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Dated Web objects 1960 and after

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Metadata Embedded, 2019
Charles Burchfield
Date: 1960–66
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.23
Text Entries: Trovato, Joseph S. <i>Charles Burchfield: Catalogue of Paintings in Public and Private Collections</i>. Utica, New York: Museum of Art, Munson-Williams-Proctor Institute, 1970. Cat. 1322, p. 314.<br><br>Baigell, Matthew. <i>Charles Burchfield</i>. New York: Watson-Guptill Publications, 1976. Text p. 14.<br><br>Brauer, Richard H. W. <i>Mystical Landscapes-Charles Burchfield, The Later Years</i>. (exh. cat., Christ College, Valparaiso University). Valparaiso, Indiana: Christ College, Valparaiso University, 1976. No. 22; ill. back cover.<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-179, p. 288 (color).<br><br>Randall, Teri. "The Cover." <i>The Journal of the American Medical Association</i> 268:10 (September 9, 1992): 1223. Text p. 1223; ill. cover (color).<br><br><i>The Journal of the American Medical Association Greece</i> (1992): cover. Ill. cover (color).<br><br><i>The Journal of the American Medical Association Pakistan</i> 5:6 (August 1993): cover. Ill. cover (color).<br><br>Maciejunes, Nannette V. and Michael D. Hall. <i>The Paintings of Charles Burchfield: North by Midwest</i>. (exh. cat., Columbus Museum of Art). New York: Harry N. Abrams, Inc., in association with the Columbus Museum of Art, 1997. Pl. 60, p. 181 (color).<br><br><i>Dream of a Fantasy Flower, </i>Charles Burchfield. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, May 1997. Ill. (black & white).<br><br>Brownlee, Peter John.  <i>Manifest Destiny / Manifest Responsibility: Environmentalism and the Art of the American Landscape</i>. (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. 31, 34 (checklist); Ill. Pl. 19, p. 55 (color).<br><br> Weekly, Nancy and Audrey Lewis, <i> Exalted Nature: The Real and Fantastic World of Charles E. Burchfield</i>. (exh. cat. Burchfield Penny Art Center) Buffalo: Burchfield Penney Art Center, SUNY Buffalo State, 2014. Fig. 88 (color), p.123, Text p.127 (Checklist).<br><br> Lewis, Audrey. "The World of Charles E. Burchfield." <i>American Art Review</i> 27:1 (February 2015): 36–93;111. Ill. p. 93 (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. 190; ill. p. 190 (color).<br><br>The David C. Driskell Center. <i>American Landscapes.</i> (exh. cat., The David C. Driskell Center at the University of Maryland, College Park). College Park, MD: The David C. Driskell Center, 2021. Ill. p 101 (color). <br><br> 
metadata embedded, 2020
George Tooker
Date: 1963
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.168
Text Entries: Born in New York, George Tooker began painting lessons at the age of seven. He later studied English at Harvard University where he became aware of the work of the Mexican painters José Clemente Orozco and David Alfaro Siqueiros. Their unabashed depictions of and comments on social conditions greatly appealed to Tooker and came to serve as an ideal for him: art as a forum for social change. At a time best known for abstract art, Tooker's preference for figurative representation stands out. His painting technique, however, is equally fascinating. Using egg tempera according to a fifteenth century formula, Tooker sized, primed, sketched and painted with deliberation and care, a painstaking process that allowed for the completion of only four to six paintings each year. This process of deliberation, of even mental control, always underlies his enigmatic images. In Highway, Tooker's technique is brought to a high degree of finish and creates a disquieting image of disrupted order. A decade after Highway, Tooker completed Window VII (Desdemona), the sixth painting in his "windows" series. Ultimately consisting of nine numbered paintings, the series was initially started shortly after Tooker's move to Brooklyn Heights in the early 1950s. Tooker utilizes the traditional convention of a window as a framing device to push his figures forward to the picture plane and place them in shallow relief. The drawn curtain reveals a young nude white woman and over her shoulder in the painting's upper left corner, the emerging face of a black man. The viewer is left to decipher the suggested narrative. If, as the title suggests, this is Othello and Desdemona from Shakespeare's play Othello, the highly-charged, mysterious atmosphere of the painting also forebodes tragedy.
