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Dated Web objects 1920-1959

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Last item added: 2017.1 Kuniyoshi, Boy with Cow

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Robert Laurent
Date: c. 1920–1929
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1996.73
Text Entries: Cartwright, Derrick R. and Paul J. Karlstrom. <i>American Moderns, 1900–1950</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Fig. 2, p. 76 (black & white). [specific reference to Terra print]<br><br> Cartwright, Derrick R. and Paul J. Karlstrom. <i>L'Amérique et les modernes, 1900–1950</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Fig. 2, p. 76 (black & white). [specific reference to Terra print]<br><br> Shaykin, Rebecca. <i>Edith Halpert: The Downtown Gallery and the Rise of American Art.</i> (exh. cat., Jewish Museum, New York). New Haven: Yale University Press, 2019. Ill. p. 79 (color).<br><br>
Chest
Charles Prendergast
Date: 1920
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.59
Text Entries: This type of monumental carved, gessoed, and painted wooden chest (one of three made by Charles Prendergast) has its origins in Renaissance Italy, where an elaborately carved and decorated chest, or cassone, was often given to a woman upon marriage as a container for the bride's dowry. Beyond their utilitarian uses as household furniture, cassone chests often were intended to suggest the wealth and social status of the owner. Elaborately decorated and guilded surfaces and intricate carvings impressed upon the viewer the grandeur of all that the chest might contain. Charles Prendergast's twentieth-century version of the cassone-style chest was commissioned in 1920 by collector and founder of New York's Museum of Modern Art, Lillie P. Bliss who had already acquired several frames and a panel painting by Charles. The chest's design combines gracefully fanciful imagery derived from the disparate influences of classical mythology, Christian symbolism, medieval Italian painting, and near eastern art. Static poses and frieze-like compositions recall ancient Egyptian imagery, while haloed figures suggest Christian iconology (the fourth panel on the front side is identified as the Annunciation by an inscription beneath). The four niches of stylized profiles of male and female figures on the chest's backside allude to the tradition of medieval and Renaissance court portraiture. Yet this chest, like many of Charles Prendergast's creations, integrates the modern into the traditional to create a unified, aesthetic design.
Metadata embedded, 2021
Childe Hassam
Date: 1920
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1995.6
Text Entries: After years of peripatetic traveling in the summer months for artistic inspiration, the Hassams bought Willow Bend, a colonial-era house on Long Island. After 1919, their mid-town Manhattan apartment and studio continued to be a winter domicile. However, each May until his death in 1934, Hassam retreated to the wide tree-lined village streets of East Hampton. After World War I, Hassam associated his distinguished New England lineage with Puritan values that he believed were lost in contemporary society's "melting pot" of cultures. Devoted to the colonial revival phenomenon, the artist selected New England subjects that, for him, symbolized a unified and, supposedly, homogenous society. Ironically, Hassam blended cultures in this print by portraying an exemplary subject of Yankee America in a style-impressionistic-associated with French art. The dappled sunshine that falls on the gray shingled exterior of the Lion Gardiner House, which was named for its distinguished colonial owner, is a tribute to French impressionism.
