Skip to main content
Collections Menu

Collection Landing page 3-2015

Collection Info
Image Not Available

Updated 072822 TLP

Sort:
Filters
9 results
Metadata Embedded, 2019
Jamie Wyeth
Date: 1986
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.163
Text Entries: The youngest child of artist Andrew Wyeth and the grandson of illustrator N.C. Wyeth, Jamie Wyeth showed an interest in art at an early age. Following the sixth grade, Wyeth was schooled at home by his own request and began a period of formal art training. He later studied with his father at the family's Pennsylvania farm and studio founded by his grandfather. By the age of twenty, Wyeth had his first solo exhibition and was soon known for his depictions of such celebrities as Andy Warhol and John F. Kennedy. Wyeth continually draws upon his surroundings for inspiration and his native Pennsylvania landscape has provided a powerful source of imagery. With his carefully controlled realist technique and tight, spare compositions, Wyeth transforms the ordinary into the monumental. Kalounna in Frogtown depicts the eleven-year-old Kalounna, a Laotian refugee who lived with his parents on Wyeth's farm. Wearing a tee-shirt from the popular television show Dallas with arms at his side, Kalounna fills the foreground of the painting. A figure that commands attention, he appears as an adolescent in transition, both vulnerable and confrontational.
Metadata embedded, 2021
Mary Cassatt
Date: 1890–91
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1994.5
Text Entries: Ives, Colta Feller. <i>The Great Wave: The Influence of Japanese Woodcuts on French Prints</i>. New York: The Metropolitan Museum of Art, 1974. Text pp. 45–55 (discusses Mary Cassatt print <i>Maternal Caress, </i>cited specifically on pp. 48–49).<br><br> Breeskin, Adelyn Dohme. <i>The Graphic Work of Mary Cassatt: A Catalogue Raisonné</i>. 2nd ed. Washington, D.C.: Smithsonian Institution Press, 1979. No. 150, p. 64; ill. p. 146 (color). <br><br> Getlin, Frank. <i>Mary Cassatt: Paintings and Prints</i>. New York: Abbeville Press, 1980. Text p. 90; ill. p. 91 (color impression from The National Gallery of Art).<br><br> Mathews, Nancy Mowll and Barbara Stern Shapiro. <i>Mary Cassatt: The Color Prints</i>. (exh. cat., Museum of Fine Arts). Boston, Massachusetts: Museum of Fine Arts, 1989. No. 12, pp. 140-44.<br><br> <i>Maternal Caress, </i>Mary Cassatt. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, February 1995. Ill. (black & white). [specific reference to Terra print]<br><br> <i>Regard sur cinq années d'expositions</i> (<i>Five years of Exhibitions at a Glance</i>). Chicago, Illinois: Terra Foundation for the Arts, 1997. Text p. 113; ill. p. 108 (color). [specific reference to Terra print]<br><br> Barter, Judith A. <i>Mary Cassatt, Modern Woman</i>. (exh. cat., The Art Institute of Chicago). Chicago, Illinois: The Art Institute of Chicago, 1998. No. 63, p. 285 (color impression from The Art Institute of Chicago, acc. no. 1932.1288).<br><br> Mancoff, Debra N. <i>Mary Cassatt: Reflections of Women's Lives</i>. London, England: Frances Lincoln, 1998. Text p. 88; ill. p. 89 (color). [specific reference to Terra print]<br><br> <i>Mary Cassatt: Impressions</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for American Art, 2005; Paris: Le Passage Paris–New York Éditions, 2005. Text p. 56 (checklist); ill. p. 59 (color). Vanessa Lecomte, editor. <i>Portrait of a Lady : peinture et photographies américains </i> (exh. cat., Musée d'Art Américain Giverny and Musée des beaux-arts de Bordeaux). Chicago, Illinois: Terra Foundation for American Art, 2008. Text (checklist) p. 93.
