New Web objects Abstract

Advanced Search

Collection Info

Image Not Available

Last item added, 2015.3 Sheeler, Flower Forms (photograph)

Filters

12 results

Painting No. 50

Marsden Hartley

Date: 1914–15

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

Object number: 1999.61

Text Entries: Marsden Hartley was one of the pioneers of modern Art in America and a lifelong wanderer. His intellectual background derived from such sources as the writings of Ralph Waldo Emerson, the art theory of the Russian-German painter Wassily Kandinsky, and the ideas of contemporary French philosophy. His compositions and imagery were influenced by the most advanced vocabulary of Synthetic Cubism on the one hand, and by Bavarian folk art and Native American art on the other. No less incongruous was his selection of places: he chose to live in New York, Paris and Berlin, but at other times escaped to his native Maine, the burgeoning art community of New Mexico or the solitude of Nova Scotia. Hartley first visited Berlin in May 1913, and enchanted with the German capital and its military pageantry, he went back the next year and stayed until the end of 1915. In pre-World War I Berlin, he started a series of paintings inspired by two German officers whom he had befriended in Paris, developing a personal iconography of German military emblems and insignia. During the same period he enlarged his visual language, incorporating a bold interpretation of Native American color and design. The result was a group of approximately six paintings titled "Amerika." Painting No. 50 is one such work, combining recognizable objects-a teepee and bow and arrow-with abstract geometric forms. In this structured composition with reference to "the gentle race," Hartley might have found a sense of order within the turmoil of war-torn Germany.

Construction

Max Weber

Date: 1915

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

Object number: 1987.31

Text Entries: Though born in Russia, at the age of ten Max Weber moved with his family to Brooklyn, New York. After art training at the Pratt Institute, he returned to Europe and studied in Paris from 1905 to 1908. These years were crucial to Weber's development as a painter: he helped to found the New Society of American Artists in Paris, exhibited at the Salon d'Automne in 1908 and established himself in avant-garde artistic circles. Returning to the United States, Weber assumed an active role in introducing modernism to America as he restlessly searched to uncover the underlying structure of objects and define a twentieth-century artistic language. Even though he received discouraging and often abusive criticism from the art press, he continued to draw inspiration from the French avant-garde. Construction was painted at a time when Weber was America's leading experimenter in the cubist idiom. Despite the architectural association of its title, Construction is similar to a series of landscape scenes that Weber produced during the same year, and the rich earth tones of brown, blue and green also evoke nature. Weber, however, consciously converted three-dimensional natural forms onto canvas by fracturing surfaces into planes and facets that produce multiple views and perspectives. After 1920, his modernism evolved into a more figurative style that addressed post-World War I social changes and problems. Until the end, Weber fluctuated between abstraction and representation, never completely abandoning his cubist experiments or his expressionistic human figures.

Flower Forms

Charles Sheeler

Date: 1917

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

Object number: 1987.33

Text Entries: Flower Forms is a rhythmic and simplified semi-abstraction of a still life that in many respects seems atypical of the Precisionist paintings-such as Bucks County Barn-commonly associated with Charles Sheeler. In the painting, however, Sheeler still achieves a high degree of realism, his intense representation evoking the flowers' internal physiology. In fact, the almost anatomical treatment of the flower theme strongly suggests Georgia O'Keeffe's later botanical paintings. Developments in such modern sciences as biochemistry may partially account for the efforts of the early modernist artists to search out underlying forms. Certainly it is consistent with Sheeler's desire to probe beneath the surface of forms and to use art to increase our capacity for perception.

