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America: Painting a Nation

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"America: Painting a Nation" is the most expansive survey of American painting ever presented in Australia. With over 80 works, ranging from 1750 to 1966, this exhibition will cover more than 200 years of American art, history and experience. The exhibition in on view at the Art Gallery of New South Wales, Sydney NSW, Australia, November 8, 2013–February 9, 2014.

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Metadata Embedded, 2017
John Singleton Copley
Date: 1763
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.28
Text Entries: Bayley, Frank W. <i>Sketch of the Life and a List of Some of the Works of John Singleton Copley</i>. Boston, Massachusetts: Garden Press, 1910. P. 56.<br><br> Bayley, Frank W. <i>The Life and Works of John Singleton Copley: Founded on the Work of Augustus Thorndike Perkins</i>. Boston, Massachusetts: The Taylor Press, 1915. P. 154.<br><br> Park, B. N. and A. B. Wheeler. <i>John Singleton Copley, American Portraits in Oil, Pastel and Miniature with Biographical Sketches</i>. Boston, Massachusetts: Museum of Fine Arts, 1938. Text pp. 193–94; pl. 29.<br><br> Hipkiss, E. J. <i>M. and M. Karolik Collection of Eighteenth-Century American Arts</i>. Boston, Massachusetts, 1941. Ill. no. 8, p. 17.<br><br> Prown, Jules David. <i>John Singleton Copley in America, 1738–1774</i>. Cambridge, Massachusetts: Harvard University Press, 1966. Fig. 118 (black & white). <br><br> <i>American Paintings in the Museum of Fine Arts, Boston</i>. Vol. 1–2. Boston, Massachusetts, 1969. Vol. 1, text no. 256, p. 60; Vol. 2, fig. 39.<br><br> Adams, Henry. "Private Collector to Public Champion." <i>Portfolio Magazine</i> 5:1 (January/February 1983): 48–53. Ill. p. 52 (color).<br><br> Nochlin, Linda. <i>Woman</i>. (exh. cat., Terra Museum of American Art). Evanston, Illinois: Terra Museum of American Art, 1984. No. 2, p. 12 (color).<br><br> Sokol, David M. "The Terra Museum of American Art, Evanston, Illinois." <i>The Magazine Antiques</i> 126:5 (November 1984): 1156–69. Pl. I, p. 1156 (color). <br><br> Atkinson, D. Scott et al. <i>A Proud Heritage: Two Centuries of American Art</i>. Edited by Terry A. Neff. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 1987. Pl. T-2, p. 111 (color).<br><br> <i>Portrait of a Lady in a Blue Dress</i>, John Singleton Copley. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, September 1988. Ill. (black & white).<br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>An American Point of View: The Daniel J. Terra Collection</i>. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 42; ill. p. 42 (black & white).<br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>Un regard transatlantique. La collection d'art américain de Daniel J. Terra</i>. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 42; ill. p. 42 (black & white).<br><br> Davidson, Susan, ed. <i>Art in America: 300 Years of Innovation</i>. (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 and English version; citing English version). Ill. p. 67 (color).<br><br> Davidson, Susan, ed. <i>Art in America: 300 Years of Innovation</i>. (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 version). Ill. p. 55 (color).<br><br> Davidson, Susan, ed. <i>Art in the USA: 300 años de innovación</i>. (exh. cat., Guggenheim Museum Bilbao, Bilbao, Spain). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Spanish version). Ill. p. 57 (color).<br><br> <i>Art Across America</i>. (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. 53; ill. p. 52 (color).<br><br> <i>America: Painting a Nation</i>. (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. 50; ill. cat. no. 2, p. 51 (color).<br><br> Bourguignon, Katherine M., and Peter John Brownlee, eds. <i>Conversations with the Collection: A Terra Foundation Collection Handbook.</i> Chicago: Terra Foundation for American Art, 2018. Text p. 19; fig. 2, p. 20 (color).<br><br>
Blind Man's Buff
John Lewis Krimmel
Date: 1814
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.82
Text Entries: Dunlap, William. <i>A History of the Rise and Progress of the Arts of Design in the United States</i>. 3 Vol. New York: George P. Scott & Company, 1834. Vol. 2: text pp. 392–93.<br><br> Jackson, Joseph. "Krimmel, 'The American Hogarth.'" <i>International Studio</i> (June 1929): 33–37, 86. Text p. 37. <br><br> Naeve, Milo. "John Lewis Krimmel: His Life, His Art and His Critics." Master's thesis. Newark, Delaware: University of Delaware, 1955. <br><br> <i>The Magazine Antiques</i> 124 (November 1983): 875. Ill. (color). <br><br> Christie's, New York, New York (Sale 5472, December 9, 1983): lot 5. Text p. 14; ill. lot 5, p. 15 (color).<br><br> Sokol, David M. "The Terra Museum of American Art, Evanston, Illinois." <i>The Magazine Antiques</i> 126:5 (November 1984): 1156–69. Pl. II, p. 1156 (color). <br><br> Naeve, Milo. <i>John Lewis Krimmel: An Artist in Federal America</i>. Newark, Delaware: University of Delaware Press, 1987. Ill. no. 5, p. 75 (black & white). <br><br> Atkinson, D. Scott et al. <i>A Proud Heritage: Two Centuries of American Art</i>. Edited by Terry A. Neff. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 1987. Text p. 118; pl. T-9, p. 118 (color).<br><br> Brazeau, Linda. <i>Art of an Emergent Nation: American Painting 1775–1865</i>. (exh. cat., University of Wisconsin-Milwaukee). Milwaukee, Wisconsin: University of Wisconsin-Milwaukee Art Museum, 1988. Text p. 15; ill. p. 24 (black & white as <i>Blind Man's Bluff</i>). <br><br> <i>Blind Man's Buff, </i>John Lewis Krimmel. