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Gardiner's Bay from Fresh Pond, Long Island

Mary Nimmo Moran

Date: 1884

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

Object number: 1996.83

Text Entries: Mary Nimmo Moran began etching landscapes in 1879 while her husband, a painter of Western landscapes, was away on an extended trip. Rather than making sketches on paper first, she carried her copper plates out of doors and incised bold, spontaneous lines directly onto them, translating areas of foliage and shadow into patterned areas of dark upon dark. Upon his return Thomas Moran submitted four of his wife's prints to the New York Etching Club, and over the following ten years Mary Nimmo Moran exhibited her work both in American cities and in London, where she met John Ruskin and was elected to the Royal Society of Painter-Etchers. She signed many of her prints with her initials to disguise her gender, and consistently deferred to her husband before the public; "I may say I have always been my Husband's pupil," she wrote. The high point of Moran's artistic career in the United States came in 1893 at the World's Columbian Exposition in Chicago, where she won a medal.

French Landscape

John H. Twachtman

Date: c. 1885

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

Object number: 2004.2

Text Entries: Wickenden, Robert J. The Art and Etchings of John Henry Twachtman. New York: Frederick Keppel and Company, 1921, pp. 20–30. Baskett, Mary Welsh. John Henry Twachtman: American Impressionist Painter as a Printmaker; A Catalogue Raisonné of His Prints. New York: M. Hausberg, 1999. No. 17, pp. 95–96.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. 44, p. 114 (color).

Harbor at Night

John H. Twachtman

Date: c. 1885–88

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

Object number: 1996.51

Text Entries: Baskett, Mary Welsh. John Henry Twachtman: American Impressionist Painter as a Printmaker: A Catalogue Raisonné of His Prints. New York: Meg Hausberg, 1999. No. 14, pp. 88–89. [specific reference to Terra print on p. 88 (third state)]. 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. 46, p. 116 (color).

Holland Dykes

John H. Twachtman

Date: 1885–88

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

Object number: 1996.71

Text Entries: Baskett, Mary Welsh. John Henry Twachtman: American Impressionist Painter as a Printmaker: A Catalogue Raisonné of His Prints. New York: Meg Hausberg, 1999. No. 16, pp. 92–93. [specific reference to Terra print on p. 92 (third state)].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. 47, p. 116 (color).

The Half Dome—View from Moran Point

Thomas Moran

Date: 1887

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

Object number: 1996.63

Text Entries: Thomas Moran, N.A., Mary Nimmo Moran, S.P.E.: A Catalogue of Complete Etched Works of Thomas Moran, N.A., and N. Nimmo Moran, S.P.E. New York: Christian Klackner Galleries, 1889. No. 60, p. 15. Bruhn, Thomas P. American Etching: The 1880s. (exh. cat., William Benton Museum of Art). Storrs, Connecticut: William Benton Museum of Art, University of Connecticut, 1985. No. 16, pp. 47–48. Friese, Nancy with Anne Morand et al. The Prints of Thomas Moran in the Thomas Gilcrease Institute of American History and Art. (exh. cat., Thomas Gilcrease Institute of American History and Art). Tulsa, Oklahoma: Thomas Gilcrease Museum Association, 1986. Fig. 20, pp. 18, 36. Amory, Dita and Marilyn Symmes. Nature Observed, Nature Interpreted: Nineteenth-Century American Landscape Drawings & Watercolors from the National Academy of Design and Cooper-Hewitt, National Design Museum, Smithsonian Institution. (exh. cat., National Academy of Design). Washington, D.C.: Smithsonian Institution, 1995, pp. 107–111. The South Dome, Yosemite Valley, Thomas Moran. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, February 1999. Ill. (black & white). [specific reference to Terra print] 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. 17, 37 (checklist); Ill. p. 10 (color).