Metadata Embedded, 2017
Blanche Lazzell
Date: 1919 (block cut), 1931 (printed)
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1996.32
Text Entries: Blanche Lazzell was born ninth in a family of ten children in rural West Virginia in 1878. By 1905 she had earned a remarkable three college degrees, and would continue to enjoy being a student throughout her life, both in Europe and the United States; as late as her sixties she studied abstract painting with artist and teacher Hans Hoffman. Lazzell is best known for color prints like Still Life, pulled from a single wood block, a process developed in Provincetown, Massachusetts in 1915. A woodblock print executed in the traditional, Japanese-inspired manner requires a different block for each color; in contrast, the more expedient "white line technique" or "Provincetown print" utilizes a single block whose carved shapes, each colored individually, are separated by a groove that produces a white line on paper. Lazzell produced very few figurative works, concentrating instead on exploring geometric cubism and the bright coastal colors of her adopted home of Provincetown both through still lifes and landscapes.
Metadata Embedded, 2019
George Bellows
Date: 1909
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.10
Text Entries: In the spring of 1904 at the age of twenty-two, George Bellows turned down an opportunity to play professional baseball for the Cincinnati Reds opting instead to move to New York to pursue a career as an artist. Supporting himself by playing baseball for various leagues around New York, Bellows enrolled at The New York School of Art where he studied under Robert Henri. Henri encouraged his students to seek out "real" subjects, and Bellows' exuberant paintings of teeming waterfronts, bloody prize fights, smoky tenements, crowded evangelical tent meetings, buxom nudes, and the open American landscape throb with a palpable energy. Unlike most of his contemporaries Bellows never traveled to Europe, finding artistic instruction, support and subjects at home in the United States. As early as 1907, Bellows had received acclaim for his depictions of winter scenes, and the largest group extant is the Hudson River series, consisting of eleven paintings. The Palisades is one such work and offers a view across the Hudson River toward the Palisade cliffs of New Jersey. The thick layers of glistening paint-a hallmark of Bellows' work-seem to capture the vitality and rawness of the season. As one visitor to Bellows' studio recalled, "He [Bellows] would stand ten feet or more from the canvas, study it carefully, then rush forward almost on the run and work at the canvas rapidly and with large, free strokes of the brush." It is to this, perhaps, that one could attribute the seemingly inherent sense of freshness and immediacy that the painting exudes.
Metadata Embedded, 2019
Sanford Robinson Gifford
Date: 1866
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.57
Text Entries: Sanford Robinson Gifford depicted the wilderness of the Catskill mountain range beside elements of human settlement and progress in this canvas, a powerful example of Hudson River School painting. Gifford found in nature the means for aesthetic, nationalistic, and often moral expression in response to industrial growth, westward expansion, and post-Civil War tension of the mid-nineteenth century.
2019 Photography, Metadata Embedded
George Inness
Date: 1877
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.78
Text Entries: <i>Executor's Sale: Catalogue of Paintings by the Late George Inness, N.A</i>. (exh. cat., Fifth Avenue Art Galleries). New York: Fifth Avenue Galleries, 1904, no. 120, as <i>Montclair</i>.<br><br> “Current Notes on Art Sales.” <i>Brush and Pencil</i> 13:6 (March 1904): 450–459. Text p. 454 (as <i>Montclair</i>).<br><br> <i>Catalogue of the Loan Exhibition of Important Works by George Inness, Alexander Wyant, Ralph Blakelock</i>. (exh. cat., Moulton & Ricketts Galleries). Chicago, Illinois: Moulton & Ricketts Galleries, 1913. Ill. pl. III. <br><br>Ireland, LeRoy. <i>The Works of George Inness: An Illustrated Catalogue Raisonné</i>. Austin, Texas: University of Texas Press, 1965. Cat. no. 816, pp. 201–202 (black & white). <br><br> <i>The Magazine Antiques</i> 118:4 (October 1980): 572. Text p. 572, ill. p. 572 (color, as <i>Summer Montclair</i>).