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, October 1988. Ill. (black and white). <br><br> Harding, Anneliese. <i>John Lewis Krimmel: Genre Artist of the Early Republic</i>. Winterthur, Delaware: The Henry Francis du Pont Winterthur Museum, 1994. Text pp. 67, 70; ill. p. 68 (color). <br><br> Cartwright, Derrick R. <i>The Extraordinary and the Everyday: American Perspectives, 1820–1920</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 23 (checklist); ill. p. 25 (color).<br><br> Cartwright, Derrick R. <i>L'Héroïque et le quotidian: les artistes américains, 1820–1920</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 23 (checklist); ill. p. 25 (color). <br><br> Southgate, M. Therese. </i>The Art of JAMA III: Covers and Essays from the Journal of the American Medical Association. Chicago, Illinois: American Medical Association</i>, 2011. Text p. 62; ill. opposite p. 62 (color).<br><br> <i>Art Across America</i>. (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 pp. 35, 143; ill. fig. 18, p. 36 (color), p. 142 (color).<br><br> <i>America: Painting a Nation</i>. (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. 78; ill. cat. no. 13, p. 79 (color).<br><br> Bourguignon, Katherine M., and Peter John Brownlee, eds. <i>Conversations with the Collection: A Terra Foundation Collection Handbook.</i> Chicago: Terra Foundation for American Art, 2018. Text p. 27; ill. p. 27 (color).<br><br>
Metadata Embedded, 2019
Thomas Cole
Date: 1826
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1993.2
Text Entries: (modified anniversary publication entry) The English-born painter Thomas Cole, a key figure of the Hudson River School, recognized the epic potential of the American landscape. On his arrival in Philadelphia at the age of seventeen, he had already been apprenticed to an engraver and soon turned his interest to painting. He later moved to New York City and, inspired by the magnificent vistas along the Hudson River, began to define landscape as a spiritual subject that could transcend its function as a mere topographical record. In this way, Cole contributed to the romantic transformation of landscape painting from documentary and picturesque views into a discourse on the human experience set against the enduring forces of nature, elevating the once modest genre of landscape painting to an expression of the heroic sublime. In Landscape with Figures: A Scene from "The Last of the Mohicans" the human figures are dwarfed by an awe-inspiring vista of towering mountains and an expansive sky. Cole portrays the denouement of James Fenimore Cooper's newly published, popular novel The Last of the Mohicans (1826). The painting visualizes the novel's climactic scene in which the hero frontiersman Hawkeye aims his shotgun at Magua, the native villain, who tries to flee down a cliff. Cora Munro, the heroine of the novel, after being kidnapped and brutalized by Magua, lies dying at Hawkeye's feet. The grandeur of Cole's autumnal wilderness of scarlet leaves and wild rushing mountain streams overwhelms the narrative, however, reminding the viewer that there are greater forces in the universe than human conflict and desire.
Metadata Embedded, 2019
Edward Hicks
Date: c. 1829-1830
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1993.7
Text Entries: (modified anniversary publication entry) Edward Hicks gained a reputation in his community for his work as an ornamental painter and his outspoken participation in the Society of Friends, popularly known as the Quakers. A lifelong resident of rural Bucks County, Pennsylvania, Hicks had a limited formal education. At the age of thirteen, he apprenticed to a coach painter. Later he married and set up shop painting signs, coaches, and other utilitarian objects. This profession was in conflict with the spare life advocated by his faith, and his increasing activity as a traveling minister kept him away from his business. Why or when Hicks turned to easel painting is unknown, but about 1820 he began to explore an allegorical subject that he found infinitely variable and satisfying. A Peaceable Kingdom with Quakers Bearing Banners portrays the tolerant coexistence among all the animals and humanity described in Isaiah 11: 6-9. Depicting wildness calmed by gentleness and worldliness tempered by innocence, the message of the Peaceable Kingdom became for Hicks a form of testament, a painted articulation of his deepest beliefs. A Peaceable Kingdom with Quakers Bearing Banners places Hicks at the center of a religious controversy that split the Quakers into factions. Hicks' elderly cousin Elias promoted an extreme form of Quaker quietism, in which the faithful were urged to discard all but the most basic elements of daily life to open themselves to divine grace and be guided by the Inward Light of Christ. Elias and his followers, known as Hicksites, withdrew from the Quaker Orthodoxy, prompting accusations of heresy. A series of one hundred Banner paintings by Hicks announce his solidarity with his cousin's beliefs, while calling for peaceful coexistence among the factions. Standing in the front row of the figures at the left and holding a handkerchief he used to mop his brow when preaching, Elias Hicks is accompanied by George Washington and William Penn. The Apostles stand behind them. The banners read "mind the LIGHT within IT IS GLAD TIDEING of Grate Joy PEACE ON EARTH GOOD WILL to ALL MEN everywhere," the words of the Apostle Luke and a basic tenet of the Quaker faith.
