat. no. 35. American Modernism: The First Wave, Painting from 1903 to 1933. (exh. cat. Rose Art Museum, Brandeis University). Waltham, MA: Rose Art Museum, Brandeis University, 1963. Text (checklist), cat. no. 3. Arthur Dove: The Years of Collage. (exh. cat. J. Millard Tawes Fine Arts Center, University of Maryland Art Gallery). College Park, MD: University of Maryland Art Gallery, 1967. Text p. 49 (checklist), cat. no. 1. Edith Gregor Halpert Memorial Exhibition. (exh. cat., National Collection of Fine Arts, Smithsonian Institution). Washington, DC: National Collection of Fine Arts, Smithsonian Institution, 1973. Text (checklist), cat. no. 5. Highly Important 19th and 20th Century American Paintings, Drawings, Watercolors, and Sculpture from the Estate of the Late Edith Gregor Halpert (The Downtown Gallery). New York: Sotheby's Parke Bernet, Inc, 1973. Ill. lot 48 (color). Reich, Sheldon. "The Halpert Sale, a Personal View." American Art Review (September-October 1973): 89. Ill. p. 89 (color). Haskell, Barbara. Arthur Dove. (exh. cat., San Francisco Museum of Art). Boston, Massachusetts: New York Graphic Society, 1974. Ill. p. 26 (color). Art of the Twenties: American Painting at the Crossroads. (exh. cat., Flint Institute of Art). Flint, Michigan: The Institute, 1979. Ill. p. 27 (color). Cohn, Sherrye Baker. The Dialectical Vision of Arthur Dove: The Impact of Science and Occultism on His Modern American Art. PhD dissertation, Washington University, 1982. Text pp. 218–19; fig. 12. Morgan, Ann Lee. Arthur Dove: Life and Work, with a Catalogue Raisonné. Newark, Delaware: University of Delaware Press, 1984. Text pp. 46, 113–14; ill. p. 113, no. 12/13.5 (black & white). Cohn, Sherrye. "Arthur Dove and the Organic Analogy: A Rapprochement Between Art and Nature." Arts Magazine 59:10 (Summer 1985): 85–89. Text p. 88; ill. p. 85, fig. 3 (black & white). Cohn, Sherrye. Arthur Dove: Nature as Symbol. Ann Arbor, Michigan: UMI Research Press, 1985. Text pp. 28, 33, 51, 107; ill. p. 128, fig. 12 (black & white). Westfall, Stephen. "Abstract Naturalism: Authur [sic] Dove." Art in America 73, no. 5 (May 1985): 124–32. Ill. p. 132 (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-165, p. 274 (color). A Walk: Poplars, Arthur G. Dove. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, February 1990. Ill. (black & white). 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 pp. 109–10; fig. 110, p. 110 (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 pp. 109–10; fig. 110, p. 110 (black & white). Southgate, M. Therese. "The Cover." The Journal of the American Medical Association 267, no. 19 (May 20, 1992): 2569. Text p. 2569; ill. cover (color). Yount, Sylvia and Elizabeth Johns. To Be Modern: American Encounters with Cézanne and Company. (exh. cat., Museum of American Art of the Pennsylvania Academy of the Fine Arts). Philadelphia, Pennsylvania: Museum of American Art of the Pennsylvania Academy of the Fine Arts, 1996. Text pp. 18, 74 (checklist facsimile); fig. 13, p. 18 (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. Fig. 2, p. 17 (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. Fig. 2, p. 17 (black & white). 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. 158, 195; ill. pp. 15 (color), 159 (color), 195 (black & white), cover (color). 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. 158, 195; ill. pp. 15 (color), 159 (color), 195 (black & white). Bourguignon, Katherine M. , Arthur G. Dove. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, November 2002. Ill. (color). Kennedy, Elizabeth. "The Terra Museum of American Art." American Art Review (December 2002): 126–41. Text p. 139; ill. p. 138 (color). Klatt, Mary Beth. "Chicago Sites" AmericanStyle (Winter 2002-2003): 80. Text p. 80; ill. p. 80 (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 p. 35 (checklist); ill. p. 8 (color). Artner, Alan G. “’Manifest Destiny’ exhibit reflects an optimistic America.” Chicago Tribune (Thursday, June 19, 2008). Ill. (color). Balkin, Debra Bricker. Dove/O'Keefe: Circles of Influence. (exh. cat., Sterling and Francine Clark Art Institute, Williamstown, Massachusetts). New Haven and London: Yale University Press, 2009. Text p. 36; ill. fig. 28, p. 37 (color). Southgate, M. Therese. The Art of JAMA III: Covers and Essays from the Journal of the American Medical Association. Chicago, Illinois: American Medical Association, 2011. Text pp. 94, 206; ill. opposite p. 94 (color). Hartel, Herbert R., Jr. “Reconsidering Nature as Inspiration and Meaning in the Early Abstract Paintings of Arthur Dove.” New York History 92, no. 1/2 (Winter/Spring 2011). Text p. 69. Hartel, Herbert R., Jr. “What is the Subject of Arthur Dove’s ‘Abstraction No. 2’ (1910–1911)?” Source: Notes in the History of Art 31, no. 1 (Fall 2011). Text p. 39. DeLue, Rachael Z. Arthur Dove: Always Connect. Chicago: The University of Chicago Press, 2016. Text pp. 225–226; ill. p. 224, fig. 130 (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. 246–247, 254, 255; fig. 5, p. 245; ill. p. 255, detail pp. 256-257 (color). Shaykin, Rebecca. Edith Halpert: The Downtown Gallery and the Rise of American Art. (exh. cat., Jewish Museum, New York). New Haven: Yale University Press, 2019. Ill. p. 196 (color).

untitled [chimneys]

Pierre Daura

Date: 1921

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

Object number: 2000.13

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 [streetlights]

Pierre Daura

Date: 1921

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

Object number: 2000.14

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.