Metedata embedded, 2021
George Bellows
Date: 1920
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1995.11
Text Entries: Bellows, Emma S. and Thomas Beer. <i>George W. Bellows: His Lithographs</i>. New York: Alfred A. Knopf, 1927. No. 189 (as <i>Tennis Tournament</i>).<br><br> Mason, Lauris and Joan Ludman. <i>The Lithographs of George Bellows: A Catalog Raisonné</i>. Millwood, New York: KTO Press, 1977. No. 71, p. 114.<br><br> Myers, Jane and Linda Ayres. <i>George Bellows: The Artist and His Lithographs, 1916–1924</i>. (exh. cat., Amon Carter Museum). Forth Worth, Texas: Amon Carter Museum, 1988. No. 59.<br><br> <i>Master Prints of Five Centuries: The Alan and Marianne Schwartz Collection</i>. (exh. cat., The Detroit Institute of Arts). Detroit, Michigan: The Detroit Institute of Arts, 1990. No. 14, p. 47.<br><br> <i>Lithographs from the Collection of Dr. and Mrs. Harold Rifkin</i>. (exh. cat., Adelson Galleries). New York: Adelson Galleries, 1999. No. 18.<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). [specific reference to Terra print]<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). [specific reference to Terra print]
Metadata embedded, 2021
George Bellows
Date: 1920
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1995.12
Text Entries: Bellows, Emma S. and Thomas Beer. <i>George W. Bellows: His Lithographs</i>. New York: Alfred A. Knopf, 1927, p. 103. <br><br> Mason, Lauris and Joan Ludman. <i>The Lithographs of George Bellows: A Catalog Raisonné</i>. Millwood, New York: KTO Press, 1977. No. 72, p. 115.<br><br> <i>George Wesley Bellows: Paintings, Drawings, and Prints</i>. (exh. cat., Columbus Museum of Art). Columbus, Ohio: Columbus Museum of Art, 1979. No. 75, p. 83; no. 42, p. 53.<br><br> Mason, Lauris and Joan Ludman. <i>The Lithographs of George Bellows: A Catalog Raisonné<i>. San Francisco: A. Wofsy Fine Arts, 1992. No. 72, p. 133.<br><br> <i>Lithographs from the Collection of Dr. and Mrs. Harold Rifkin</i>. (exh. cat., Adelson Galleries). New York: Adelson Galleries, 1999. No. 17.
Metadata embedded, 2021
Lyonel Feininger
Date: 1920
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1996.7
Text Entries: Beall, Karen F. <i>American Prints in the Library of Congress: A Catalog of the Collection</i>. Baltimore, Maryland: The Johns Hopkins Press for the Library of Congress, 1970. No. 4, p. 150.<br><br> Prasse, Leona E. <i>Lyonel Feininger: A Definitive Catalogue of His Graphic Work: Etchings, Lithographs, Woodcuts</i>. Cleveland, Ohio: Cleveland Museum of Art; Berlin, Germany: Gebr. Mann, 1972. No. W 228 ii/ii, p. 218.<br><br> Jacobowitz, Ellen S. and George H. Marcus. <i>American Graphics, 1860–1940: Selected from the Collection of the Philadelphia Museum of Art</i>. (exh. cat., Philadelphia Museum of Art). Philadelphia, Pennsylvania: Philadelphia Museum of Art, 1982. No. 60, p. 63. <br><br> <i>Master Prints of Five Centuries: The Alan and Marianne Schwartz Collection</i>. (exh. cat., The Detroit Institute of Arts). Detroit, Michigan: Founders Society, The Detroit Institute of Arts, 1990. No. 30, p. 60 [shows variant: <i>Gelmeroda VII</i>).<br><br> Cartwright, Derrick R. and Paul J. Karlstrom. <i>American Moderns, 1900–1950</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text pp. 23, 60 (checklist); fig. 8, p. 23 (black and white). [specific to Terra print]<br><br> Cartwright, Derrick R. and Paul J. Karlstrom. <i>L'Amérique et les modernes, 1900–1950</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text pp. 23, 60 (checklist); fig. 8, p. 23 (black and white). [specific to Terra print]<br><br> Nordland, Gerald. <i>Gelmeroda, </i>Lyonel Feininger. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, June 2000. Ill. (black & white). [specific to Terra print]
Metadata Embedded, 2017
Bertha Lum
Date: 1920
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1996.38
Text Entries: As a child growing up in Iowa and Wisconsin, Bertha Lum's first exposure to the Japanese design aesthetic that would fascinate her all her life came in the form of magazines; late nineteenth-century popular periodicals typically urged "women unable to receive the help of experienced decorators" to employ "the aid of a good Japanese print, because it would be a simple matter to bring the room up to it." Only after studying at the Art Institute of Chicago and honeymooning in Japan in 1903 did Lum begin producing her own scenes from traditional Japanese daily life in the form of woodblock prints; it was a full decade, however, before she began thinking of herself as an artist rather than a craftsperson and started to approach galleries with her work. Lum and her two daughters traveled back and forth between the United States, Japan and China repeatedly between 1907 and 1953. She is best remembered for her interpretations of Japanese folktales and her abstracted depictions of natural elements.
