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Coastline, Narragansett, Rhode Island

William Stanley Haseltine

Date: 1862–63

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

Object number: 1999.63

Text Entries: Wilmerding, John. William Stanley Haseltine (1835–1900): Drawings of a Painter. (exh. cat., Davis & Langdale Company, Inc.). New York: Davis & Langdale Company, Inc. in association with Ben Ali Haggin, Inc., 1983. Ill. no. 2 (black & white as New England Coast). Simpson, Marc, Andrea Henderson, and Sally Mills. Expressions of Place: The Art of William Stanley Haseltine. (exh. cat., The Fine Arts Museums of San Francisco). San Francisco, California: The Fine Arts Museums of San Francisco, 1992. Text p. 20; pl. 18, p. 91 (color). Cartwright, Derrick R. Waves and Waterways: American Perspectives, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text pp. 20, 27 (checklist); fig. 15, p. 21 (black & white). Cartwright, Derrick R. Rivières et rivages: les artistes américains, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text pp. 20, 27 (checklist); fig. 15, p. 21 (black & white).

The Hudson River at West Point

Alfred Thompson Bricher

Date: 1864

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

Object number: 1993.17

Text Entries: Southgate, M. Therese. "The Cover." The Journal of the American Medical Association 272:11 (September 21, 1994): 835. Text p. 835; ill. cover (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). Brownlee, Peter John, Sarah Burns, Diane Dillon, Daniel Greene, and Scott Manning Stevens.Home Front: Daily Life in the Civil War North with a foreword by Adam Goodheart.(exh. Cat., Terra Foundation for American Art and Newberry Library). Chicago: University of Chicago Press, 2013. Text pp. 148, 150, 151, 160 (checklist); Fig. 87, p. 149 (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. 1, p. 57 (color).

Rocks at Nahant

William Stanley Haseltine

Date: 1864

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

Object number: 1999.65

Text Entries: Nineteenth-century landscape painter William Stanley Haseltine closely studied nature with a scientific curiosity. The rocky Nahant coast, north of Boston, attracted Haseltine because of its beautiful, open expanses of sky and water and its unique masses of smooth-topped, reddish indigenous rock. Remarkably commanding, the polished detail of the rock in this painting dominates the coastal scene as it diagonally divides the picture.