Inner Harbor, Bridgeport

John H. Twachtman

Date: c. 1888-89

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

Object number: 1996.75

Text Entries: Baskett, Mary Welsh. John Henry Twachtman: American Impressionist Painter as a Printmaker; A Catalogue Raisonné of His Prints. New York: M. Hausberg, 1999. Text no. 25, p. 110. [specific reference to Terra print]

Moonrise

Arthur Wesley Dow

Date: c. 1898–1905

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

Object number: 1996.4

Text Entries: The moon rises over an austere, stylized landscape, where a ribbon of earth is suspended between sky and water. In the 1890s, Arthur Dow returned to his hometown of Ipswich, Massachusetts. He had been in France studying in Paris at the Académie Julian and making several trips to Brittany, in particular to Pont Aven, where he created his most lyrical works, like Moonrise, inspired by those familiar landscapes. It was during this time abroad that he developed a passion for Japanese art and aesthetics. Through his teaching he played an important role in spreading knowledge of Japanese aesthetics throughout the United States. In addition to teaching young artists like Georgia O'Keefe, Dow published his essay Composition, in which he defined the essence of a work of art as the harmonious combination of three elements: line, color and notan, a Japanese term used to express the relationship between dark and light areas. Moonrise and other small prints by Dow form a group of sober compositions with flat colors based on the simplification and synthesis of forms. Dow used pinewood, which he inked by hand, following the Japanese tradition. However, he departed radically from that tradition by handling each step in the creation of the print himself. He would make several impressions of his works, modifying his choice of colors, eliminating a woodblock or recutting it. Through his abstract landscapes, he achieved the ultimate goal of Japanese art: the poetic evocation of nature.

Marsh Creek

Arthur Wesley Dow

Date: c. 1903–1905

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

Object number: 1996.5

Text Entries: Creation & Craft: Three Centuries of American Prints. (exh. cat., Hirschl & Adler Galleries, Inc.). New York: Hirschl & Adler Galleries, Inc., 1990. No. 71, p. 72. Green, Nancy E. Arthur Wesley Dow and His Influence. (exh. cat., Herbert F. Johnson Museum of Art). Ithaca, New York: Herbert F. Johnson Museum of Art, Cornell University, 1990. Text p. 23. 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. 29, 35 (checklist); Ill. Pl. 10, p. 49 (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. 47; ill. p. 48 (color).

The Long Road, Argilla Road

Arthur Wesley Dow

Date: c. 1912

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

Object number: 1996.6

Text Entries: Moffatt, Frederick C. Arthur Wesley Dow (1857–1922). Washington, D.C.: Smithsonian Institution Press for the National Collection of Fine Arts, 1977. No. 29. Acton, David and Joseph Goddu. Along Ipswich River: The Color Woodcuts of Arthur Wesley Dow. (exh. cat., Hirschl & Adler Galleries, Inc.). New York: Hirschl & Adler Galleries, Inc., 1990. No. 32 and no. 33. 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. 29, 35 (checklist); Ill. Pl. 12, p. 49 (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. 47; ill. p. 49 (color).

The Purple Sky (The Long Road), Spring

Arthur Wesley Dow

Date: 1916

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

Object number: 1995.32

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. 12; fig. 2, p. 12 (black & white). [specific reference to Terra print] 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. 12; fig. 2, p. 12 (black & white). [specific reference to Terra print] 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. Pl. 13, p. 49 (color).

Aspen–Red River

Gustave Baumann

Date: 1918

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

Object number: 1996.12

Text Entries: Krause, Martin F., Madeline Carol Yurtseven and David Acton. Gustave Baumann: Nearer to Art. (exh. cat., Museum of New Mexico). Santa Fe, New Mexico: Museum of New Mexico Press, 1993. No. 92, p. 118 (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. 34 (checklist).

Frost

Bertha Lum

Date: 1919

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

Object number: 1996.37

Text Entries: As a child growing up in Iowa and Wisconsin, Bertha Lum's first exposure to the Japanese design aesthetic that would fascinate her all her life came in the form of magazines; late nineteenth-century popular periodicals typically urged "women unable to receive the help of experienced decorators" to employ "the aid of a good Japanese print, because it would be a simple matter to bring the room up to it." Only after studying at the Art Institute of Chicago and honeymooning in Japan in 1903 did Lum begin producing her own scenes from traditional Japanese daily life in the form of woodblock prints; it was a full decade, however, before she began thinking of herself as an artist rather than a craftsperson and started to approach galleries with her work. Lum and her two daughters traveled back and forth between the United States, Japan and China repeatedly between 1907 and 1953. She is best remembered for her interpretations of Japanese folktales and her abstracted depictions of natural elements.