Metadata embedded, 2017
Erastus Salisbury Field
Date: c. 1838
Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund
Object number: 2000.4
Text Entries: Painter Erastus Salisbury Field of Leverett, Massachusetts, enjoyed a prolific and prosperous career of sixty-five years. After brief instruction in 1824 from Samuel F. B. Morse (1791-1872), Field crossed New England to paint portraits of rural society figures. The 1830s were productive for Field: he refined his artistic skills, developed an increasingly personal style and obtained commissions through a network of family associations. Field painted several portraits of residents from Petersham, Massachusetts, among them the Cook and Gallond families. In this portrait said to be Clarissa Gallond Cook, Field skillfully portrayed the sitter's prominent brow and long nose as well as her modishly styled hair of the mid-1830s. The unusual background shows an unidentifiable port city, perhaps along the Hudson River where the Cook family sailed their merchant schooner, the "Sarah Taintor." Instead of a traditional feminine landscape setting, the female sitter is posed before a background suggestive of trade and industry more typically found in male portraits. A similarly provocative background appears in a Field portrait from the Shelburne Museum in Vermont. The identification of the sitter remains in question. She may be one of Clarissa's sisters, Almira Gallond Moore or Louisa Gallond Cook, who also married into the Cook family.
Metadata Embedded, 2018
William S. Jewett
Date: 1850
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.79
Text Entries: William S. Jewett, the first artist established in California, depicted pioneer, artist, and naturalist Andrew Jackson Grayson with his family at the moment they first caught sight of the Sacramento valley. Posing the figures as a holy family, Jewett also likened the California landscape to the Promised Land, a metaphor for westward expansion.
Metadata Embedded 4-9-2020
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." <i>The New York Times</i> (April 8, 1876): 7. Text p. 7. <br><br> "The Arts: Representative Pictures at the Academy." <i>Appleton's Journal</i> 15 (April 15, 1876): 509–10. Text pp. 509–10.<br><br> "Fine Arts: The National Academy Exhibition II." <i>The Nation</i> 22 (April 20, 1876): 268. Text p. 268.<br><br> "The National Academy of Design." <i>Art Journal</i> 2 (June 1876): 190. Text p. 190.<br><br> James, Henry. "Art." <i>Atlantic Monthly</i> 37 (June 1876): 759–62. Text p. 760.<br><br> James, Henry. "Art." <i>Atlantic Monthly</i> 38 (August 1876): 250–52. Text pp. 250–52.<br><br> "Art Notes." <i>Independent</i> 28 (September 28, 1876): 8. Text p. 8.<br><br> "Local Affairs." <i>Newport Journal</i> (September 30, 1876): 2. Text p. 2.<br><br> "Notes." <i>Art Journal</i> 3 (September 1877): 255. Text p. 255. <br><br> “Old and Young Painters.” <i>The New York Times</i> (March 17, 1878): 5. Text p. 5 (as <i>New England Landscape</i>).<br><br> "America at the Paris Exposition." <i>Chicago Tribune</i> (March 24, 1878): 11. Text p. 11 (as <i>Paradise Valleys, Newport</i>).<br><br> "Local Affairs." <i>Newport Daily News</i> (June 4, 1878): 2. Text p. 2 (as <i>Paradise Valley Newport</i>).<br><br> Stillman, W. J. "The Paris Exposition IX: American Painting." <i>The Nation</i> 27 (October 3, 1878): 211. Text p. 211 (as <i>Paradise Valley, Newport</i>).<br><br> Sturgis, Russell. "The Paris Exhibition XV: The United States Fine Art Exhibit." <i>The Nation</i> 27 (November 28, 1878): 331. Text p. 331.<br><br> Gonse, L., ed. "Exposition Universelle de 1878, Les Beaux-Arts et les Arts Decoratifs." <i>Gazette des Beaux-Arts</i> (1879): 210. Text p. 210.<br><br> Clement, C. E. and L. Hutton. <i>Artists of the Nineteenth Century and Their Works</i>. Boston, Massachusetts: Houghton, Osgood and Company, 1879. Text p. 30.<br><br> "Art Notes from Paris." <i>Boston Evening Transcript</i> (April 17, 1879): 3. Text p. 3.<br><br> McCormick, R. C. "Our Success at Paris in 1878." <i>North American Review</i> 129 (July 1879): 3. Text p. 3.<br><br> Reports of the United States Commissioners to the Paris Universal Exposition, 1878. Washington, D.C.: Government Printing Office, 1880. Text p. 112.<br><br> Lathrop, George Parsons. "John La Farge." <i>Scribner's Monthly</i> 21 (February 1881): 503–16. Text pp. 510–11.<br><br> "Art and Artists." <i>Boston Evening Transcript</i> (April 16, 1884): 6. Text p. 6.<br><br> Dodd, A. B. "John La Farge." <i>Art Journal</i> 1 (September 1885): 262. Text p. 262.<br><br> Champlin, J. D., Jr. and C. C. Perkins. <i>Cyclopedia of Painters and Paintings</i>. Vol. 3. New York: Charles Scribner's Sons, 1887. Text p. 4.