Brace's Rock, Brace's Cove

Fitz Henry Lane

Date: 1864

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

Object number: 1999.83

Text Entries: Baur, John I. H. A Mirror of Creation: 150 Years of American Nature Painting. (exh. cat., Vatican Museum). New York: Friends of American Art in Religion, Inc., 1980. Ill. no. 14 (color). Text (checklist, no. 14); ill. no. 14 (color, as Brace’s Rock). Novak, Barbara. Nature and Culture: American Landscape Painting, 1825–1875. New York: Oxford University Press, 1980. Ill. no. 10 (color). Weinberg, Adam. “Photography Eclipsed.” Afterimage 8, no. 3 (October 1980): 17–18. Text p. 17; ill. p. 18 (black & white). Wilmerding, John. American Light: The Luminist Movement, 1850–1875 (exh. cat., National Gallery of Art, Washington, D.C.). Princeton, NJ: Princeton University Press, 1980. Text pp. 46, 81, 84, 102, 112; ill. p. 22, pl. 11 (black & white), p. 62, pl. 11 (color). Millard, Charles W. “American Landscape Painting, 1850–1875.” The Hudson Review 34:2 (Summer 1981): 269–276. Text p. 272. Novak, Barbara. "Une Amérique tranquille." Connaissance Arts 365–66 (July/August 1982): 72–75. Text p. 74; ill. p. 75 (color). Gustafson, Eleanor H. "Museum Accessions." The Magazine Antiques 124, no. 5 (November 1983): 974, 976, 978. Text p. 974; ill. p. 974 (black & white). Hemphill, Christopher. "Daniel Terra and His Collection." Town & Country (February 1984): 196. Ill. p. 196, pl. VIII. Sokol, David M. "The Terra Museum of American Art, Evanston, Illinois." The Magazine Antiques 126:5 (November 1984): 1156–69. Ill. p. 1159, pl. VIII (color). Smith, Gayle L. “Emerson and the Luminist Painters: A Study of Their Styles.” American Quarterly 37:2 (Summer 1985): 193–215. Text p. 206. Ill. p. 206, fig. 3 (black & white, image credit listed as The Tara Museum of American Art). 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. Ill. p. 122, pl. T-13 (color). Wilmerding, John et al. Paintings by Fitz Hugh Lane. (exh. cat., National Gallery of Art). Washington, D.C.: National Gallery of Art, 1988. Text pp. 36, 39, 161 (checklist, cat. 22); ill. p. 37, cat. 22 (color). Winslow Homer in Gloucester. (exh. cat. Terra Museum of American Art). Chicago, Illinois: Terra Museum of American Art, 1990. Text pp. 11–12, 58; ill. p. 58, fig. 40 (black & white). Brace's Rock, Brace's Cove, Fitz Hugh Lane. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, May 1990. Ill. (black & white). Goddard, Donald. American Painting. New York: Hugh Lauter Levin Associates, Inc., 1990. Ill. p. 70 (color). Vallino, Fabienne-Charlotte Oraezie. "Alle radici dell'etica ambientale: pensiero sulla natura, vilderness e creativita artistica negli Stati Uniti del XIX secolo." Storia dell'Arte. Rome, Italy: Universita degli Studi della Tuscia, 1993. Ill. p. 241, fig. 21. Miller, David C. “The Iconology of Wrecked or Stranded Boats in Mid to Late Nineteenth-Century American Culture.” In American Iconology: New Approaches to Nineteenth-Century Art and Literature. Edited by David C. Miller. New Haven: Yale University Press, 1993. Text pp. 192, 195. Ill. p. 193, fig. 9.5 (color, image incorrectly credited as Museum of Fine Arts, Boston, Karolik Collection). Novak, Barbara. Nature and Culture: American Landscape Painting, 1825–1875, rev. ed. New York: Oxford University Press, 1995. Ill. no. 10 (color). Yaeger, Bert D. The Hudson River School: American Landscape Artists. New York: Smithmark Publishers, 1996. Text p. 50; ill. p. 51 (color detail), p. 53 (color), back cover (color). Cartwright, Derrick R. Waves and Waterways: American Perspectives, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 27 (checklist); ill. p. 32 (color). Cartwright, Derrick R. Rivières et rivages: les artistes américains, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 27 (checklist); ill. p. 32 (color). MacDonald, Scott. “Peter Hutton: The Filmmaker as Luminist.” Chicago Review 47:3 (Fall 2001): 67–87. Text p. 74; ill. p. 75 (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. 62, 200; ill. pp. 8 (color), 63 (color), 200 (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. 62, 200; ill. pp. 8 (color), 63 (color), 200 (black & white). Wilton, Andrew and Tim Barringer. American Sublime: Landscape Painting in the United States 1820–1880. (exh. cat., Tate Britain). London, England: Tate Publishing, 2002. Text pp. 202, 254; ill. p. 202 (color). Kennedy, Elizabeth. "The Terra Museum of American Art." American Art Review (December 2002): 126–41. Text pp. 131–32. Czestochowski, Joseph S. Georgia O’Keeffe: Visions of the Sublime. Memphis, TN: Torch Press and International Arts, 2004. Ill. p. 184, pl. 91 (color). Vaughan, William. Friedrich. New York: Phaidon Press, 2004. Ill. p. 315 (color). Wilmerding, John. Fitz Henry Lane & Mary Blood Mellen Old Mysteries and New Discoveries. (exh. cat., Spanierman Gallery). New York, New York: Spanierman Gallery, 2007. Text pp. 24, 37, 42; ill. p. 39, fig. 36 (color), p. 103, cat. no. 50 (color). Tedeschi, Martha with Dahm, Kristi. Watercolors by Winslow Homer: The Color of Light. (exh. cat., The Art Institute of Chicago, Chicago, Illinois). Chicago, Illinois: The Art Institute of Chicago, 2008. Text p. 37; ill. p. 37, fig. 2 (color). Neset, Arne. Arcadian Waters and Wanton Seas: The Iconology of Waterscapes in Nineteenth-Century Transatlantic Culture. New York, New York: Peter Lang Publishing, Inc., 2009. Text p. 183; ill. p. 182, fig. 8.13 (black & white). <a href="http://fitzhenrylaneonline.org/catalog/entry.php?id=73" target="_blank">“Brace's Rock, 1864 (inv. 73)”</a>. Fitz Henry Lane Online. Cape Ann Museum. Accessed January 27, 2016. Cat no. 73 (color, as Brace’s Rock). Holdsworth, Sam. <a href="http://fitzhenrylaneonline.org/essays/index.php?name=Braces_Rock_Series" target="_blank">“Brace's Rock Series.”</a> Fitz Henry Lane Online. Cape Ann Museum. Accessed January 27, 2016. Ill. (color, as Brace’s Rock). Baca, Miguel de. Memory Work: Anne Truitt and Sculpture. Oakland, CA: University of California Press, 2016. Text pp. 70–71; ill. p. 71, fig. 28 (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 pp. 46–47, 64, 65; fig. 3, p. 47; ill. p. 64, detail pp. 66-67 (color).