Denstedt

Lyonel Feininger

Date: 1917

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

Object number: 1988.27

Text Entries: When Lyonel Feininger moved to Germany with his parents in 1887, it was to study the violin. Once in Leipzig, however, Feininger decided that he would rather study art, and with his parents support enrolled in the School of Arts and Crafts in Hamburg. He later continued his art education in Berlin, Belgium, and Paris. In 1913, Feininger exhibited with the artists of the German expressionist Blue Rider group in Berlin and six years later began teaching at the revolutionary German art and architecture school, the Bauhaus, at the request of architect Walter Gropius. In 1937, after fifty years of living abroad, Feininger returned to the United States. Feininger was first known for his humorous cartoons and caricatures, often printed in French and German newspapers. His reputation became international when he illustrated the cartoons "The Kin-der-Kids," and "Wee Willie Winkie's World" for the Chicago Tribune. At the age of thirty-five Feininger turned to painting. Feeling that specific work should reflect the artist's inner spiritual state, he looked to rhythm, form, color, and mood for expression. Denstedt reflects Feininger's beliefs: its abstraction requires probing beyond the recognizable. A depiction of a village-often thought to be in the German Province of Thuringia, where Feininger and his wife sometimes lived-the painting offers jumbled lines, schismatic planes and acidic colors. Completed during the World War I, Denstedt could easily represent the artist's inner state of turmoil, for as Feininger explained, "The frightful world events weigh upon us and leave their gloomy traces upon my work."

Peinture

Patrick Henry Bruce

Date: 1917–18

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

Object number: 1999.21

Text Entries: Only recently has Patrick Henry Bruce come to be understood as a pioneering American modernist. The great-great-grandson of the American statesman Patrick Henry (known for his imperative "give me liberty or give me death"), Bruce was born in the United States but spent most of his adult life in France. In New York, Bruce studied with William Merritt Chase and Robert Henri; later, in Paris, he became a friend and student of Henri Matisse. Bruce was well-versed in contemporary art theory and often frequented the salons of Gertrude and Leo Stein in Paris. His friends included the French artists Sonia and Robert Delauney as well as the Americans Edward Hopper, Man Ray, and Guy Pène du Bois. It was the work of French artist Paul Cézanne with its emphasis on underlying form, however, that Bruce was most drawn to. A consummate perfectionist, Bruce destroyed work that he felt was not up to his standards and left behind only around one hundred objects. Among the twenty-five surviving abstract still lifes, Peinture holds a distinct place as the first in a series. With its simplified, architectonic forms seen from multiple points-of-view, Peinture is a synthesis of Bruce's earlier stylistic excursions exploring structure and colored shapes. In 1930, Bruce stopped exhibiting his work. A fear that his art could not be understood in his lifetime coupled with a growing sense of dislocation led him to abandon painting in 1936. This same year he returned to New York from Europe-having already destroyed much of his work and personal papers-and took his own life.