Metadata embedded, 2021
Edward Hopper
Date: 1920
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1996.47
Text Entries: Zigrosser, Carl. "The Etchings of Edward Hopper." In <i>Prints: Thirteen Illustrated Essays on the Art of the Print Selected for the Print Council of America,</i> edited by Carl Zigrosser. New York: Holt, Rinehart and Winston, 1962. No. 7, pp. 155–73. <br><br> Levin, Gail. <i>Edward Hopper: The Complete Prints</i>. (exh. cat., Whitney Museum of American Art). New York and London: W. W. Norton & Company in association with the Whitney Museum of American Art, 1979. Text p. 17; pl. 71 (etching), pl. 72 (drawing for etching).<br><br> Levin, Gail. <i>Edward Hopper: The Art and the Artist</i>. (exh. cat., Whitney Museum of American Art). New York and London, England: W. W. Norton & Company in association with the Whitney Museum of American Art, 1980. Text p. 60; fig. 4. <br><br> Levin, Gail. <i>Edward Hopper: A Catalog Raisonné</i>. 4 vols. New York: W. W. Norton & Company in association with the Whitney Museum of American Art, 1995. Vol. I: text p. 59, 78; fig. 110, p. 78.<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 pp. 20, 23 (checklist); fig. 12, p. 20 (black & white). [specific reference to Terra print]<br><br> Cartwright, Derrick R. <i>L'héroïque et le quotidien: les artistes américains, 1820–1920</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text pp. 20, 23 (checklist); fig. 12, p. 20 (black & white). [specific reference to Terra print]<br><br> Brettell, Richard R. and Eric Darragon. <i>Edward Hopper: Les années parisiennes 1906–1910</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2004. Ill. p. 39. [specific reference to Terra print]
untitled [nude]
Pierre Daura
Date: 1920–27
Credit Line: Terra Foundation for American Art, Gift of Martha R. Daura
Object number: 2000.12
Text Entries: The thirty-three paintings, drawings, and prints and one sketchbook in the Pierre Daura Study Collection represent a cross-section of this versatile artist's work and span his entire career. They demonstrate his abilities as a draftsman, painter, and printmaker in a variety of media, and highlight his concern for specific themes and subjects. The earliest work, <a href="http://collection.terraamericanart.org/objects/843"><i>untitled [Boats in Harbor]</i> (TF 2000.37)</a>, which may date to the artist's adolescent years, evinces a precocious sense of color and form along with an awareness of the then-current expressive emphasis on tactile paint and exaggerated hues. Similar qualities are evident in the latest dated work, <a href="http://collection.terraamericanart.org/objects/840"><i> untitled [Daura House]</i> (TF 2000.11)</a>, in which angular planes and vivid brushwork superimpose a modernist sensibility on the medieval irregularity of the artist's home in the southern French town of St. Cirq-Lapopie, a lifelong source of inspiration.<br><br>   Other works attest to Daura's attraction to streetscapes and architectural subjects in his native Spain and in Paris. <a href="http://collection.terraamericanart.org/objects/807"><i>Untitled [chimneys]</i> (TF 2000.13)</a> and <a href="http://collection.terraamericanart.org/objects/808"><i> untitled [streetlights]</i> (TF 2000.14)</a> of 1921, his economical renderings of Paris scenes, prophesy his involvement by the decade's end in the short-lived avant-garde group Cercle et Carré (Circle and Square), dedicated to a reductivist non-representational art based on geometry. Although Daura experimented with abstraction throughout his career, his art was fundamentally grounded in the truths he found in the visible world around him. <br><br> Like many other early twentieth-century modernist artists, Daura worked out problems of composition and color in still life arrangements. The figure nonetheless remained central to his art, from intimate nude studies to the numerous bust self-portraits