Autumn Afternoon, the Wissahickon

Thomas Moran

Date: 1864

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

Object number: 1999.99

Text Entries: Sotheby's New York, New York (Sale 6568, May 25, 1994): lot 29. Ill. lot 29 (color). Autumn on the Wissahickon, Thomas Moran. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, October 1996. Ill. (black & white). Anderson, Nancy K. Thomas Moran. (exh. cat., National Gallery of Art). Washington, D.C.: National Gallery of Art, 1997. Ill. p. 352 (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 pp. 17, 25 (checklist); fig. 15, p. 17 (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. 17, 25 (checklist); fig. 15, p. 17 (black & white). Cartwright, Derrick R. Waves and Waterways: American Perspectives, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 27 (checklist); ill. p. 31 (color). Cartwright, Derrick R. Rivières et rivages: les artistes américains, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 27 (checklist); ill. p. 31 (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. 60, 202; ill. pp. 5 (color), 61 (color), 202 (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. 60, 202; ill. pp. 5 (color), 61 (color), 202 (black & white). Brownlee, Peter John, Sarah Burns, Diane Dillon, Daniel Greene, and Scott Manning Stevens. Home Front: Daily Life in the Civil War North with a foreword by Adam Goodheart.(exh. cat., Terra Foundation for American Art and Newberry Library). Chicago: University of Chicago Press, 2013. Text pp. 148, 150, 151, 163 (checklist); Fig. 88, p. 149 (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. 45-46, 63; fig. 2, p. 46; ill. p. 63 (color).

The Iceberg

Frederic Edwin Church

Date: c. 1875

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

Object number: 1993.6

Text Entries: The Iceberg, Frederic Edwin Church. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, December 1997. Ill. (black & white). Cartwright, Derrick R. Waves and Waterways: American Perspectives, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 26 (checklist); ill. p. 35 (color). Cartwright, Derrick R. Rivières et rivages: les artistes américains, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 26 (checklist); ill. p. 35 (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. 76, 193; ill. pp. 8 (color), 77 (color), 193 (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. 76, 193; ill. pp. 8 (color), 77 (color), 193 (black & white). Goldin, Marco ed. America! Storie di pittura dal Nuovo Mondo. (exh. cat., Museo di Santa Giulia, Brescia, Italy). Treviso, Italy: Linea d'ombra Libri, 2007. Text pp. 193, 455 (checklist); ill, cat. no. 90 pp. 205 (color), 455 (black & white as L'iceberg). Goldin, Marco ed. America! Storie di pittura dal Nuovo Mondo. (exh. cat., Museo di Santa Giulia, Brescia, Italy). Treviso, Italy: Linea d'ombra Libri, 2007. (English version). Text p. 84. 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. 28, 34 (checklist); Ill. Pl. 9, p. 48 (color). Scott, Samuel, et al. To the Ends of the Earth, Painting the Polar Landscape. (exh. cat., Peabody Essex Museum, Salem, Massachusetts). Salem, Massachusetts: Peabody Essex Museum, 2008. Text p. 10, Ill. Pl. 43, p. 51. (color). Wilton, Andrew. Frederic Church and the Landscape Oil Sketch. (exh. cat. National Gallery, London). London, UK: National Gallery Company, 2013. Text, p. 66; ill. cat. no. 270, p. 66 (color). Hauptman, William. Peindre l’Amérique. Le artistes du Nouveau Monde 1830-1900 [Painting America, artists of the New World (1830-1900)]. trans. Jeanne Bouniort. (exh. cat., Fondation de l’Hermitage, Lausanne, Switzerland). Lausanne: La Bibliothèque des Arts, 2014. Cat. 1, Frontispice (color), Text pp. 4, 178 (checklist). Picturing the Americas: Landscape Painting from Tierra del Fuego to the Arctic. (exh. cat., Art Gallery of Ontario, Pinacoteca do Estado de São Paulo and the Terra Foundation for American Art). Toronto, Ontario: Art Gallery of Ontario in association with Yale University Press, New Haven, Connecticut, 2015. Text p. 69; ill. fig. 11, p. 69 (color). Raab, Jennifer. Frederic Church: The Art and Science of Detail. New Haven: Yale University Press, 2015. Text pp. 191–192, ill. p. 184 (color, detail); fig. 101, p. 191 (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. 77; ill. p. 77 (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. 6, p. 63 (color).