Welcome to Our City

Charles Demuth

Date: 1921

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

Object number: 1993.3

Text Entries: American Painting 1900–1950. (exh. cat., Lowe Gallery, University of Miami). Miami, FL: Lowe Gallery, 1952. Text p. 1, cat. no. 12 (as Entrance to the City). Farnham, Emily. Charles Demuth: His Life, Psychology and Works. PhD dissertation, Ohio State University, 1959. Vol. II. Text pp. 108, 575, no. 416. Farnham, Emily. Charles Demuth: Behind a Laughing Mask. Norman, Oklahoma: University of Oklahoma Press, 1971. Text p. 120. Eiseman, Alvord L. Charles Demuth. New York: Watson-Guptill Publications, 1982. Text p. 17. Fahlman, Betsy. Pennsylvania Modern: Charles Demuth of Lancaster. (exh. cat., Philadelphia Museum of Art). Philadelphia, Pennsylvania: Philadelphia Museum of Art, 1983. Text p. 20. Haskell, Barbara. Charles Demuth. (exh. cat., Whitney Museum of American Art). New York: Whitney Museum of American Art in association with Harry N. Abrams, Inc., Publishers, 1987. Ill. p. 131 (black & white). Falhman, Betsy.”Charles Demuth’s Paintings of Lancaster Architecture: New Discoveries and Observations.” Arts Magazine 61, no. 7 (March 1987): 24–29. Text p. 24; ill. p. 24, fig.2 (black & white). Falhman, Betsy. “The Charles Demuth Retrospective at the Whitney Museum of American Art” Arts Magazine 62 (March 1988): 52–54. Text p. 53. Sotheby's New York, New York (Sale 6373, December 3, 1992): lot 153. Text, lot 153; ill. cover (color), lot 153 (color). Art & Auction (October 1993): cover. Ill. cover. Weinberg, Jonathon. Speaking for Vice: Homosexuality in the Art of Charles Demuth, Marsden Hartley, and the First American Avant-Garde. New Haven, Connecticut: Yale University Press, 1993. Text pp. 214, 21; ill. p. 215, fig. 74 (color). Welcome to Our City, Charles Demuth. Collection Cameo sheet, Terra Museum of Art, Chicago, Illinois, July 1994. Ill. (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 p. 24 (checklist); ill. p. 30 (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. 24 (checklist); ill. p. 30 (color). 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. Ill. p. 2 (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. Ill. p. 2 (color). Cartwright, Derrick. "The City and Country: American Perspectives, 1870–1920." American Art Review 7, no. 1 (January-February 2000): 100–11. Ill. p. 108 (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. 172, 194; ill. pp. 14 (color), 173 (color), 194 (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. 172, 194; ill. cover (color detail), pp. 14 (color), 173 (color), 194 (black & white). Derouet, Christian et al. "Paris, capitale de l'Amérique." L'avant-garde américaine à Paris, 1918–1939. Edited by Sophie Lévy. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Ill. p. 53, cat. no. 23 (color). Derouet, Christian et al. A Transatlantic Avant-Garde: American Artists in Paris, 1918–1939. Edited by Sophie Lévy. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Ill. p. 53, cat. no. 23 (color). Mullaney, Tom. "Terra's Next Move." Art & Antiques (September 2003): 21. Text p. 21; ill. p. 21 (color). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., National Museum of China, Beijing; Shanghai Museum). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. Text p. 198; ill. p. 215 (color). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., National Museum of China, Beijing; Shanghai Museum). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Chinese edition). Text p. 198; ill. p. 215 (color). Art In America: 300 years of Innovation. Hong Kong: Wen Wei Publishing Co. Ltd, 2007. (in Chinese), Ill. p. 121 (color). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., The Pushkin Museum of Fine Arts, Moscow, Russia). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Russian edition). Ill. cover (color), p. 113 (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. Ill. p. 153 (color). Hambleton, Gross. Governing Cities in the Urban Era. New York, NY: Palgrave MacMillan US, 2007. Text “Acknowledgment section”. Ill. cover (color). Fahlman, Betsy and Claire Barry. Chimneys and Towers: Charles Demuth’s Late Paintings of Lancaster. (exh. cat. Amon Carter Museum) Philadelphia, PA: University of Pennsylvania Press, 2008. Text pp. 101, 134. Brock, Charles, Nancy Anderson, and Harry Cooper. American Modernism: The Shein Collection. (exh. cat., National Gallery of Art, Washington DC) Washington DC: National Gallery of Art, 2010. Text p. 45. Lampe, Anne M. Demuth in the City of Lights. (exh. cat. Woodmere Art Museum, Philadelphia, Pennsylvania). Philadelphia, Pennsylvania: Woodmere Art Museum, 2011. Text p. 18; ill. p. 19, fig. 28 (color). Art Across America. (exh. cat., National Museum of Korea, Los Angeles County Museum of Art, Museum of Fine Arts, Houston, Philadelphia Museum of Art and the Terra Foundation for American Art). Seoul, South Korea: National Museum of Korea, 2013. Text p. 281; ill. p. 280 (color). America: Painting a Nation. (exh. cat., Art Gallery of New South Wales, Los Angeles County Museum of Art, Museum of Fine Arts, Houston, National Museum of Korea, Philadelphia Museum of Art and the Terra Foundation for American Art). Sydney, Australia: Art Gallery of New South Wales, 2013. Text p. 178; ill. p. 179, cat. no. 60 (color), back cover flap (color detail). 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. 33, cat. no. 24 (checklist); ill. pp. 32, 126 (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. 122; ill. p. 123 (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. 258; ill. p. 258 (color).

