Artists Associated with Chicago

Collection Info

The Terra's collection contains works of art by several individuals who had close professional ties to Chicago, whether by maintaining a studio in the area, belonging to local artists' organizations, or sending work to local exhibitions such as the annual Artists of Chicago and Vicinity at the Art Institute of Chicago.

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8 results

Two Snipes

Richard La Barre Goodwin

Date: c. 1880–1902

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

Object number: C1982.2

Text Entries: Sharp, Kevin, ed. Wild Spaces, Open Seasons: Hunting and Fishing in American Art. (exh. cat., Dixon Gallery and Gardens, Joslyn Art Museum, Shelburne Museum, and Amon Carter Museum of Art). Norman, Oklahoma: University of Oklahoma Press, 2016. Text pp. 14, 76, 175, cat. no. 24 (checklist); ill. p. 79, fig. 2.17 (color).

Portrait of Peter J. De Smet

George P. A. Healy

Date: 1865

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

Object number: C1983.5

Text Entries: Lévy, Sophie, et al. Twarze Ameryki: Portrety z kolekcji Terra Foundation for American Art, 1770–1940/Faces of America: Portraits from the collection of the Terra Foundation for American Art, 1770–1940. (exh. cat. International Cultural Center). Cracow, Poland: International Cultural Center, 2006. Text p. 70; ill. p. 70 (color). Re: Chicago. (exh. cat. DePaul Art Museum). Chicago, Illinois: DePaul University, 2011. Text, p. 60, ill. fig. 21 (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).

Between Acts

Archibald J. Motley, Jr.

Date: 1935

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

Object number: 2009.1

Text Entries: Greenhouse, Wendy, and Jontyle Theresa Robinson. The Art of Archibald J. Motley, Jr. (exh. cat., Chicago Historical Society). Chicago: Chicago Historical Society, 1991. Text p. 107; ill. p. 107, no. 35 (color). Mooney, Amy M. Archibald Motley, Jr. The David C. Driskell Series of African American Art: Volume IV. San Francisco: Pomegranate, 2004. Text pp. 99, 101; ill p. 100, pl. 45 (color). Baldwin, Davarian L. Chicago’s New Negroes: Modernity, The Great Migration, and Black Urban Life. Chapel Hill NC: University of North Carolina Press, 2009. Text p. 42. Schlabach, Elizabeth Schroeder. Along the Streets of Bronzeville: Black Chicago’s Literary Landscape. Chicago: University of Illinois Press, 2013. Text p. 13. Powell, Richard J., ed. Archibald Motley: Jazz Age Modernist (exh. cat., Nasher Museum of Art at Duke University). Durham, NC: Nasher Museum of Art at Duke University, 2014. Text p. 159 (checklist); ill. p. 16, cat. no. 26 (color), p. 159 (checklist). Wallace, Caroline. “Exhibiting Authenticity: The Black Emergency Cultural Coalition’s Protests of the Whitney Museum of American Art, 1968–71.” Art Journal 74, no. 2 (Summer 2015): 5–23. Ill. p. 13 (color). Soutif, Daniel. The Color Line: Les Artistes Africains-Américains et la Ségrégation 1865–2016. (exh. cat. Musée du quai Branly). Paris: Flammiron, 2016. ill. p. 117 (color). Halasz, Piri. <a href="http://observer.com/2016/01/meet-the-harlem-renaissance-artist-who-captured-the-era-of-le-jazz-hot/" target="_blank">“Meet the Harlem Renaissance Artist Who Captured the Era of ‘Le Jazz Hot.’”</a>. Observer (January 11, 2016). Accessed January 12, 2017. Text. 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. 214, 215; ill. p. 214, detail pp. 215–216 (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. 99 (color).

Early Morning

Louis Ritman

Date: 1912–1915

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

Object number: 1987.5

Text Entries: Giverny: summered 1911-1929 Having received artistic training in Chicago, Louis Ritman moved to France in 1909 for additional art instruction and stayed for twenty years, dividing his time between Paris and Giverny. Ritman was one of the youngest American artists in the small village, and upon joining the burgeoning art colony, Frederick Frieseke became his mentor. Like Frieseke, Ritman often focused on the female figure-nude or clothed and placed in an intimate setting in or out of doors-for his paintings. Brilliant coloring and intricate patterning additionally characterize much of Ritman's work exemplified by Early Morning. Interestingly, such formal elements would also make the otherwise erotic work palatable to a conservative American audience.

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).

Builders of the Desert

Walter Ufer

Date: 1923

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

Object number: 1992.174

Text Entries: Walter Ufer's penchant for depicting realist and socially conscious images of southwestern Native Americans is exemplified in this monumental painting. Ufer portrayed with equal importance the Indians' laborious endeavor of baking bricks for their five hundred-year-old community and the magnificent Taos landscape.

Topcat Boy

Ed Paschke

Date: 1970

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

Object number: 2017.3

Text Entries: An early large-scale masterwork, Top Cat Boy bears all the trademark features of Paschke's paintings of the 1970s: vivid colors, application of a variety of media, and subject matter drawn from his fascination and flirtation with life on the social fringe. Top Cat Boy demonstrates Paschke’s delicate approximation of media including photomechanical imagery, silkscreen, and airbrush, while the nearly neon palette is typical of his work from this period. The artist utilized overhead projectors to layer images onto his canvas, which introduced a sophisticated visual and psychological complexity. With its carnivalesque arrangement of colors and narrative ambiguity, the painting, like most of Paschke's greatest works, exists in its own sleazy netherworld, where the fluidity of the figures' racial and gendered identities play out against a neon-lit backdrop of spectacular entertainment and, perhaps, social deviance. An earlier variation on the two figures, a photo-realistic painting titled A Colores (1970; location unknown) appears to merge a postcard-like image on the left and two overlapping advertising photographs on the right. In this version, the male figure from Top Cat Boy appears without a mask while the female appears in her original guise as a doll. A photograph of Top Cat Boy in an interim state reveals that Paschke painted the man's face in full prior to painting the mask over it. Top Cat Boy retains the doll-like female form, but replaces the doll's face with a photomechanical image of a woman's face. She stares blankly into the distance, diverting the gazes of onlookers and expressing a detached ennui that contrasts sharply with the man's knowing smile. In its subject, Top Cat Boy is a transitional image linking the boxers and wrestlers Paschke painted in 1968–69 and the strippers that would populate his paintings throughout the 1970s. The mask worn by wrestlers in such paintings as Mid American (1969; The Art Institute of Chicago) or Red Ball (1971; private collection) reappears in Top Cat Boy. The man’s oversized hockey gloves, too, recall the wrestlers' hulking forms, yet they also look robotically futuristic. In the fall of 1970, Paschke likely exhibited Top Cat Boy as part of a one-man show that also included paintings of shoes and other leather objects at Chicago's Deson-Zaks Gallery. By then, Paschke had already begun exhibiting with a group of artists known as the Chicago Imagists, whose work was rooted in personal experience but articulated in a syntax drawn from the garish propensities of lowbrow popular culture. As such, Top Cat Boy is an amalgamation of Paschke’s lifelong penchant for sports like wrestling, and for the gritty aspects of urban life.