Morning in the Hudson, Haverstraw Bay

Sanford Robinson Gifford

Date: 1866

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

Object number: 1993.11

Text Entries: "Art Matters: Artists' Fund Society Exhibition." American Art Journal 6 (1866): 103. A Memorial Catalogue of the Paintings of Sanford Robinson Gifford, N.A. (exh. cat., The Metropolitan Museum of Art). New York: The Metropolitan Museum of Art, 1881. No. 685, p. 44. "Sale of the Whitney Collection." The New York Times (December 15, 1885): 3. Catalogue of the Collection of Modern Paintings, Etc., Formed by the Late Mr. George Whitney of Philadelphia. New York: American Art Association, 1885. Text pp. 10, 36, no. 71. Weiss, Ila Joyce. Sanford Robinson Gifford (1823–1880) . PhD dissertation, Columbia University, 1968. Text p. 272. Weiss, Ila Joyce. Poetic Landscape: The Art and Experience of Sanford R. Gifford. Newark, Delaware: University of Delaware Press, 1986. No. 426, p. 32. Morning in the Hudson, Haverstraw Bay, Sanford Robinson Gifford. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, March 1995. Ill. (black & white). Cartwright, Derrick R. Waves and Waterways: American Perspectives, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 26 (checklist); ill. cover (color). Cartwright, Derrick R. Rivières et rivages: les artistes américains, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 26 (checklist); ill. cover (color). Avery, Kevin J. and Franklin Kelly, eds. Hudson River School Visions: The Landscapes of Sanford R. Gifford. (exh. cat., The Metropolitan Museum of Art). New York: The Metropolitan Museum of Art, 2003. Text pp. 29, 46, 179, 183, 190, 191, 200; ill. no. 42, p. 180 (color). Pollack, Lindsay. "American Splendor." Art and Auction (December 2003): 108, 110. Text p. 110; ill. p. 108 (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. 72; ill. p. 72 (color). Schaefer, Barbara and Anita Hachmann, eds. Es War Einmal in Amerika: 300 Jahre US-Amerikanische Kunst. (exh. cat. Wallraf-Richartz Museum). Köln: Wallraf-Richartz-Museum & Fondation Corboud. Text pp. 358; ill. p. 359 (color).

Hunter Mountain, Twilight

Sanford Robinson Gifford

Date: 1866

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

Object number: 1999.57

Text Entries: Sanford Robinson Gifford depicted the wilderness of the Catskill mountain range beside elements of human settlement and progress in this canvas, a powerful example of Hudson River School painting. Gifford found in nature the means for aesthetic, nationalistic, and often moral expression in response to industrial growth, westward expansion, and post-Civil War tension of the mid-nineteenth century.