<br><br> <i>Appleton's Cyclopaedia of American Biography</i>. Vol. 3. New York: D. Appleton and Company, 1887. Text p. 586.<br><br> Waern, Cecilia. "John La Farge, Artist and Writer." <i>Portfolio</i> 26 (April 1896): 27. Text p. 27 (as <i>Paradise Valley, Newport</i>). <br><br> Sturgis, Russell. Review of "Considerations of Painting." <i>Architectural Record</i> 6 (October–December 1896): 230–32. Ill. pp. 230-32.<br><br> "The Fine Arts: Loan Exhibition of One Hundred Masterpieces-The American Pictures." <i>Boston Weekly Transcript</i> (March 19, 1897): 7. Text p. 7. <br><br> Hartmann, S. <i>A History of American Art</i>. Boston, Massachusetts: L. C. Page and Company, 1902. Text p. 184.<br><br> Johnson, R. and J. H. Brown, eds. <i>The Twentieth Century Biographical Dictionary of Notable Americans</i>. Vol. 4. Boston, Massachusetts: Biographical Society, 1904. Text n.p.<br><br> Cortissoz, Royal. "John La Farge." <i>Outlook</i> 84 (October 27, 1906): 481–82. Text pp. 481–82.<br><br> Knaufft, E. "American Paintings To-Day." <i>American Review of Reviews</i> 36 (December 1907): 690. Text p. 690 (as <i>Paradise Valley, Newport</i>).<br><br> "Memorial Exhibition of La Farge Paintings." <i>Boston Daily Advertiser</i> (December 28, 1910): 5. Text p. 5.<br><br> "The Fine Arts: La Farge's Work." <i>Boston Evening Transcript</i> (December 28, 1910): 19. Text p. 19.<br><br> Cortissoz, Royal. <i>John La Farge: A Memoir and Study</i>. New York: Houghton Mifflin & Company, 1911. Text pp. 122, 127–131, 156.<br><br> Lothrop, S. B. <i>La Farge Memorial Exhibition</i>. Museum of Fine Arts Bulletin [Boston] 9 (February 1911): 8. Text p. 8. <br><br> Armstrong, D. M. and M. Armstrong, eds. <i>Day Before Yesterday</i>. New York: Charles Scribner's Sons, 1920. Text pp. 267–68, 303–304.<br><br> Johnson, A. and D. Malone, eds. <i>Dictionary of American Biography</i>. Vol. 10. New York: Charles Scribner's Sons, 1928–1936. Text p. 533.<br><br> Du Bois, Guy Pene. "The Case of John La Farge." <i>Arts Magazine</i> 17 (January 1931): 252–70+. Ill. p. 268.<br><br> "The La Farge Exhibition." <i>Stained Glass (Providence Journal Bulletin)</i> 26 (March 1931): 83. Text p. 83.<br><br> "Wildenstein Exhibit Shows La Farge Art for 3 Generations." <i>New York Herald Tribune</i> (March 10, 1931): 21. Text p. 21.<br><br> "The La Farges: Wildenstein Galleries." <i>Art News</i> 29 (March 14, 1931): 10. Text p. 10.<br><br> Du Bois, Guy Pene. "John La Farge and His Descendants." <i>Arts Magazine</i> 17 (April 1931): 516. Text p. 516.<br><br> Lane, J. W. "A Family of Painters." <i>Commonwealth</i> 13 (April 1, 1931): 598. Text p. 598. <br><br> Browne, E. H. "Wizard of the Window." <i>Columbia</i> 14 (March 1935): 19. Text p. 19 (as <i>Paradise Valley, Newport</i>). <br><br> <i>An Exhibition of the Work of John La Farge</i>. (exh. cat., The Metropolitan Museum of Art). New York: Blanchard Press, 1936. Ill. no. 18.<br><br> Cary, E. L. "John La Farge: A Reminiscent Note." <i>New York Times</i> (March 22, 1936): section 11, p. 8. Text p. 8.<br><br> Cortissoz, Royal. "John La Farge and His Original Traits." <i>New York Herald Tribune</i> (March 23, 1936): section 5, p. 10. Text p. 10; ill. p. 10.<br><br> Sayre, A. H. "The Complete Work of John La Farge at the Metropolitan." <i>Art News</i> 34 (March 1936): 6. Text p. 6.<br><br> Jewell, E. A. "In the Realm of Art: Comment on New Shows." <i>New York Times</i> (March 29, 1936): section 9, p. 8. Text p. 8.<br><br> Allen, J. L. "Exhibition of the Work of John La Farge." <i>Bulletin of the Metropolitan Museum of Art</i> 31 (April 1936): 76. Text p. 76.<br><br> J. S. "Notes on the La Farge Exhibit." <i>America</i> 54 (May 2, 1936): 83. Text p. 83.<br><br> <i>Art in Our Time</i>. (exh. cat., Museum of Modern Art). New York: Museum of Modern Art, 1939. Ill. no. 42.<br><br> Preston, W. <i>American Biographies</i>. New York: Harper and Brothers, 1940. Text p. 587.<br><br> Watson, Forbes. "The Land of the Free." <i>Magazine of Art</i> 33 (November 1940): 612. Text p. 612.<br><br> "Carnegie Institute Presents Great Survey of American Painting." <i>Art Digest</i> 15 (November 1, 1940): 6. Ill. p. 6.<br><br> <i>Loan Exhibition in Honor of Royal Cortissoz and His 50 Years of Criticism in the New York Herald Tribune</i>. (exh. cat., Knoedler and Co.). New York: Knoedler and Company, 1941. Ill. no. 26.<br><br> Saint-Gaudens, Homer. <i>The American Artist and His Times</i>. New York: Dodd, Mead & Company, 1941. Text p. 153.<br><br> Paris, W. F. <i>The Hall of American Artists</i>. New York: New York University, 1944. Text p. 56. <br><br> Katz, Roberta Berenson. "John La Farge, Art Critic." <i>Art Bulletin</i> 33 (June 1951): 105–18. Text pp. 108–109. <br><br> Berkelman, R. "John La Farge, Leading American Decorator." <i>South Atlantic Quarterly</i> 56 (January 1956): 40. Text p. 40. <br><br> Flexner, James T. <i>Nineteenth Century American Painting</i>. New York: G. P. Putnam's Sons, 1970. Text p. 149.