he created in the course of his career. The artist explored his own elegant features and penetrating gaze in the media of drawing <a href="http://collection.terraamericanart.org/objects/810 "><i> untitled [Daura]</i> (TF 2000.16)</a>, engraving <a href="http://collection.terraamericanart.org/objects/823"> <i> untitled [Daura with scarf]</i> (TF 2000.28)</a>, and oil painting <a href="http://collection.terraamericanart.org/objects/846"><i> untitled [Daura, winter cap]</i> (TF 2000.40)</a>. <a href="http://collection.terraamericanart.org/objects/826"><i> Un Observador de la 59 Brigada Mixta, Teruel, 1937 </i> (TF 2000.31)</a> is his self-portrait as a military observer in a brigade of anti-Fascist fighters during the Spanish Civil War in 1937. Daura devoted many other portrait heads and figural compositions to recording the experience of individual fighters, and he created a series of powerful print images to express the horrors of the conflict for soldiers and civilians alike, as in <a href="http://collection.terraamericanart.org/objects/827"><i> CIVILISATION 1937: Bronchales Teruel, Facist Clean-up, Spain </i> (TF 2000.32)</a> and <a href="http://collection.terraamericanart.org/objects/828"><i> CIVILISATION 1937: The Innocent Victims of Valdecuenca Teruel </i> (TF 2000.33)</a>, two examples from the group ironically titled <1>Civilisation 1937</i>. During World War II, by which time he had settled in Virginia with his American-born wife and their daughter, Daura made poster designs promoting the war effort on the home front, of which <a href="http://collection.terraamericanart.org/objects/829"><i>untitled [Americans at Work]</i> (TF 2000.34)</a> and <a href="http://collection.terraamericanart.org/objects/830"><i>untitled [Remember Pearl Harbor]</i> (TF 2000.35)</a> are examples.<br><br> In Daura's paintings, form largely takes precedence over color, an approach born out in his tireless activity as a draftsman. Daura also was a prolific printmaker who experimented in virtually every medium of intaglio technique, often combining them for a variety of effects. In an untitled view of his own house <a href="http://collection.terraamericanart.org/objects/822"><i>untitled [Maison Daura]</i> (TF 2000.27)</a>, a picturesque medieval structure in the southern French town of St. Cirq-Lapopie, for example, he juxtaposed the delicate lines of etching and the soft, blurry tones of aquatint. Vivid contrasts of light and dark areas infuse drama into Daura's view of a Spanish town in <a href="http://collection.terraamericanart.org/objects/820"><i>Asco - Spain </i> (TF 2000.25)</a>. His use of formal means to energize his compositions is a unifying feature of the wide-ranging body of work Daura created in the course of his prolific career.
Metadata Embedded, 2019
Charles Demuth
Date: 1921
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1993.3
Text Entries: <i>American Painting 1900–1950</i>. (exh. cat., Lowe Gallery, University of Miami). Miami, FL: Lowe Gallery, 1952. Text p. 1, cat. no. 12 (as <i>Entrance to the City</i>).<br><br> Farnham, Emily. <i>Charles Demuth: His Life, Psychology and Works</i>. PhD dissertation, Ohio State University, 1959. Vol. II. Text pp. 108, 575, no. 416.<br><br>Farnham, Emily. <i>Charles Demuth: Behind a Laughing Mask</i>. Norman, Oklahoma: University of Oklahoma Press, 1971. Text p. 120.<br><br>Eiseman, Alvord L. <i>Charles Demuth</i>. New York: Watson-Guptill Publications, 1982. Text p. 17.<br><br>Fahlman, Betsy. <i>Pennsylvania Modern: Charles Demuth of Lancaster</i>. (exh. cat., Philadelphia Museum of Art). Philadelphia, Pennsylvania: Philadelphia Museum of Art, 1983. Text p. 20.<br><br>Haskell, Barbara. <i>Charles Demuth</i>. (exh. cat., Whitney Museum of American Art). New York: Whitney Museum of American Art in association with Harry N. Abrams, Inc., Publishers, 1987. Ill. p. 131 (black & white).