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Last item added: 2015.6 Dove, Boat Going through Inlet

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Untitled (Harbor Scene)

William Merritt Chase

Date: c. 1888

Credit Line: Terra Foundation for American Art, Gift of Jamee and Marshall Field

Object number: 2015.1

Text Entries: Gallati, Barbara Dayer. William Merritt Chase: Modern American Landscapes, 1886-1890. (exh. cat. Brooklyn Museum of Art). Brooklyn, New York: Brooklyn Museum of Art, 2000. Ill. pl. 31, p. 98. Pisano, Ronald G. William Merritt Chase: Landscapes in Oil, vol. 3. New Haven: Yale University Press, 2009. Text p. 158; Ill. L.333. Bourguignon, Katherine and Valerie Reis. The Studio of Nature, 1860-1910: The Terra Collection in Context. (exh. cat, Terra Foundation for American Art with the Musée des Impressionnismes Giverny). Paris, France: Réunion des musées nationaux, 2020. Text p. 108; Pl. 48, p.114 (color).

Morning at Breakwater, Shinnecock

William Merritt Chase

Date: c. 1897

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

Object number: 1999.30

Text Entries: William Merritt Chase, an Indiana native, fascinated the New York art world with his sumptuously decorated studio and his sophisticated personal demeanor. Art studies in New York and Munich and extensive European travel developed his highly refined aesthetic attitude. President of the Society of American Artists for a decade and a popular teacher for thirty-seven years, Chase was one of the most influential artists in America. From 1891 to 1903, he pioneered one of the first and most important of the outdoor art programs, the Shinnecock Summer Art School on Long Island, New York. Chase, whose early reputation was associated with impressionism, was unanimously elected by The Ten to replace John Twachtman after his death in 1902. In Morning at Breakwater, Shinnecock Chase imaginatively contrasts the stark and rugged rocks, the man-made breakwater on Shinnecock and Peconic Bays, with the harmonious play of mothers and children on the sand united under a brilliant sunny sky. Employing divergent artistic styles in the painting as well, the artist's precise delineation of acute diagonal lines, which establish a classic perspective, is veiled by his lightly colored palette and his fluid brushwork implying an impressionistic style. Yet, the picture's calculated composition rebukes the effect of a summer morning scene spontaneously captured while painting outdoors.

The Olive Grove

William Merritt Chase

Date: c. 1910

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

Object number: 1992.25

Text Entries: Twenty-first Annual Exhibition. (ex. cat., Poland Springs Art Gallery). Poland Springs, Maine: Poland Springs Art Gallery, 1915. Ill. no. 61, frontispiece (black & white as Olive Grove). Loan Exhibition of Paintings by William M. Chase. (exh. cat., The Metropolitan Museum of Art). New York: The Metropolitan Museum of Art, 1917. No. 36, p. 19. Milgrome, A. D. The Art of William Merritt Chase. PhD dissertation, University of Pittsburgh, 1969. No. 104, p. 22. The Magazine Antiques 110:4 (October 1976): 654. Ill. p. 654 (color). Apollo 104 (October 1976). Ill. Driscoll, John Paul. American Paintings from the Collection of Daniel J. Terra. (exh. cat., Museum of Art, The Pennsylvania State University). University Park, Pennsylvania: The Pennsylvania State University, 1977. Ill. (black & white). The Ten. (exh. cat., Art Museum of South Texas). Corpus Christi, Texas: Art Museum of South Texas, 1977. Ill. p. 25. Gerdts, William H. American Impressionism. (exh. cat., Henry Art Gallery). Seattle, Washington: Henry Art Gallery, University of Washington, 1980. Text pp. 25, 129 (checklist); ill. p. 21 (color). Sokol, David M. "The Terra Museum of American Art, Evanston, Illinois." The Magazine Antiques 126:5 (November 1984): 1156–69. Pl. XII, p. 1161 (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-73, p. 182 (color). Gerdts, William H. Ten American Painters. (exh. cat., Spanierman Gallery). New York: Spanierman Gallery, 1990. Fig. 68, p. 53 (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 p. 77; fig. 73, p. 77 (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. 77; fig. 73, p. 77 (black & white). Pisano, Ronald G. Summer Afternoons: Landscape Paintings of William Merritt Chase. Boston, Massachusetts: Bulfinch Press, 1993. Ill. p. 137 (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. 23 (checklist); ill. p. 41 (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. 23 (checklist); ill. p. 41 (color). Cartwright, Derrick. "The City and Country: American Perspectives 1870–1920." American Art Review 7:1 (January–February 2000): 100–11. Ill. p. 111 (color). Hofelt, Miranda. The Olive Grove, William Merritt Chase. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, May 2001. Ill. (color). Shearer, Christine Fowler and Dean A. Porter. Midwestern Visions of Impressionism, 1890–1930. (exh. cat., Massillon Museum). Massillon, Ohio: Massillon Museum, 2007. Text p. 73 (checklist); fig. 2, p. 5 (color). Bardazzi, Francesca and Carlo Sisi, editors. Americans in Florence: Sargent and the American Impressionists. (exh. cat. Fondazione Plazzo Strozzi). Venice, Italy: Marsilio, 2012. Text, cat. no. 60, p. 239–40, ill. cat. no 60, p. 170 (color). Smithgall, Elsa, Erica E. Hirshler, Katherine M. Bourguignon, Giovanna Ginex, and John Davis, William Merritt Chase: A Modern Master. (exh. cat., The Phillips Collection, the Museum of Fine Arts, Boston, the Fondazione Musei Civici di Venezia, and the Terra Foundation for American Art). With a foreword by D. Frederick Baker. Washington, DC: Phillips Collection; New Haven: Yale University Press, 2016. Text pp. 221 (checklist). Ill. p. 193, plate 82 (color). Bourguignon, Katherine and Valerie Reis. The Studio of Nature, 1860-1910: The Terra Collection in Context. (exh. cat, Terra Foundation for American Art with the Musée des Impressionnismes Giverny). Paris, France: Réunion des musées nationaux, 2020. Pl. 84, p. 153 (color).