<br><br> <i>The National Academy of Design Exhibition Record 1861–1900</i>, vol. 1, A through L. New York: Kennedy Galleries, Inc., 1973. Text p. 535, no. 188 (as <i>New England Pasture Land</i>). Boyle, Richard J. <i>American Impressionism</i>. Boston, Massachusetts: New York Graphic Society, 1974. Ill. p. 76.<br><br> Adams, Henry. "Letter to the Editor." <i>Art Bulletin</i> 56 (December 1974): 625–26. Text pp. 625–26.<br><br> Weinberg, H. Barbara. <i>The Decorative Work of John La Farge</i>. New York: Garland Press, 1977. Text p. 35; ill. p. 37.<br><br> 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." <i>Newport History</i> 55 (Summer 1982): 79–89. Text and ill. <br><br> Yarnall, James L. "John La Farge's The Last Valley." <i>Newport History</i> 55:188 (Fall 1982): 130–142. Text pp. 131, 133–35, 137; fig. 1, p. 131. <br><br> La Farge, Henry A. “John La Farge and the 1878 Auction of His Works.” <i>American Art Journal</i> 15:3 (Summer 1983): 5–34. Text pp. 8, 22.<br><br> Adams, Henry et al. <i>John La Farge</i>. (exh. cat., National Museum of American Art). New York: Abbeville Press, 1987. Text pp. 90–91, 133; Pl. 57, p. 90 (color).<br><br> Adams, Henry. "John La Farge, the Inventive Maverick." <i>Smithsonian</i> 18 (July 1987): 46–59. Text pp. 49, 51; ill. p. 51.<br><br> Johnson, K. F. "John La Farge." <i>Antiques & the Arts Weekly</i> (September 18, 1987): 1. Ill. p. 1.<br><br> Weisberg, G. P. "On the Art and Exhibition of John La Farge." <i>Arts Magazine</i> 61 (October 1987): 33–35. Text p. 34.<br><br> Adams, Henry. "John La Farge: America's Genteel Old Master." <i>Carnegie Magazine</i> 58 (November–December 1987): 49. Ill. p. 49.<br><br> "La Farge Expert Speaks at Channing." <i>Newport This Week</i> (March 3, 1988): 7. Text p. 7.<br><br> Gerdts, William H. <i>Art across America: Regional Painting in America, 1710–1920</i>. Vol. 1. New York: Abbeville Press, 1990. Text p. 91; ill. no. 1.88, p. 91 (color).<br><br> Yarnall, James L. <i>John La Farge: Watercolors and Drawings</i>. (exh. cat., The Hudson River Museum of Westchester). New York: The Hudson River Museum, 1990. Text p. 26, n. 22.<br><br> Yarnall, James L. <i>John La Farge in Paradise: The Painter and His Muse</i>. (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).<br><br> Yarnall, James L. <i>Nature Vivante: The Still Lifes of John La Farge</i>. (exh. cat., The Jordan-Volpe Gallery, Inc.). New York: The Jordan-Volpe Gallery, Inc., 1995. Text p. 149.<br><br> Christie's, New York, New York (Sale SAM-8408, May 23, 1996): lot 18. Ill. lot 18.<br><br> Cartwright, Derrick R. <i>The City and the Country: American Perspectives, 1870–1920</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1999. Text p. 25 (checklist); ill. p. 46 (color).<br><br> Cartwright, Derrick R. <i>Ville et campagne: les artistes américains, 1870–1920</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1999. Text p. 25 (checklist); ill. p. 46 (color).<br><br> Kennedy, Betsy. <i>Paradise Valley</i>, John La Farge. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, October 2000. Ill. (color). <br><br> Conrads, Margaret C. <i>Winslow Homer and the Critics: Forging a National Art in the 1870s</i>. 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).<br><br> Kennedy, Elizabeth. "The Terra Museum of American Art." <i>American Art Review</i> (December 2002): 126–41. Text pp. 136–37; ill. p. 128 (color).<br><br> Cleveland, David A. <i>A History of American Tonalism: 1880–1920</i>. Manchester, Vermont: Hudson Hills Press, 2010. Text, pp. 28–30; ill. fig. 1.19, p. 29 (color).<br><br> Yarnall, James L. <i>John La Farge, A Biographical and Critical Study</i>. Burlington, Vermont: Ashgate Publishing Company, 2012. Text pp. 74–6, 84, 279, 282; ill. plate 10 (color).<br><br> Hallman, J. C. <i>Wm & H'ry: Literature, Love and the Letters between William and Henry James</i>. Iowa City: University of Iowa Press, 2013, Text, pp. 54–5; ill. p. 55 (black & white).<br><br> Georgi, Karen L. <i>Chritical Shift: Reading Jarves, Cook, Stillman, and the Narratives of Nineteenth-Century American Ar</i>t. University Park: The Pennsylvania State University Press, 2013. Text, 96–8; ill. fig 6, p. 97 (black & white).<br><br> <i>Art Across America</i>. (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).<br><br> <i>America: Painting a Nation</i>. (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).<br><br> <i>Pathways to Modernism: American Art, 1865–1945</i>. (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).<br><br> Bourguignon, Katherine M., and Peter John Brownlee, eds. <i>Conversations with the Collection: A Terra Foundation Collection Handbook.</i> Chicago: Terra Foundation for American Art, 2018. Text p. 73; ill. p. 73 (color).<br><br> Cross, William R. <i>Homer at the Beach: A Marine Painter’s Journey, 1869–1880.</i> (exh. cat., Cape Ann Museum). Gloucester: Cape Ann Museum, 2019. Text pp. 40-41; ill. p. 41 (color).<br><br>
