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Dated Web objects 1880-1919

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last item added: 2017.2 Henri, Sylvester

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John George Brown
Date: 1880
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.19
Text Entries: (modified anniversary publication entry) The son of a poor family in Durham, England, John George Brown served as an apprentice to a glass cutter during his youth. He supplemented his training with evening drawing classes, and in 1852 moved to Edinburgh to study art. After a brief stay in London, Brown immigrated to the United States, where he found work in Brooklyn, New York, sketching stained-glass window designs. The year 1855 marked a redirection for Brown: he enrolled at the National Academy of Design in New York City and, along with Winslow Homer and Eastman Johnson, rented a studio in the Tenth Street Studio Building. In 1861 Brown helped found the Brooklyn Art Association, and the following year he was naturalized as a citizen of the United States. By this time, Brown had developed his signature subject-anecdotal images of children-for which he enjoyed consistent success throughout his career. While Brown gained his fame painting mischievous urban boys, including bootblacks, newsboys, and street toughs, his summer vacations in the Catskills and the Adirondack Mountains inspired a more sentimental view of childhood in a rural setting. In The Cider Mill five girls indulge in the late summer pleasure of the apple harvest. Seated in front of wooden barrels of cider, each bites into a crisp, ripe apple. Every element in the scene alludes to abundance: the overflowing basket in the foreground, the ripening corn in the distance, and the bright fall foliage that hangs like fringe from the trees. With their full, round faces and glowing complexions, the girls seem to embody wholesome health and innocence.
Twilight, East Hampton
Mary Nimmo Moran
Date: 1880
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1996.82
Text Entries: Mary Nimmo Moran began etching landscapes in 1879 while her husband, a painter of Western landscapes, was away on an extended trip. Rather than making sketches on paper first, she carried her copper plates out of doors and incised bold, spontaneous lines directly onto them, translating areas of foliage and shadow into patterned areas of dark upon dark. Upon his return Thomas Moran submitted four of his wife's prints to the New York Etching Club, and over the following ten years Mary Nimmo Moran exhibited her work both in American cities and in London, where she met John Ruskin and was elected to the Royal Society of Painter-Etchers. She signed many of her prints with her initials to disguise her gender, and consistently deferred to her husband before the public; "I may say I have always been my Husband's pupil," she wrote. The high point of Moran's artistic career in the United States came in 1893 at the World's Columbian Exposition in Chicago, where she won a medal.
2019 Photography Metadata Embedded
Howard Pyle
Date: 1880
Credit Line: Terra Foundation for American Art, Gift of Mr. and Mrs. John Estabrook
Object number: C1983.8
Text Entries: Pyle, Howard. "The Sea–Gull's Song." <i>Harper's Weekly</i> 26 (Nov. 25, 1882): cover.<br><br> Morse, Willard S. and Gerturde Brincklé, eds. <i>Howard Pyle: A Record of his Illustrations and Writings</i>. Wilmington, Delaware: The Wilmington Society of Fine Arts, 1921. Text, p. 63.<br><br> Davis, Paul Preston, ed. <i>Howard Pyle: His Life–His Work, Vol. 1</i>. New Castle, Delaware: Oak Knoll Press, 2004. Text p. 68, 370.<br><br> Davis, Paul Preston, ed. <i>Howard Pyle: His Life–His Work, Vol. 2</i>. New Castle, Delaware: Oak Knoll Press, 2004. Ill, p. 476.