<br><br> Schulze, Franz. "Terra Incognita: A New Museum of American Art." <i>Art News</i> 79:10 (December 1980): 84–87. Ill. p. 85 (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-27, p. 136 (color).<br><br><i>Summer, Montclair</i>, George Inness. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, March 1997. Ill. (black & white). <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 pp. 17, 25 (checklist); fig. 16, p. 17 (black & white).<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 pp. 17, 25 (checklist); fig. 16, p. 17 (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 pp. 78, 199; ill. pp. 8 (color), 79 (color), 199 (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 pp. 78, 199; ill. pp. 8 (color), 79 (color), 199 (black & white).<br><br> Quick, Michael. <i>George Inness: A Catalogue Raisonné, Volume One</i>. New Brunswick, NJ: Rutgers University Press, 2007. Text pp. 538-539. Cat. no. 629, p. 538 (black & white, as <i>Montclair</i>; credit listed as Daniel J. Terra Collection).<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. 27, 36 (checklist); Ill. Pl. 5, p. 44 (color).Bourguignon, Katherine and Valerie Reis. <i>The Studio of Nature, 1860-1910: The Terra Collection in Context</i>. (exh. cat, Terra Foundation for American Art with the Musée des Impressionnismes Giverny). Paris, France: Réunion des musées nationaux, 2020.  Pl. 40, p. 109 (color).<br><br
Metadata Embedded, 2019
George Josimovich
Date: 1927
Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund
Object number: 2004.1
Text Entries: <i>Seventh Annual Exhibition of the Chicago No-Jury Society of Artists</i>. (exh. cat. Chicago Society of Artists). Chicago, Illinois: Chicago Society of Artists, 1928. Text p. 11, cat. no. 180 (checklist, as <i>I.C.</i>).<br><br> <i>Defining the Edge: Early American Abstraction</i>. (exh. cat., Laguna Art Museum, Michael Rosenfeld Gallery), New York, NY: Michael Rosenfeld Gallery, 1998. Text pp. 32, 54 (checklist); ill. p. 32 (color).<br><br> <i>George Josimovich: American Purist</i>. Chicago, Illinois: Robert Adams Fine Art, Inc., Chicago, Illinois, 2004. Ill. (color).<br><br> 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. <br><br><i>Illinois Central,</i> George Josimovich. Brochure for International Conference for <i>Narratives About American Art.</i> John F. Kennedy Institute for American Studies, Berlin, and Terra Foundation for American Art, Chicago, IL, May 24–26, 2007. Ill. cover (color).<br><br>Cozzolino, Robert. <i>Art in Chicago: Resisting Regionalism, Transforming Modernism.</i> (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).<br><br> Cypriano, Fabio. “Paisagem nas Américas trata encanto pela natureza sem simplificação.” <i>Folha de São Paulo</i> (March 27, 2016): illustrada C3. Text.<br><br> Eleutério, Maria de Lourdes. “Paisagem nas Américas.” <i>Remate de Males</i> 36, no. 1 (January–June 2016): 301–309. Text p. 307.<br><br> Bourguignon, Katherine M., Lauren Kroiz, and Leo G. Mazow. <i>America’s Cool Modernism: O’Keeffe to Hopper.</i> Oxford, United Kingdom: Ashmolean Museum of Art & Archaeology–University of Oxford, 2018. Text p. 68, cat. no.42 (checklist); ill. pp. 69, 140 (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. 132; ill. p. 133 (color).<br><br> Piccoli, Valéria, Fernanda Pitta, and Taylor Poulin. <i>Pelas ruas: vida moderna e experiências urbanas na arte dos Estados Unidos, 1893-1976</i>. (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).<br><br>   
Metadata Embedded, 2017
Jacob Lawrence
Date: 1942
Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund
Object number: 2013.1
Text Entries: Nesbett, Peter T. and Michelle DuBois. <i>Jacob Lawrence: Paintings, Drawings and Murals (1935-1999): A Catalogue Raisonné</i>. Seattle: University of Washington Press, 2000. Text p. 68, cat. no. 42–16, ill. pl. 42–16 (color).<br><br> <i>America: Painting a Nation</i>. (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 pp. 27, 37, 216; ill. p. 217, cat. no. 76 (color).<br><br> Soutif, Daniel. <i>The Color Line: Les Artistes Africains-Américains et la Ségrégation 1865–2016.</i> (exh. cat. Musée du quai Branly). Paris: Flammiron, 2016. ill. p. 315 (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. 158; ill. p. 159 (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 pp. 230, 231; ill. p. 230, detail pp. 232–233 (color).<br><br>