Metadata Embedded, 2019
John George Brown
Date: 1872
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1994.1
Text Entries: Hoopes, Donelson F. and Nancy Wall Moure. <i>American Narrative Painting</i>. (exh. cat., Los Angeles County Museum of Art). Los Angeles, California: Los Angeles County Museum of Art in association with Praeger Publishers, Inc., 1974. Text pp. 139–40; ill. no. 66, p. 141 (color as <i>Waiting for a Partner</i>).<br><br> Wilmerding, John et al. <i>An American Perspective: Nineteenth-Century Art from the Collection of Jo Ann & Julian Ganz, Jr</i>. (exh. cat., National Gallery of Art). Washington, D.C.: National Gallery of Art, 1981. Text pp. 54, 56, 118–19; fig. 47 (color), ill. p. 118 (black and white).<br><br> Ayres, Linda. "An American Perspective: Nineteenth-Century Art from the Collection of Jo Ann and Julian Ganz Jr." <i>The Magazine Antiques</i> (January 1982): 258–69. Text p. 267; fig. 4, p. 268 (black & white).<br><br> Hoppin, Martha J. <i>Country Paths and City Sidewalks: The Art of J. G. Brown</i>. (exh. cat., George Walter Smith Art Museum). Springfield, Massachusetts: George Walter Vincent Smith Art Museum, 1989. Text pp. 13, 51 (checklist); fig. 33, p. 42 (color).<br><br> Southgate, M. Therese. "The Cover." <i>Journal of the American Medical Association</i> 272:3 (July 20, 1994): 175. Text p. 175; ill. cover (color).<br><br> Cartwright, Derrick R. <i>The Extraordinary and the Everyday: American Perspectives, 1820–1920</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 13; fig. 6, p. 12 (black & white).<br><br> Cartwright, Derrick R. <i>L'Héroïque et le quotidian: les artistes américains, 1820–1920</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 13; fig. 6, p. 12 (black & white).<br><br> Hoppin, Martha. <i>The World of J. G. Brown. Chesterfield, Massachusetts: Chameleon Books, 2010</i>. Text pp. 81, 83, 95, 231 note 35; ill. p. 82 (color).<br><br> <i>Art Across America</i>. (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 pp. 35, 163; ill. fig. 19, p. 36 (color), p. 162 (color).<br><br> <i>America: Painting a Nation</i>. (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. 108; ill. cat. no. 28, p. 109 (color).<br><br> Bourguignon, Katherine M., and Peter John Brownlee, eds. <i>Conversations with the Collection: A Terra Foundation Collection Handbook.</i> Chicago: Terra Foundation for American Art, 2018. Text p. 97; ill. p. 97 (color).<br><br>
2017 Metadata embedded
Thomas Waterman Wood
Date: 1872
Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund
Object number: 1998.3
Text Entries: "A Home Artist." <i>The Vermont Watchman</i> 66, no. 26  (April 19, 1871): 1. Text p. 1 (as <i>The Yankee Peddler</i>).<br><br>"Exhibition of the Art Association." <i>Brooklyn Eagle</i> (March 11, 1872).<br><br> “Fine Arts: The Academy of Design.” <i>The New York Times</i> (April 20, 1873). Text (as <i>The Yankee Peddler</i>).<br><br> "Art Gossip." <i>New York Evening Mail</i> (April 30, 1872). <br><br>"National Academy of Design." <i>The Evening Post</i> (April 14, 1873). Text (as <i>The Peddler</i>). <br><br>"Art Annual Exhibition of National Academy of Design." <i>The Aldine</i> 4, no. 6 (June 1873): 127. Text p. 127.<br><br> <i>The Green-Mountain Freeman</i>. Montpelier, VT (June 25, 1873). Text (as <i>The Yankee Peddler</i>).<br><br> "American Painters-Thomas W. Wood, N.A." <i>The Art Journal</i> 5, no. 2 (1876): 114–15. Text p. 115; ill. p. 115 (reproduced as a wood engraving).<br><br><i>Art Journal</i> (1878): 155. Ill. p. 155 (reproduced as a wood engraving).<br><br> Cooper, W. A., “Artists in Their Studios V: Thomas Waterman Wood, N.A.” <i>Godey’s Magazine</i> 131, no. 781 (July 1895): 3–7. Text p. 6 (as <i>Yankee Pedlar</i>).<br><br> Willis, S. Turner. “A Gift to Montpelier.” <i>Godeys Magazine</i> 131, no. 782 (August 1895): 184–191. Text p. 188.<br><br> <i>Catalogue of the Pictures in the Art Gallery in Montpelier: The Thomas W. Wood Collection</i>. Montpelier, Vermont: The Capital City Press, 1913. Text pp. 14–15.<br><br> Crockett, Walter Hill. <i>Vermont: The Green Mountain State</i>. New York, NY: The Century History Company, Inc., 1923. Text p. 567 (as <i>The Yankee Peddler</i>).