Rue du Singe qui Pêche

Charles Demuth

Date: 1921

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

Object number: 1999.44

Text Entries: "The Downtown Gallery Papers; Charles Demuth #35," Archives of American Art, Roll ND/30, Frames #50, 51, 54, 55, 74, 75, 77, 78–81, 183, 184. Ritchie, Andrew Carnduff. Charles Demuth. (exh. cat., The Museum of Modern Art). New York: The Museum of Modern Art, 1950. Ill. p. 72. The Classic Tradition in Contemporary Art. (exh. cat., Walker Art Center). Minneapolis, Minnesota: Walker Art Center, 1953. Ill. p. 17. Farnham, Emily. Charles Demuth: His Life, Psychology and Works. PhD dissertation, Ohio State University, 1959. Vol. I, fig. 37, p. 409, vol. II, text p. 560. The Precisionist View in American Art. (exh. cat., Walker Art Center). Minneapolis, Minnesota: Walker Art Center, 1960. Cat. p. 55. An Exhibition of Works of Art, Lent by the Alumni of Williams College. (exh. cat., Williams College Museum of Art). Williamstown, Massachusetts: Williams College Museum of Art, 1962. Text p. 18. Charles Demuth: the Mechanical Encrusted on the Living. (exh. cat., The Art Galleries, University of California, Santa Barbara). Santa Barbara, California: The Art Galleries, University of California, Santa Barbara, 1971. Text p. 20. Farnham, Emily. Charles Demuth: Behind a Laughing Mask. Norman, Oklahoma: University of Oklahoma Press, 1971. Text pp. 120, 148, 206. Hunter, Sam. American Art of the 20th Century. New York: Harry N. Abrams, 1972. Ill. no. 201, p. 118 (black & white). Eiseman, Alvord L. A Study of the Development of an Artist: Charles Demuth. PhD dissertation, New York University, 1976. Vol. I, text pp. 366–69, ill. p. 367. Second Williams College Alumni Loan Exhibition. (exh. cat., Williams College Museum of Art). Williamstown, Massachusetts: Williams College Museum of Art, 1976. Text p. 14; cat. 15, p. 38. Norton, Thomas E., ed. Homage to Charles Demuth: Still Life Painter of Lancaster. Ephrata, Pennsylvania: Science Press, 1978. Ill. p. 74. Buildings: Architecture in American Modernism. (exh. cat., Hirschl & Adler Galleries, Inc.). New York: Hirschl & Adler Galleries, Inc., 1980. Text p. 28; ill. no. 23, p. 29. "Weekend [review of "The Geometric Tradition in American Painting, 1920–80]." The New York Times (Friday, April 11, 1980). Text. "Hirschl & Adler Exhibition Review." New York Daily News (November 21, 1980). Pisano, Ronald G. An American Place. (exh. cat., The Parrish Art Museum). Southampton, New York: The Parrish Art Museum, 1981. Ill. no. 1 (black & white). "Parrish Art Museum Exhibition Review." Newsday (July 9, 1981). Eiseman, Alvord L. Charles Demuth. New York: Watson-Guptill Publications, 1982. Text pp. 16, 65; pl. 26, p. 64 (color). Fernand Léger and the Modern Spirit. (exh. cat., The Museum of Fine Arts, Houston). Houston, Texas: The Museum of Fine Arts, 1982. Text p. 181; fig. 9, p. 182. Tsujimoto, Karen. Images of America: Precisionist Painting and Modern Photography. (exh. cat., San Francisco Museum of Modern Art). Seattle, Washington: Published for the San Francisco Museum of Modern Art by University of Washington Press, 1982. Text no. 39, p. 233 (checklist). Haskell, Barbara. Charles Demuth. (exh. cat., Whitney Museum of American Art). New York: Whitney Museum of American Art in association with Harry N. Abrams, Inc., Publishers, 1987. Pl. 68, p. 156 (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-170, p. 279 (color). Rue du Singe qui Pêche, Charles Demuth. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, November 1988. Ill. (black & white). Clair, Jean, ed. The 1920s: Age of the Metropolis. Montreal, Canada: The Montreal Museum of Fine Arts, 1991. Text p. 357, pl. 474, p. 363 (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 pp. 14, 24 (checklist); fig. 6, p. 14 (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. 14, 24 (checklist); fig. 6, p. 14 (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 pp. 37, 60 (checklist); pl. 10, p. 37 (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. Text pp. 37, 60 (checklist); pl. 10, p. 37 (color). Inheriting Cubism: The Impact of Cubism on American Art, 1909–1936. (exh. cat., Hollis Taggart Galleries). New York: Hollis Taggart Galleries, 2001. Text pp. 39-40; ill. p. 40 (black and white). American Art 1908–1947: From Winslow Homer to Jackson Pollock. (exh. cat. Reunion des musées nationaux). Paris, France: Editions de la Reunion des musées nationaux, 2001. Text pp. 104–15; ill. p. 121 (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 p. 172. 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 p. 172. Derouet, Christian et al. A Transatlantic Avant-Garde: American Artists in Paris, 1918–1939. Edited by Sophie Lévy. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Cat. no. 21, p. 51 (color). Derouet, Christian et al. "Paris, capitale de l'Amérique." L'avant-garde américaine à Paris, 1918–1939. Edited by Sophie Lévy. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Cat. no. 21, p. 51 (color). Fahlman, Betsy and Claire Barry. Chimneys and Towers: Charles Demuth's Late Paintings of Lancaster. (exh. cat., Amon Carter Museum). Fort Worth, Texas: Amon Carter Museum, 2007. Text pp. 78,80, 197; ill. fig.37, p. 79 (color). Lampe, Anne M. Demuth in the City of Lights. (exh. cat. Woodmere Art Museum, Philadelphia, Pennsylvania). Philadelphia, Pennsylvania: Woodmere Art Museum, 2011. Text p. 18; ill. fig. 28, p. 19 (color). La Ville Magique. (exh. cat., Lille Métropole Musée d'Art Moderne d'Art Contemporain et d'Art Brut). Lille, France: Lille Métropole Musée d'Art Moderne d'Art Contemporain et d'Art Brut and Editions Gaillmard, 2012. Ill. cat. no. 119, p. 151 (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. 45, cat. no. 23 (checklist); ill. pp. 45, 126 (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 p. 165; ill. p. 166 (color).