Metadata Embedded, 2019
Martin Johnson Heade
Date: c. 1871
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.68
Text Entries: Sokol, David M. "The Terra Museum of American Art, Evanston, Illinois." <i>The Magazine Antiques</i> 126:5 (November 1984): 1156–69. Pl. IX, p. 1160 (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-24, p. 133 (color). <br><br><i>Newburyport Marshes: Approaching Storm</i>, Martin Johnson Heade. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, 1988. Ill. (black & white). <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 pp. 14, 24 (checklist); ill. p. 44 (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 pp. 14, 24 (checklist); ill. p. 44 (color).<br><br>Cartwright, Derrick. "The City and Country: American Perspectives, 1870–1920." <i>American Art Review</i> 7:1 (January–February 2000): 100-11. Ill. p. 102 (color).<br><br>Stebbins, Jr., Theodore E. <i>The Life and Works of Martin Johnson Heade: A Critical Analysis and Catalogue Raisonné</i>. New Haven, Connecticut: Yale University Press, 2000. Text p. 237; ill. p. 122 (color), cat. 144, p. 237 (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 pp. 64, 197; ill. pp. 65 (color), 197 (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 pp. 64, 197; ill. pp. 65 (color), 197 (black & white).<br><br><i>Side by Side: Works from the Terra Foundation for the Arts and the Detroit Institute of Arts</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text p. 9; ill. cover (color detail), p. 8 (color).<br><br><i>Deux collections en regard: oeuvres de la Terra Foundation for the Arts et du Detroit Institute of Arts</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text p. 9; ill. cover (color detail), p. 8 (color).<br><br> Czestochowski, Joseph S. <i>Georgia O’Keeffe: Visions of the Sublime</i>. Memphis, TN: Torch Press and International Arts, 2004. Ill. p. 184, pl. 90 (color).<br><br> Andreae, Christopher. “Heade Felt at Home Where Tide and Land Meet.” <i>The Christian Science Monitor</i> (July 7, 2005): 19. Ill. p. 19 (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 and English version; citing English version). Text p. 246; ill. p. 117 (color).<br><br> <i>Art In America: 300 years of Innovation.</i> Hong Kong: Wen Wei Publishing Co. Ltd, 2007. (in Chinese) Ill. p. 46 (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. (Spanish version). Ill. p. 94 (color).<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. 28, 36 (checklist); Ill. Pl. 6, p. 45 (color).<br><br> “Manifest Responsibility: Environmentalism and the Art of the American Landscape at Loyola.” <i>Artdaily.org</i>. Last modified May 19, 2008. Accessed January 26, 2016. Ill. (color).<br><br> Artner, Alan G. “’Manifest Destiny’ exhibit reflects an optimistic America.” <i>Chicago Tribune</i> (June 19, 2008). Ill. (color).<br><br> Brownlee, Peter John, Valéria Piccoli, and Georgiana Uhlyarik, eds. <i>Picturing the Americas: Landscape Painting from Tierra del Fuego to the Arctic</i>. (exh. cat., Art Gallery of Ontario, Pinacoteca do Estado de São Paulo and the Terra Foundation for American Art). Toronto, Ontario: Art Gallery of Ontario in association with Yale University Press, New Haven, Connecticut, 2015. Ill. fig. 3, p. 134 (color), cover (color detail).<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. 74; ill. p. 74 (color).<br><br> Kusserow, Karl, and Alan C. Braddock. <i>Nature’s Nation: American Art and Environment.</i> (exh. cat. Princeton University Art Museum). Princeton, New Jersey: Princeton University Art Museum, distributed by Yale University Press, 2018. Text pp. 304-311; ill. p. 305 (color).<br><br>   Pfohl, Katie. <i>Inventing Acadia: Painting and Place in Louisiana.</i> (exh. cat., New Orleans Museum of Art). New Orleans: New Orleans Museum of Art, distributed by Yale University Press, 2019. Text pp. 22; ill. p. 23 (color).<br><br>Bourguignon, Katherine and Valerie Reis. <i>The Studio of Nature, 1860-1910: The Terra Collection in Context</i>. (exh. cat, Terra Foundation for American Art with the Musée des Impressionnismes Giverny). Paris, France: Réunion des musées nationaux, 2020.  Ill. p. 60 (detail), Pl. 4, p. 61 (color).<br><br>