<br><br><i>Art for Gardens Together with Furniture, Paintings, Marbles, Staircases and Objets D’Art Chosen from Important Estates and Collections Here and Abroad</i>. New York, NY: American Art Association, Anderson Galleries Inc., 1933. Text (foreword); p. 44, cat. no. 153; ill. p. 44 (black & white, as <i>The Yankee Peddler</i>).<br><br> Gerdts, William H. <i>The American Painting Collection of Mrs. Norman B. Woolworth</i>. (exh. cat., Coe Kerr Gallery, Inc.). New York: Coe Kerr Gallery, Inc., 1970. Text p. 45, 47; ill. p. 69, pl. 124 (black & white as <i>The Yankee Peddler</i>). <br><br>Williams, Jr., Hermann W. <i>Mirror to the American Past</i>. Greenwich, Connecticut: New York Graphic Society, 1973. Text p. 160; ill. p. 160, fig. 151 (black & white as <i>The Yankee Peddler</i>). <br><br>Hills, Patricia. <i>The Painters' America, Rural and Urban Life, 1810–1910</i>. (exh. cat., Whitney Museum of American Art). New York: Praeger Publishers in association with the Whitney Museum of American Art, 1974. Text p. 80; ill. p. 80, no. 98 (as <i>The Yankee Peddler</i>).<br><br>Hasker, Leslie A. and J. Kevin Graffagnino. "Thomas Waterman Wood and the Image of Nineteenth-Century America." <i>The Magazine Antiques</i> 118 (November 1980): 1032–42. Text p. 1034; fig. 10, p. 1039 (as <i>The Yankee Peddler</i>).<br><br>Gerdts, William H. <i>Art Across America: Two Centuries of Regional Painting</i>. Vol. 1. New York: Abbeville Press, 1990. Text pp. 45; ill. p. 45, pl. 1.37 (black & white as <i>The Yankee Peddler</i>).<br><br> Witkowski, Terrence H. “Farmers Bargaining: Buying and Selling as a Subject in American Genre Painting, 1835-1868.” <i>Journal of Macromarketing</i> 16, no. 2 (December 1, 1996): 84–101. Text p. 94 (as <i>The Yankee Peddler</i>).<br><br> <i>The Yankee Pedlar</i>, Thomas Waterman Wood. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, May 2000. Ill. (black & white).<br><br>Cartwright, Derrick R. <i>The Extraordinary and the Everyday: American Perspectives, 1820–1920</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 24 (checklist); ill. p. 35 (color as <i>The Yankee Peddlar</i>).<br><br>Cartwright, Derrick R. <i>L'Héroïque et le quotidian: les artistes américains, 1820–1920</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 24 (checklist); ill. p. 35 (color).<br><br>Bourguignon, Katherine M. and Elizabeth Kennedy. <i>The People Work: American Perspectives, 1840–1940</i>. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 16, 30 (checklist); ill. p. 16, fig. 1 (black & white).<br><br>Bourguignon, Katherine M. and Elizabeth Kennedy. <i>Le Travail à l'oeuvre: les artistes américains, 1840–1940</i>. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 16, 30 (checklist); ill. p. 16, fig. 1 (black & white).<br><br> Cassidy, Victor M. “The Feast Part I.” <i>Artnet</i> (June 16, 2005). Accessed February 16, 2017. Text; ill. (color).<br><br> Davidson, Susan, ed. <i>Art in America: 300 Years of Innovation</i>. (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. 143; ill. p. 143, fig. 61 (color).<br><br>Davidson, Susan, ed. <i>Art in America: 300 Years of Innovation</i>. (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. 143; ill. p. 143, fig. 61 (color).<br><br><i>Art In America: 300 years of Innovation.</i> Hong Kong: Wen Wei Publishing Co. Ltd, 2007. (in Chinese) Ill. p. 47 (color).<br><br>Davidson, Susan, ed. <i>Art in the USA: 300 años de innovación</i>. (exh. cat., Guggenheim Museum Bilbao). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. Ill. p. 96 (color).<br><br> Tallack, Douglas. “Review: Art as Diplomacy.” <i>Journal of American Studies</i> 42, no. 1 (April 2008): 141-145. Text p. 142.<br><br> Mazow, Leo G. and Kevin Murphy. <i>Taxing Visions: Financial Episodes in Late Nineteenth-Century American Art</i>. (exh. cat. Palmer Museum of Art and The Huntington Library, Art Collections, and Botanical Gardens). University Park, Pennsylvania: Palmer Museum of Art, Pennsylvania State Univeristy, 2010. Text pp. 59, 72 (checklist); ill. p. 60, fig. 54 (color).<br><br><i>Art Across America</i>. (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. Text pp. 35, 165; ill. p. 36, fig. 21 (color), p. 164 (color).<br><br><i>America: Painting a Nation</i>. (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. 106; ill. p. 107, cat. no. 27 (color).<br><br>Frost, Andrew. “America: Painting a Nation, Art Gallery of NSW – review.” <i>The Guardian</i> (November 10, 2013). Accessed February 16, 2017. <a href="https://www.theguardian.com/artanddesign/2013/nov/11/america-painting-a-nation-art-gallery-of-nsw-review" target="_blank">https://www.theguardian.com/artanddesign/2013/nov/11/america-painting-a-nation-art-gallery-of-nsw-review</a>. Text.<br><br> Allen, Christopher. “America: Painting a Nation at the Art Gallery of NSW.” <i>The Australian</i> (November 30, 2013). Accessed February 16, 2017.  <a href="http://www.theaustralian.com.au/arts/review/america-painting-a-nation-at-the-art-gallery-of-nsw/news-story/901564ecf3f8809f66e11d830677d6d7" target="_blank">http://www.theaustralian.com.au/arts/review/america-painting-a-nation-at-the-art-gallery-of-nsw/news-story/901564ecf3f8809f66e11d830677d6d7</a>. Text; ill. (color).<br><br>Bourguignon, Katherine M., and Peter John Brownlee, eds. <i>Conversations with the Collection: A Terra Foundation Collection Handbook.</i> Chicago: Terra Foundation for American Art, 2018. Text p. 103; ill. p. 103 (color).<br><br>