Super Table

Stuart Davis

Date: 1925

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

Object number: 1999.37

Text Entries: The son of two artists, Stuart Davis grew up with family friends such as John Sloan, George Luks, and Robert Henri. Davis enjoyed an art career that spanned five decades and by the early 1940s was acknowledged as an important figure in twentieth-century American art. Davis's formal art training began at the young age of sixteen when he enrolled in Robert Henri's newly opened school in New York. Three years later, five of his watercolors were included in the pivotal exhibition of modern art, the 1913 Armory Show. This show also initiated Davis's interest in European modernist movements. In particular, the work of Henri Matisse, Paul Gauguin, and Vincent van Gogh greatly appealed to Davis for their depictions embodied his ideal that even abstract art had subject matter. If Davis's work shows an influence of European art, it is always fused with American elements. In a list of items that determined his abstract paintings, for example, he included: "Civil War and skyscraper architecture; the brilliant colors on gasoline stations; chain-store fronts and taxicabs; the music of Bach; synthetic chemistry; the poetry of Rimbaud; fast travel by train, auto and airplane which brought new and multiple perspectives; electric signs; the landscape and boats of Gloucester, Mass.; 5 and 10 cent store kitchen utensils; movies and radio; etc." Super Table-a modern twist on the traditional still life-represents a pivotal stage in Davis's oeuvre, before recognizable subject matter is subsumed to form and color.