Paradise Valley

John La Farge

Date: 1866–68

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

Object number: 1996.92

Text Entries: "The Fine Arts. Exhibition of the National Academy." The New York Times (April 8, 1876): 7. Text p. 7. "The Arts: Representative Pictures at the Academy." Appleton's Journal 15 (April 15, 1876): 509–10. Text pp. 509–10. "Fine Arts: The National Academy Exhibition II." The Nation 22 (April 20, 1876): 268. Text p. 268. "The National Academy of Design." Art Journal 2 (June 1876): 190. Text p. 190. James, Henry. "Art." Atlantic Monthly 37 (June 1876): 759–62. Text p. 760. James, Henry. "Art." Atlantic Monthly 38 (August 1876): 250–52. Text pp. 250–52. "Art Notes." Independent 28 (September 28, 1876): 8. Text p. 8. "Local Affairs." Newport Journal (September 30, 1876): 2. Text p. 2. "Notes." Art Journal 3 (September 1877): 255. Text p. 255. “Old and Young Painters.” The New York Times (March 17, 1878): 5. Text p. 5 (as New England Landscape). "America at the Paris Exposition." Chicago Tribune (March 24, 1878): 11. Text p. 11 (as Paradise Valleys, Newport). "Local Affairs." Newport Daily News (June 4, 1878): 2. Text p. 2 (as Paradise Valley Newport). Stillman, W. J. "The Paris Exposition IX: American Painting." The Nation 27 (October 3, 1878): 211. Text p. 211 (as Paradise Valley, Newport). Sturgis, Russell. "The Paris Exhibition XV: The United States Fine Art Exhibit." The Nation 27 (November 28, 1878): 331. Text p. 331. Gonse, L., ed. "Exposition Universelle de 1878, Les Beaux-Arts et les Arts Decoratifs." Gazette des Beaux-Arts (1879): 210. Text p. 210. Clement, C. E. and L. Hutton. Artists of the Nineteenth Century and Their Works. Boston, Massachusetts: Houghton, Osgood and Company, 1879. Text p. 30. "Art Notes from Paris." Boston Evening Transcript (April 17, 1879): 3. Text p. 3. McCormick, R. C. "Our Success at Paris in 1878." North American Review 129 (July 1879): 3. Text p. 3. Reports of the United States Commissioners to the Paris Universal Exposition, 1878. Washington, D.C.: Government Printing Office, 1880. Text p. 112. Lathrop, George Parsons. "John La Farge." Scribner's Monthly 21 (February 1881): 503–16. Text pp. 510–11. "Art and Artists." Boston Evening Transcript (April 16, 1884): 6. Text p. 6. Dodd, A. B. "John La Farge." Art Journal 1 (September 1885): 262. Text p. 262. Champlin, J. D., Jr. and C. C. Perkins. Cyclopedia of Painters and Paintings. Vol. 3. New York: Charles Scribner's Sons, 1887. Text p. 4. Appleton's Cyclopaedia of American Biography. Vol. 3. New York: D. Appleton and Company, 1887. Text p. 586. Waern, Cecilia. "John La Farge, Artist and Writer." Portfolio 26 (April 1896): 27. Text p. 27 (as Paradise Valley, Newport). Sturgis, Russell. Review of "Considerations of Painting." Architectural Record 6 (October–December 1896): 230–32. Ill. pp. 230-32. "The Fine Arts: Loan Exhibition of One Hundred Masterpieces-The American Pictures." Boston Weekly Transcript (March 19, 1897): 7. Text p. 7. Hartmann, S. A History of American Art. Boston, Massachusetts: L. C. Page and Company, 1902. Text p. 184. Johnson, R. and J. H. Brown, eds. The Twentieth Century Biographical Dictionary of Notable Americans. Vol. 4. Boston, Massachusetts: Biographical Society, 1904. Text n.p. Cortissoz, Royal. "John La Farge." Outlook 84 (October 27, 1906): 481–82. Text pp. 481–82. Knaufft, E. "American Paintings To-Day." American Review of Reviews 36 (December 1907): 690. Text p. 690 (as Paradise Valley, Newport). "Memorial Exhibition of La Farge Paintings." Boston Daily Advertiser (December 28, 1910): 5. Text p. 5. "The Fine Arts: La Farge's Work." Boston Evening Transcript (December 28, 1910): 19. Text p. 19. Cortissoz, Royal. John La Farge: A Memoir and Study. New York: Houghton