<br><br> Falhman, Betsy.”Charles Demuth’s Paintings of Lancaster Architecture: New Discoveries and Observations.” <i>Arts Magazine</i> 61, no. 7 (March 1987): 24–29. Text p. 24; ill. p. 24, fig.2 (black & white).<br><br> Falhman, Betsy. “The Charles Demuth Retrospective at the Whitney Museum of American Art” <i>Arts Magazine</i> 62 (March 1988): 52–54. Text p. 53.<br><br>Sotheby's New York, New York (Sale 6373, December 3, 1992): lot 153. Text, lot 153; ill. cover (color), lot 153 (color).<br><br><i>Art & Auction</i> (October 1993): cover. Ill. cover. <br><br>Weinberg, Jonathon. <i>Speaking for Vice: Homosexuality in the Art of Charles Demuth, Marsden Hartley, and the First American Avant-Garde</i>. New Haven, Connecticut: Yale University Press, 1993. Text pp. 214, 21; ill. p. 215, fig. 74 (color).<br><br><i>Welcome to Our City</i>, Charles Demuth. Collection Cameo sheet, Terra Museum of Art, Chicago, Illinois, July 1994. 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 p. 24 (checklist); ill. p. 30 (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. 24 (checklist); ill. p. 30 (color).<br><br>Cartwright, Derrick R. and Paul J. Karlstrom. <i>American Moderns, 1900–1950</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Ill. p. 2 (color).<br><br>Cartwright, Derrick R. and Paul J. Karlstrom. <i>L'Amérique et les modernes, 1900–1950</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Ill. p. 2 (color).<br><br>Cartwright, Derrick. "The City and Country: American Perspectives, 1870–1920." <i>American Art Review</i> 7, no. 1 (January-February 2000): 100–11. Ill. p. 108 (color).<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. 172, 194; ill. pp. 14 (color), 173 (color), 194 (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. 172, 194; ill. cover (color detail), pp. 14 (color), 173 (color), 194 (black & white).<br><br>Derouet, Christian et al. <i>"Paris, capitale de l'Amérique." L'avant-garde américaine à Paris, 1918–1939</i>. Edited by Sophie Lévy. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Ill. p. 53, cat. no. 23 (color).<br><br>Derouet, Christian et al. <i>A Transatlantic Avant-Garde: American Artists in Paris, 1918–1939</i>. Edited by Sophie Lévy. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Ill. p. 53, cat. no. 23 (color).<br><br>Mullaney, Tom. "Terra's Next Move." <i>Art & Antiques</i> (September 2003): 21. Text p. 21; ill. p. 21 (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. 198; ill. p. 215 (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. 198; ill. p. 215 (color).<br><br> <i>Art In America: 300 years of Innovation.</i> Hong Kong: Wen Wei Publishing Co. Ltd, 2007. (in Chinese), Ill. p. 121 (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 edition). Ill. cover (color), p. 113 (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. 153 (color).<br><br> Hambleton, Gross. <i>Governing Cities in the Urban Era</i>. New York, NY: Palgrave MacMillan US, 2007. Text “Acknowledgment section”. Ill. cover (color).<br><br> Fahlman, Betsy and Claire Barry. <i>Chimneys and Towers: Charles Demuth’s Late Paintings of Lancaster</i>. (exh. cat. Amon Carter Museum) Philadelphia, PA: University of Pennsylvania Press, 2008. Text pp. 101, 134.<br><br> Brock, Charles, Nancy Anderson, and Harry Cooper. <i>American Modernism: The Shein Collection</i>. (exh. cat., National Gallery of Art, Washington DC) Washington DC: National Gallery of Art, 2010. Text p. 45.<br><br>Lampe, Anne M. <i>Demuth in the City of Lights</i>. (exh. cat. Woodmere Art Museum, Philadelphia, Pennsylvania). Philadelphia, Pennsylvania: Woodmere Art Museum, 2011. Text p. 18; ill. p. 19, fig. 28 (color).<br><br> <i>Art Across America</i>. (exh. cat., National Museum of Korea, Los Angeles County Museum of Art, 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 p. 281; ill. p. 280 (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 p. 178; ill. p. 179, cat. no. 60 (color), back cover flap (color detail).<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. 33, cat. no. 24 (checklist); ill. pp. 32, 126 (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. 122; ill. p. 123 (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. 258; ill. p. 258 (color).<br><br>