Metadata Embedded, 2019
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. <i>Wild Spaces, Open Seasons: Hunting and Fishing in American Art</i>. (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).<br><br>
metatdata embedded, 2020
Joseph Decker
Date: c. 1880–1889
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.32
Text Entries: <i>American Paintings III 1985</i>. New York: Berry-Hill Galleries, Inc., 1985. Text p. 49; ill. p. 49 (color).<br><br> Reynolds, Gary A. and Shelly Mehlman Dinhofer. <i>Now Reposing in the Green-Wood Cemetery...Artists, Heroes, Villains and Other Illustrious Residents</i>. (exh. cat., Museum of the Borough of Brooklyn). Brooklyn, New York: Museum of the Borough of Brooklyn, 1986. No. 23, p. 4. <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-82, p. 191 (color).<br><br> Gerdts, William H. <i>Joseph Decker: Still Lifes, Landscapes and Images of Youth</i>. (exh. cat., Coe-Kerr Gallery, Inc.). New York: Coe-Kerr Gallery, Inc., 1988. Pl. V (color).<br><br> Southgate, M. Therese. "The Cover." <i>The Journal of the American Medical Association</i> 266:16 (October 23/30 1991): cover, 2180. Text p. 2180; ill. cover (color).<br><br> Southgate, M. Therese. <i>The Art of JAMA III: Covers and Essays from the Journal of the American Medical Association</i>. Chicago, Illinois: American Medical Association, 2011. Text p. 60; ill. opposite p. 60 (color).
Metadata embedded, 2021
James Abbott McNeill Whistler
Date: c. 1881
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1994.9
Text Entries: <i>Art in Prints</i> 7. New York: Kennedy Galleries, May 1970. Ill. p. 25 (as <i>Gay Padgett later Duchess of Plymouth</i>).<br><br> MacDonald, Margaret F. <i>James McNeill Whistler: Drawings, Pastels, and Watercolours; A Catalogue Raisonné</i>. New Haven, Connecticut and London, England: Yale University Press, 1995. Text no. 854, pp. 321–22; ill. no. 854, p. 322 (black & white).
metadata embedded, 2020
Samuel S. Carr
Date: 1881
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.23
Text Entries: Sotheby's New York, New York (April 20, 1979): lot 35. Ill. lot 35 (black & white).<br><br> Carter, Curtis L. et al. <i>Changes: Art in America 1881/1981</i>. (exh. cat., Marquette University). Milwaukee, Wisconsin: Marquette University, 1981. Text p. 24; ill. p. 24 (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. Pl. T-54, p. 163 (color).<br><br> Lynes, Russell, William H. Gerdts, and Donald Kuspit. <i>At the Water's Edge: 19th and 20th Century American Beach Scenes</i>. (exh. cat., Tampa Museum of Art). Tampa, Florida: Tampa Museum of Art, 1989. Text pp. 10, 121 (checklist), 128; ill. p. 66 (black & white).<br><br> <i>Small Yacht Racing, </i> Samuel S. Carr. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, June 1992. Ill. (black & white).
2019 Photography Metadata Embedded
James Abbott McNeill Whistler
Date: 1881
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.144
Text Entries: 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-34, p. 143 (color).<br><br>MacDonald, Margaret F. <i>James McNeill Whistler: Drawings, Pastels, and Watercolours; A Catalogue Raisonné</i>. New Haven, Connecticut and London, England: Yale University Press, 1995. Text no. 855, p. 322.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.  Text p. 44; Pl. 25, p. 90 (color).<br><br>
Paris Street Scene
Fernand Lungren
Date: 1882
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1989.25
Text Entries: Gerdts, William H. et al. <i>Lasting Impressions: American Painters in France, 1865–1915</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text pp. 34, 244; pl. 69, p. 245 (color). <br><br> Gerdts, William H. et al. <i>Impressions de toujours: les peintres américains en France, 1865–1915</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text pp. 34, 244; pl. 69, p. 245 (color). <br><br> Reymond, Nathalie. <i>Un regard américain sur Paris</i> (<i>An American Glance at Paris</i>). Chicago, Illinois: Terra Foundation for the Arts, 1997. Text pp. 47–48; ill. p. 46 (color).<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. 33 (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. 33 (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. 110 (color).
metedata embedded, 2021
Edward Lamson Henry
Date: 1882
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.71
Text Entries: <i>American Paintings III</i>. New York: Berry-Hill Galleries, Inc., 1985. Text p. 72; ill. p. 72.<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-57, p. 166 (color).<br><br> <i>The Works of E. L. Henry: Recollections</i>. (exh. cat., The R. W. Norton Art Gallery). Shreveport, Louisiana: The R. W. Norton Art Gallery, 1987. Ill. 22 (color). <br><br> <i>The Butler Hard Rubber Factory</i>, Edward Lamson Henry. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, August 1988. Ill. (black & white).<br><br> <i>Society for Industrial Archeology Newsletter</i> 21:4 (November 5–8, 1992): 8. Text p. 8; ill. p. 8 (black & white).