Illinois Central

George Josimovich

Date: 1927

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

Object number: 2004.1

Text Entries: Seventh Annual Exhibition of the Chicago No-Jury Society of Artists. (exh. cat. Chicago Society of Artists). Chicago, Illinois: Chicago Society of Artists, 1928. Text p. 11, cat. no. 180 (checklist, as I.C.). Defining the Edge: Early American Abstraction. (exh. cat., Laguna Art Museum, Michael Rosenfeld Gallery), New York, NY: Michael Rosenfeld Gallery, 1998. Text pp. 32, 54 (checklist); ill. p. 32 (color). George Josimovich: American Purist. Chicago, Illinois: Robert Adams Fine Art, Inc., Chicago, Illinois, 2004. Ill. (color). Camper, Fred. <a href="http://www.chicagoreader.com/chicago/hot-and-cold-visions/Content?oid=915701 " target="_blank">“Hot and Cold Visions.”</a> Chicago Reader (June 3rd, 2004). Accessed January 25, 2017. Text. Illinois Central, George Josimovich. Brochure for International Conference for Narratives About American Art. John F. Kennedy Institute for American Studies, Berlin, and Terra Foundation for American Art, Chicago, IL, May 24–26, 2007. Ill. cover (color). Cozzolino, Robert. Art in Chicago: Resisting Regionalism, Transforming Modernism. (exh. cat., Pennsylvania Academy of the Fine Arts). Philadelphia, Pennsylvania: Pennsylvania Academy of the Fine Arts, 2007. Text p. 17; ill. p. 25 (color detail); pl. 7, p. 29 (color). Cypriano, Fabio. “Paisagem nas Américas trata encanto pela natureza sem simplificação.” Folha de São Paulo (March 27, 2016): illustrada C3. Text. Eleutério, Maria de Lourdes. “Paisagem nas Américas.” Remate de Males 36, no. 1 (January–June 2016): 301–309. Text p. 307. 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. 68, cat. no.42 (checklist); ill. pp. 69, 140 (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. 132; ill. p. 133 (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. Text p. 13, 38; pl. p. 50 (color).

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).

Politics

John Storrs

Date: 1931

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

Object number: 2008.1

Text Entries: John Storrs, (exh. brochure, The Downtown Gallery, New York, NY) The Downtown Gallery, New York, NY, 1967. Ill. No. 8 front cover. John Storrs, (exh. cat., Whitney Museum of American Art, New York, NY). New York, NY: Whitney Museum of American Art, 1986. Text p. 93, ill. p. 92 (black & white). John Storrs: Rhythm of Line, (exh. cat. Hirschl & Adler Galleries, New York, NY). New York, NY: Hirschl & Adler Galleries, 1993. Ill. no. 32, p. 32 (color). John Storrs: Abstract Forms of the 1930s, (exh. cat. Valerie Carberry Gallery, Chicago) Chicago, IL: Valerie Carberry Gallery, 2008. Ill. No. 1, cover, p. 5 (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. 144; ill. p. 145 (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. 267; ill. p. 267 (color).

Room Space

Albert Eugene Gallatin

Date: 1937–38

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

Object number: 1999.56

Text Entries: Albert E. Gallatin began his career as a patron of the arts. Born into a prominent and wealthy family in Philadelphia, Gallatin became a philanthropist, collector and critic, and his early writings on artists such as Aubrey Beardsley, James McNeill Whistler, Paul Cézanne and Charles Sheeler still stand as landmarks. In 1927, Gallatin opened the Gallery of Living Art (later known as the Museum of Living Art) on the ground floor of the main building of New York University. Considered the first American collection devoted exclusively to modern art open for public view, the Gallery of Living Art served as an important forum for the exhibition of Synthetic Cubism, Russian Constructivism, Dutch De Stijl painting, Surrealism and other major movements of the 1920s and 1930s. In 1942, forced to remove his gallery from New York University, Gallatin transferred his collection to the Philadelphia Museum of Art, where it still resides today. Around the time of the Gallery of Living Art's inception, Gallatin began to paint idiosyncratic color abstractions such as Room Space. The painting's carefully constructed composition perfectly illustrates Gallatin's preference for work that expresses formalist ideas of structure over symbolic or expressive content. These abstract works have also increasingly earned Gallatin recognition as one of the "little masters" of geometric painting.