Mother and Child
Shelly Terman Canton
Date: 1964
Credit Line: Terra Foundation for American Art, Gift of Mrs. Joyce Turner Hilkevitch in memory of Jonathan B. Turner
Object number: C1991.7
Text Entries: Shelly Terman Canton grew up in Lakeview, Illinois, daughter of a Chicago businessman and a concert pianist. At the age of eighteen she left Iowa State University to begin a career as a printmaker and draughtsman in New York, where she greatly admired the socially critical work of painter, graphic artist and photographer Ben Shahn. Canton's own art was directly informed by her awareness of hardship and injustice; the prominently gnarled hands, jagged linearity and somber mood of Mother and Child are particularly reminiscent of twentieth-century German artist Kathe Kollwitz's stark, black and white images of mothers. Canton's poetry likewise expresses her conception of the artist's task as, at least partly, an empathetic one: My arms reach out like tentacles Feeling every pulse, experiencing every pain Some child's cry wakes me and I can't sleep I hear the whole world whispering in my ear.
Coffee Break
Date: 1965
Credit Line: Terra Foundation for American Art, Gift in memory of Emiliano Sorini, printmaker
Object number: 2004.8
Text Entries: Sorini, <i>Emiliano. Gropper - Catalogue Raisonné of the Etchings</i>. San Francisco: Alan Wofsy Fine Arts, 1998. No. 52, p. 52.
Cartoon Warmonger
Date: 1965
Credit Line: Terra Foundation for American Art, Gift in memory of Emiliano Sorini, printmaker
Object number: 2004.9
Text Entries: Sorini, Emiliano. <i>Gropper - Catalogue Raisonné of the Etchings</i>. San Francisco: Alan Wofsy Fine Arts, 1998. No. 90, p. 90 (first state).
Strike Breakers
Date: 1965
Credit Line: Terra Foundation for American Art, Gift in memory of Emiliano Sorini, printmaker
Object number: 2004.10
Text Entries: Sorini, Emiliano. <i>Gropper - Catalogue Raisonné of the Etchings</i>. San Francsisco: Alan Wofsy Fine Arts, 1998. No. 62, p. 62.<br><br> Cartwright, Ingrid. <i>Hoofbeats and Heartbeats: The Horse in American Art</i>. (exh. cat., The Art Museum at the University of Kentucky, Lexington, Kentucky). Lexington, Kentucky: The Art Museum at the University of Kentucky, 2010. Text pp. 64–65; ill. fig. 36, p. 65 (color).
Exotic Dancer
Date: 1965
Credit Line: Terra Foundation for American Art, Gift in memory of Emiliano Sorini, printmaker
Object number: 2004.13
Text Entries: Sorini, Emiliano. <i>Gropper - Catalogue Raisonné of the Etchings</i>. San Francisco: Alan Wofsy Fine Arts, 1998. No. 76 (first version), p. 76.
Nude on a Wicker Chair
Date: 1965
Credit Line: Terra Foundation for American Art, Gift in memory of Emiliano Sorini, printmaker
Object number: 2004.15
Text Entries: Sorini, Emiliano. <i>Gropper - A Catalogue Raisonné of the Etchings</i>. San Francisco: Alan Wofsy Fine Arts, 1998. No. 78 (first version), p. 78.
Breakfast
Date: 1965
Credit Line: Terra Foundation for American Art, Gift in memory of Emiliano Sorini, printmaker
Object number: 2004.16
Text Entries: Sorini, Emiliano. <i>Gropper - Catalogue Raisonné of the Etchings</i>. San Francisco: Alan Wofsy Fine Arts, 1998. No. 74 (first version), p. 74.
Faith
Date: 1967–68
Credit Line: Terra Foundation for American Art,Gift in memory of Emiliano Sorini, printmak
Object number: 2004.12
Text Entries: Sorini, Emiliano. <i>Gropper - Catalogue Raissoné of the Etchings</i>. San Francisco: Alan Wofsy Fine Arts, 1998. No. 132, p. 132.
Bass Player
Date: 1968
Credit Line: Terra Foundation for American Art, Gift in memory of Emiliano Sorini, printmaker
Object number: 2004.11
Text Entries: Sorini, Emiliano. <i>Gropper - Catalogue Raisonné of the Etchings</i>. San Francisco: Alan Wofsy Fine Arts, 1998. No. 136, p. 136.
Hassid Dancing
Date: 1968
Credit Line: Terra Foundation for American Art, Gift in memory of Emiliano Sorini, printmaker
Object number: 2004.14
Text Entries: Sorini, Emiliano. <i>Gropper - Catalogue Raissoné of the Etchings</i>. San Francisco: Alan Wofsy Fine Arts, 1998. No. 143 (second state), p. 143.