metadata embedded, 2020
Dennis Miller Bunker
Date: 1883
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1987.11
Text Entries: A solitary hunter stands at the edge of the woods with a rifle propped on his shoulder. The dense foliage has faded into autumnal shades of russet and yellow, while the gray skies and puddles in the foreground also indicate the change in season. Though painted in loose brushstrokes with just hints of detail, the full signature with date and title indicate that this painting was intended as an exhibition piece.In 1882, Dennis Miller Bunker arrived in Paris to refine the artistic skills he had been developing at the National Academy of Design under the guidance of William Merritt Chase. Upon the advice of fellow artists, he chose to enroll at the prestigious École des Beaux-Arts where he would study rigorously for two years in the atelier of Jean-Léon Gérôme. After months cooped-up in painting studios in Paris, Bunker would spend his summers seeking artistic inspiration in the plein air of the French countryside with fellow painters. The present canvas depicts the landscape around the small town of Lacroix-St. Ouen at the edge of the forest of Compiègne, where Bunker chose to spend the summer of 1883.For many American painters, classical training in the French capital was a necessary rite of passage, and for Bunker it would play a crucial role in his artistic development. In France, he further developed his already skilful draughtsmanship and brushwork. Inspired by the Barbizon School and the work of Camille Corot, Bunker acquired a mastery of light and form. For years after his return to the United States, he would complain that he missed the gray skies of France that had allowed him to paint calmly. (French version)Un chasseur solitaire se tient à l'orée du bois, son fusil à l'épaule. Le feuillage épais a pris ses teintes rousses et jaunes d'automne. Le gris du ciel et des flaques au premier plan évoque aussi le changement de saison. Les traits de pinceau sont assez larges et les détails ne sont que suggérés. Cependant, la signature et le titre indiquent que le tableau était destiné à être exposé.Dennis Miller Bunker arrive à Paris en 1882 afin de perfectionner ses talents développés à la National Academy of Design sous la direction de William Merritt Chase. Sur les conseils d'autres artistes, il choisit de s'inscrire à la prestigieuse École des Beaux-Arts, où il étudie deux ans dans l'atelier de Jean-Léon Gérôme. Après des mois dans les ateliers parisiens, Bunker se rend l'été à la campagne cherchant l'inspiration en plein air en compagnie d'autres peintres. Cette toile représente le paysage aux environs de la petite ville de Lacroix-St. Ouen, à l'orée de la forêt de Compiègne. Bunker y séjourne au cours de l'été 1883.Pour de nombreux peintres américains, une formation académique dans la capitale française est un passage obligé. Cet enseignement joue un rôle crucial dans la carrière de Bunker. En France, il perfectionne ses talents de dessinateur et sa touche. Inspiré par l'école de Barbizon et l'œuvre de Camille Corot, Bunker apprend à maîtriser les effets de lumière et la composition. Des années après son retour aux Etats-Unis, il se plaint avec nostalgie de ne plus voir les ciels gris de France qui lui ont permis de peindre dans le calme de leurs tonalités.
2019 Photography, Metadata Embedded
Charles Harold Davis
Date: 1883
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.12
Text Entries: Charles Harold Davis was first exposed to French contemporary painting when viewing an exhibition of Barbizon paintings at the Boston Athenaeum in 1874. The French Barbizon School was named after the Barbizon village near the Forest of Fontainebleau, where Jean-Francois Millet had settled in the 1840s. Millet had many admirers in the United States, especially in Boston, where his work was collected and exhibited. Davis emulated a muted, Barbizon-inspired palette and in 1881, after studying in Paris for a year, settled in the village of Fleury, near Barbizon. After his return to the United States in 1890, Davis lived in Mystic, Connecticut, and later adopted the high-keyed palette of Impressionism.