Mifflin & Company, 1911. Text pp. 122, 127–131, 156. Lothrop, S. B. La Farge Memorial Exhibition. Museum of Fine Arts Bulletin [Boston] 9 (February 1911): 8. Text p. 8. Armstrong, D. M. and M. Armstrong, eds. Day Before Yesterday. New York: Charles Scribner's Sons, 1920. Text pp. 267–68, 303–304. Johnson, A. and D. Malone, eds. Dictionary of American Biography. Vol. 10. New York: Charles Scribner's Sons, 1928–1936. Text p. 533. Du Bois, Guy Pene. "The Case of John La Farge." Arts Magazine 17 (January 1931): 252–70+. Ill. p. 268. "The La Farge Exhibition." Stained Glass (Providence Journal Bulletin) 26 (March 1931): 83. Text p. 83. "Wildenstein Exhibit Shows La Farge Art for 3 Generations." New York Herald Tribune (March 10, 1931): 21. Text p. 21. "The La Farges: Wildenstein Galleries." Art News 29 (March 14, 1931): 10. Text p. 10. Du Bois, Guy Pene. "John La Farge and His Descendants." Arts Magazine 17 (April 1931): 516. Text p. 516. Lane, J. W. "A Family of Painters." Commonwealth 13 (April 1, 1931): 598. Text p. 598. Browne, E. H. "Wizard of the Window." Columbia 14 (March 1935): 19. Text p. 19 (as Paradise Valley, Newport). An Exhibition of the Work of John La Farge. (exh. cat., The Metropolitan Museum of Art). New York: Blanchard Press, 1936. Ill. no. 18. Cary, E. L. "John La Farge: A Reminiscent Note." New York Times (March 22, 1936): section 11, p. 8. Text p. 8. Cortissoz, Royal. "John La Farge and His Original Traits." New York Herald Tribune (March 23, 1936): section 5, p. 10. Text p. 10; ill. p. 10. Sayre, A. H. "The Complete Work of John La Farge at the Metropolitan." Art News 34 (March 1936): 6. Text p. 6. Jewell, E. A. "In the Realm of Art: Comment on New Shows." New York Times (March 29, 1936): section 9, p. 8. Text p. 8. Allen, J. L. "Exhibition of the Work of John La Farge." Bulletin of the Metropolitan Museum of Art 31 (April 1936): 76. Text p. 76. J. S. "Notes on the La Farge Exhibit." America 54 (May 2, 1936): 83. Text p. 83. Art in Our Time. (exh. cat., Museum of Modern Art). New York: Museum of Modern Art, 1939. Ill. no. 42. Preston, W. American Biographies. New York: Harper and Brothers, 1940. Text p. 587. Watson, Forbes. "The Land of the Free." Magazine of Art 33 (November 1940): 612. Text p. 612. "Carnegie Institute Presents Great Survey of American Painting." Art Digest 15 (November 1, 1940): 6. Ill. p. 6. Loan Exhibition in Honor of Royal Cortissoz and His 50 Years of Criticism in the New York Herald Tribune. (exh. cat., Knoedler and Co.). New York: Knoedler and Company, 1941. Ill. no. 26. Saint-Gaudens, Homer. The American Artist and His Times. New York: Dodd, Mead & Company, 1941. Text p. 153. Paris, W. F. The Hall of American Artists. New York: New York University, 1944. Text p. 56. Katz, Roberta Berenson. "John La Farge, Art Critic." Art Bulletin 33 (June 1951): 105–18. Text pp. 108–109. Berkelman, R. "John La Farge, Leading American Decorator." South Atlantic Quarterly 56 (January 1956): 40. Text p. 40. Flexner, James T. Nineteenth Century American Painting. New York: G. P. Putnam's Sons, 1970. Text p. 149. The National Academy of Design Exhibition Record 1861–1900, vol. 1, A through L. New York: Kennedy Galleries, Inc., 1973. Text p. 535, no. 188 (as New England Pasture Land). Boyle, Richard J. American Impressionism. Boston, Massachusetts: New York Graphic Society, 1974. Ill. p. 76. Adams, Henry. "Letter to the Editor." Art Bulletin 56 (December 1974): 625–26. Text pp. 625–26. Weinberg, H. Barbara. The Decorative Work of John La Farge. New York: Garland Press, 1977. Text p. 35; ill. p. 37. Yarnall, James Leo. “The Role of Landscape in the Art of John La Farge.” PhD diss., University of Chicago, 1981. Text pp. 180, 183 n. 2, 191, 201–216, 219–220, 223, 224–230. Yarnall, James L. "John La