Metadata embedded, 2017
Joseph H. Boston
Date: 1885
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.13
Text Entries: Cartwright, Derrick R. <i>Waves and Waterways: American Perspectives, 1850–1900</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 26 (checklist); ill. p. 39 (color).<br><br> Cartwright, Derrick R. <i>Rivières et rivages: les artistes américains, 1850–1900</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 26 (checklist); ill. p. 39 (color).<br><br> <i>Art Across America</i>. (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. 173; ill. p. 173 (color).<br><br> <i>America: Painting a Nation</i>. (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 pp. 37, 144; ill. p. 36 (color detail), cat. no. 43, p. 145 (color).<br><br> Bourguignon, Katherine M., and Peter John Brownlee, eds. <i>Conversations with the Collection: A Terra Foundation Collection Handbook.</i> Chicago: Terra Foundation for American Art, 2018. Text p. 130; ill. p. 130 (color).<br><br>
2017 Metadata embedded
John Singer Sargent
Date: 1888
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.130
Text Entries: On the verdant shore of a flowing stream, an artist contemplates his work, while his companion, sitting on the bank, seems absorbed in her reading. An American artist living in Europe, John Singer Sargent was already a well-known portrait painter when he produced this small canvas in 1888. It shows his sister Violet in the company of the American painter Dennis Miller Bunker, who, after completing his artistic training in Europe, had settled in Boston in 1885. Sargent was spending the summer with his family in Calcot, England, and invited Bunker, to join him. This painting represents how the two artists worked in the English countryside. In spite of his absence from the picture, we can imagine Sargent painting the scene beside his sister and his friend. The light fluid strokes reveal Sargent's skill, as well as his mastery of the constraints of painting outdoors: they give the picture a sketchy look, but at the same time make it more dynamic. The bright luminosity is rendered by colorful contrasts, revealing nuances of light and shadow. Thus it is the different hues, light and dark, of Bunker's white suit which define his figure, and not a drawn outline. And the touch of red that Sargent adds to Bunker's belt, is a complementary color, that intensifies the vivid greens surrounding him.
metadata embedded, 2021
Jefferson David Chalfant
Date: c. 1900–1907
Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund
Object number: 1999.3
Text Entries: Gorman, Joan H. <i>Jefferson David Chalfant, 1856–1931</i>. (exh. cat., Brandywine River Museum). Chadds Ford, Pennsylvania: Brandywine River Museum, 1979. Text p. 22; cat. 3, p. 23 (color).<br><br> Sotheby's, New York, New York (Sale 7230, December 3, 1998): lot 116. Text p. 92; ill. lot 116, p. 93 (color). <br><br> Cartwright, Derrick R. <i>The Extraordinary and the Everyday: American Perspectives, 1820–1920</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 22 (checklist); ill. p. 34 (color).<br><br> Cartwright, Derrick R. <i>L'Héroïque et le quotidian: les artistes américains, 1820–1920</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 22 (checklist); ill. p. 34 (color).<br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>The People Work: American Perspectives, 1840–1940</i>. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 9, 27 (checklist): fig. 1, p. 9 (black & white), ill. p. 44 (color).<br><br> Bourguignon, Katherine M. and Elizabeth Kennedy. <i>Le Travail à l'oeuvre: les artistes américains, 1840–1940</i>. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 9, 27 (checklist); fig. 1, p. 9 (black & white), ill. p. 44 (color).<br><br> <i>Art Across America</i>. (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 pp. 35, 179; ill. fig. 20, p. 36 (color), p. 178 (color).<br><br> <i>America: Painting a Nation</i>. (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. 124; ill. cat. no. 36, p. 125 (color).<br><br>