Metadata embedded, 2021
Edward Hopper
Date: 1921
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1994.20
Text Entries: Edward Hopper offers a poetic rendering of isolation and vulnerability in his print Evening Wind (Night Wind). Alone in the intimacy of her bedroom, a nude female figure looks towards an open window as the wind gently blows in. With her face turned away from the viewer she is anonymous, enigmatic and the subject of an unabashed voyeuristic gaze. Uncertainty is further heightened by what is not depicted outside the window: instead of neighboring buildings, street lamps or a darkening sky, the window frames a bright expanse of empty space. The nudity of the model, the rumpled bedclothes and the title of the print evoke a mood of sensuality yet desire is superceded by a sense of uneasiness, the result perhaps of the image's many ambiguities.
Metadata Embedded, 2017
Edward Hopper
Date: 1921
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1995.7
Text Entries: Zigrosser, Carl. "The Etchings of Edward Hopper." In <i>Prints: Thirteen Illustrated Essays on the Art of the Print Selected for the Print Council of America, </i> edited by Carl Zigrosser. New York: Holt, Rinehart and Winston, 1962. No. 22, pp. 155–73. <br><br>Levin, Gail. <i>Edward Hopper: The Complete Prints</i>. (exh. cat., Whitney Museum of American Art). New York and London, England: W. W. Norton & Company in association with the Whitney Museum of American Art, 1979. Text p. 10; pl. 82.<br><br>Levin, Gail. <i>Edward Hopper: The Art and the Artist</i>. (exh. cat., Whitney Museum of American Art). New York and London, England: W. W. Norton & Company in association with the Whitney Museum of American Art, 1980. Text p. 20; fig. 22. <br><br>Hobbs, Robert. <i>Edward Hopper</i>. New York: Harry N. Abrams, Inc., Publishers in association with The National Museum of American Art, Smithsonian Institution, 1987. Text p. 56, 58; ill. <br><br><i>The Gloria and Donald B. Marron Collection of American Prints</i>. (exh. cat., Santa Barbara Museum of Art). Santa Barbara, California: Santa Barbara Museum of Art, 1981. No. 37, pp. 64–65.<br><br>Jacobowitz, Ellen S. and George H. Marcus. <i>American Graphics 1860–1940, Selected from the collection of the Philadelphia Museum of Art</i>. (exh. cat., Philadelphia Museum of Art). Philadelphia, Pennsylvania: Philadelphia Museum of Art, 1982. No. 53, p. 56. <br><br>Watrous, James. <i>American Printmaking: A Century of American Printmaking, 1880–1980</i>. Madison, Wisconsin: University of Wisconsin Press, 1984. Fig. 3.18, p. 63. <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. 16, 25 (checklist); fig. 14, p. 16 (black & white). [specific reference to Terra print]<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. 16, 25 (checklist); fig. 14, p. 16 (black & white). [specific reference to Terra print]<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). [specific reference to Terra print]<br><br>Cartwright, Derrick R. <i>L'Héroïque et le quotidien: 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). [specific reference to Terra print]<br><br><i>La Ville Magique</i>. (exh. cat., Lille Métropole Musée d'Art Moderne d'Art Contemporain et d'Art Brut). Lille, France: Lille Métropole Musée d'Art Moderne d'Art Contemporain et d'Art Brut and Editions Gaillmard, 2012. Ill. cat. no. 131, p. 63 (color).]<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. Ill. p. 139, cat. no. 39 (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. 170; ill. p. 172 (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, 60; pl. p. 74 (color).<br><br>