Farge's New England Pasture Land." Newport History 55 (Summer 1982): 79–89. Text and ill. Yarnall, James L. "John La Farge's The Last Valley." Newport History 55:188 (Fall 1982): 130–142. Text pp. 131, 133–35, 137; fig. 1, p. 131. La Farge, Henry A. “John La Farge and the 1878 Auction of His Works.” American Art Journal 15:3 (Summer 1983): 5–34. Text pp. 8, 22. Adams, Henry et al. John La Farge. (exh. cat., National Museum of American Art). New York: Abbeville Press, 1987. Text pp. 90–91, 133; Pl. 57, p. 90 (color). Adams, Henry. "John La Farge, the Inventive Maverick." Smithsonian 18 (July 1987): 46–59. Text pp. 49, 51; ill. p. 51. Johnson, K. F. "John La Farge." Antiques & the Arts Weekly (September 18, 1987): 1. Ill. p. 1. Weisberg, G. P. "On the Art and Exhibition of John La Farge." Arts Magazine 61 (October 1987): 33–35. Text p. 34. Adams, Henry. "John La Farge: America's Genteel Old Master." Carnegie Magazine 58 (November–December 1987): 49. Ill. p. 49. "La Farge Expert Speaks at Channing." Newport This Week (March 3, 1988): 7. Text p. 7. Gerdts, William H. Art across America: Regional Painting in America, 1710–1920. Vol. 1. New York: Abbeville Press, 1990. Text p. 91; ill. no. 1.88, p. 91 (color). Yarnall, James L. John La Farge: Watercolors and Drawings. (exh. cat., The Hudson River Museum of Westchester). New York: The Hudson River Museum, 1990. Text p. 26, n. 22. Yarnall, James L. John La Farge in Paradise: The Painter and His Muse. (exh. cat., William Vareika Fine Arts). Newport, Rhode Island: William Vareika Fine Arts, 1995. Text pp. 8, 97, 102–11, 128, 144, 201, 205; fig. 154, p. 104 (color). Yarnall, James L. Nature Vivante: The Still Lifes of John La Farge. (exh. cat., The Jordan-Volpe Gallery, Inc.). New York: The Jordan-Volpe Gallery, Inc., 1995. Text p. 149. Christie's, New York, New York (Sale SAM-8408, May 23, 1996): lot 18. Ill. lot 18. 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); ill. p. 46 (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. 25 (checklist); ill. p. 46 (color). Kennedy, Betsy. Paradise Valley, John La Farge. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, October 2000. Ill. (color). Conrads, Margaret C. Winslow Homer and the Critics: Forging a National Art in the 1870s. Princeton, New Jersey: Princeton University Press in conjunction with The Nelson-Atkins Museum of Art, 2001. Text p. 95; fig. 74, p. 95 (black & white). Kennedy, Elizabeth. "The Terra Museum of American Art." American Art Review (December 2002): 126–41. Text pp. 136–37; ill. p. 128 (color). Cleveland, David A. A History of American Tonalism: 1880–1920. Manchester, Vermont: Hudson Hills Press, 2010. Text, pp. 28–30; ill. fig. 1.19, p. 29 (color). Yarnall, James L. John La Farge, A Biographical and Critical Study. Burlington, Vermont: Ashgate Publishing Company, 2012. Text pp. 74–6, 84, 279, 282; ill. plate 10 (color). Hallman, J. C. Wm & H'ry: Literature, Love and the Letters between William and Henry James. Iowa City: University of Iowa Press, 2013, Text, pp. 54–5; ill. p. 55 (black & white). Georgi, Karen L. Chritical Shift: Reading Jarves, Cook, Stillman, and the Narratives of Nineteenth-Century American Art. University Park: The Pennsylvania State University Press, 2013. Text, 96–8; ill. fig 6, p. 97 (black & white). 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. 89; ill. p. 88 (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. 98; ill. cat. no. 23, p. 98 (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. 42; ill. p. 43 (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. 73; ill. p. 73 (color). Cross, William R. Homer at the Beach: A Marine Painter’s Journey, 1869–1880. (exh. cat., Cape Ann Museum). Gloucester: Cape Ann Museum, 2019. Text pp. 40-41; ill. p. 41 (color).