Flower Market at Notre Dame

Elizabeth Nourse

Date: 1927

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

Object number: 1999.101

Text Entries: Flower Market at Notre Dame and Rue d'Assais are intimate, evocative treatments of scenes that would have been quite familiar to Elizabeth Nourse, who made Paris her home for half a century. Between her arrival in France in 1887 and the First World War, Nourse traveled extensively across Europe in search of subjects for the peasant scenes - in particular, images of peasant women about their domestic tasks - for which she is best known. In 1924 she retired from a career filled with accolades from the art establishment both in France and the United States, and began to paint only for her own pleasure, maintaining the impressionistic style she had developed as a young, academically-trained expatriate artist from Cincinnati. Remarkably, she supported herself and her unmarried sister Louise through the sale of her art for the duration of their adult lives.

Rue d'Assas, Paris

Elizabeth Nourse

Date: 1929

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

Object number: 1999.103

Text Entries: Flower Market at Notre Dame and Rue d'Assais are intimate, evocative treatments of scenes that would have been quite familiar to Elizabeth Nourse, who made Paris her home for half a century. Between her arrival in France in 1887 and the First World War, Nourse traveled extensively across Europe in search of subjects for the peasant scenes - in particular, images of peasant women about their domestic tasks - for which she is best known. In 1924 she retired from a career filled with accolades from the art establishment both in France and the United States, and began to paint only for her own pleasure, maintaining the impressionistic style she had developed as a young, academically-trained expatriate artist from Cincinnati. Remarkably, she supported herself and her unmarried sister Louise through the sale of her art for the duration of their adult lives.

Chicago

Reginald Marsh

Date: 1930

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

Object number: 1998.4

Text Entries: Sotheby's New York, New York (September 24, 1998): lot 237. 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. 37 (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. 212; ill. p. 212 (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. 70 (color).

Brooklyn Bridge, on the Bridge

John Marin

Date: 1930

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

Object number: 1999.95

Text Entries: Reich, Sheldon. John Marin: A Stylistic Analysis and Catalogue Raisonné. 2 vols. Tucson: University of Arizona Press, 1970. Ill. no. 30.51, p. 626 (black & white). Baur, John I. H. John Marin's New York. (exh. cat., Kennedy Galleries). New York: Kennedy Galleries, 1981. Text p. 3 of introduction; fig. 36 (color). Five American Masters of Watercolor. (exh. cat., Terra Museum of American Art). Evanston, Illinois: Terra Museum of American Art, 1981. Ill. p. 22 (color). Baur, John I. H. and Ann Wiegart. American Masters of the Twentieth Century. (exh. cat., Oklahoma Art Center). Oklahoma City, Oklahoma: The Center, 1982. Text p. 74; ill. p. 31 (color). Kirshner, Judith Russi. "The Terra Collection." United: The Magazine of the Friendly Skies (December 1982): 52–9. Ill. p. 52 (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-149, p. 258 (color). Brooklyn Bridge, On the Bridge, John Marin. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, November 1990. Ill. (black & white). Fine, Ruth E. John Marin. (exh. cat., National Gallery of Art). New York: Abbeville Press, Publishers, 1990. Text p. 131; pl. 122, p. 134 (color). Kushner, Marilyn. The Modernist Tradition in American Watercolors, 1911–1939. Evanston, Illinois: Mary and Leigh Block Gallery, Northwestern University, 1991. Text p. 36 (checklist); ill. p. 70 (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 pp. 103–104; fig. 104, p. 104 (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 pp. 103–104; fig. 104, p. 104 (black & white). Southgate, M. Therese. "The Cover." The Journal of the American Medical Association 267:21 (June 3, 1992): 2850. Text p. 2850; ill. cover (color). The Journal of the American Medical Association Pakistan 5:3 (May 1993): cover. Ill. cover (color). Southgate, M. Therese. "The Cover." The Journal of the American Medical Association Middle East (February 1994): 15. Text p. 15; ill. cover (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 p. 25 (checklist); fig. 8, p. 15 (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 p. 25 (checklist); fig. 8, p. 15 (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. Pl. 23, p. 51 (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. Pl. 23, p. 51 (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. 178, 201; ill. pp. 179 (color), 201 (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. 178, 201; ill. pp. 179 (color), 201 (black & white). 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. 22, 42, 126, 127; ill. pl. 54, p. 128 (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. 268; ill. p. 268 (color).

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.

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).