Haymakers

Winslow Homer

Date: 1867

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

Object number: 1989.9

Text Entries: 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. 10, 26, 234; fig. 64, p. 235 (color). 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. 10, 26, 234; fig. 64, p. 235 (color). Haymakers, Winslow Homer. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, January 1992. Ill. (black & white). Wilson, Claire. "Winslow Homer at Giverny." France Magazine 35 (Summer 1995). Ill. p. 7. Tedeschi, Martha with Dahm, Kristi. Watercolors by Winslow Homer: The Color of Light. (exh. cat., The Art Institute of Chicago, Chicago, Illinois). Chicago, Illinois: The Art Institute of Chicago, 2008. Text p. 30; ill p. 30 fig. 17 (color). Regard sur cinq années d'expositions (Five Years of Exhibitions at a Glance). Chicago, Illinois: Terra Foundation for the Arts, 1997. Text p. 89; ill. p. 92 (color). Haltman, Kenneth. "Antipastoralism in Early Winslow Homer." Art Bulletin 80:1 (March 1998): 93–112. Text p. 99; fig. 11, p. 98 (black and white). Bourguignon, Katherine M. and Elizabeth Kennedy. The People Work: American Perspectives, 1840–1940. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 13, 28 (checklist); ill. p. 2 (color), fig. 6, p. 13 (black & white). Bourguignon, Katherine M. and Elizabeth Kennedy. Le Travail à l'oeuvre: les artistes américains, 1840–1940. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 13, 28 (checklist); ill. p. 2 (color), fig. 6, p. 13 (black & white). Griffith, Bronwyn A. E. Passing Through Paris: Americans in France, 1860–1930. (exh. brochure, Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for American Art, 2005. Text n.p.; fig. 5, n.p. (color). Griffith, Bronwyn A. E. Le Passage à Paris: les artistes américains en France, 1860–1930. (exh. brochure, Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for American Art, 2005. Text n.p.; fig. 5, n.p. (color). Tedeschi, Martha with Kristi Dahm. Watercolors by Winslow Homer: The Color of Light.(exh. cat., The Art Institute of Chicago, Chicago, Illinois). Chicago, Illinois: The Art Institute of Chicago, 2008. Text p. 30; ill. fig 17, p. 30 (color). Barter, Judith A., ed. The Age of Impressionism: Masterpieces from The Art Institute of Chicago. Chicago, Illinois: The Art Institute of Chicago, 2011. Text, p. 20; ill. fig. 5 (color). Tsinghua University Art Museum. Americans Abroad: Landscape and Artistic Exchange, 1800-1920. (exh. cat. Tsinghua University Art Museum) Beijing: Tsinghua University, 2018. Text p. 114; ill. p. 115 (color).

Lake George from Bolton's Landing

Alfred Thompson Bricher

Date: 1867

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

Object number: 1992.17

Text Entries: Wilmerding, John. The Waters of America: 19th-Century American Paintings of Rivers, Streams, Lakes and Waterfalls. (exh. cat., The Historic New Orleans Collection and New Orleans Museum of Art). New Orleans, Louisiana: The Historic New Orleans Collection, 1984. Ill. p. 25 (black & white). 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-51, p. 160 (color). Lake George from Bolton's Landing, Alfred Thompson Bricher. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, June 1996. Ill. (black & white). Coe, Erin Budis and Gwendolyn Brooks. Painting Lake George 1774–1900. (exh. cat., The Hyde Collection). Glens Falls, New York: The Hyde Collection, 2005. Text, p. 71, pl. 23, p. 51 (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. 28, 34 (checklist); Ill. Pl. 7, p. 46 (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. 48–49; fig. 4, p. 48 (color).

The Gleaners

Winslow Homer

Date: 1867

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

Object number: 1999.76

Text Entries: One of nineteen small paintings that Winslow Homer completed during a yearlong stay in France, The Gleaners was ostensibly executed outdoors, the manner by which Homer preferred to work in order to capture the "freshness" of his subjects. This depiction of rural workers in the village of Cernay-la-Ville-a favored site at the time for sketching that was forty miles from Paris-can be interpreted as a study of color, form, and movement. Homer's fluid application of paint melds the toiling figures and the landscape into a unified composition. Amidst the expressive layers of pigment the warm orange tone of the unprimed panel and black underdrawing of the figures are revealed, offering the viewer rare insight into the artist's technique.