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Metadata Embedded, 2018
John Lewis Krimmel
Date: 1812
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.81
Text Entries: "Review of the Third Annual Exhibition of The Columbian Society of Artists and Pennsylvania Academy of the Fine Arts." <i>The Portfolio</i> 1 (July 1813): 138–39.<br><br> Dunlap, William. <i>A History of the Rise and Progress of the Arts of Design in the United States</i> Vol. 2. Boston, Massachusetts: C. E. Goodspeed & Company, 1918. Text pp. 392–93.<br><br> Jackson, Joseph. "Krimmel: The American Hogarth." <i>International Studio</i> 2 (June 1929): 33–36, 86. Text p. 86.<br><br> Naeve, Milo. "John Lewis Krimmel: His Life, His Art and His Critics." Master's thesis, University of Delaware, 1955. Text pp. 65–70.<br><br> Keyes, Donald. "The Sources for William Sidney Mount's Earliest Genre Paintings." <i>Art Quarterly</i> 32 (Autumn 1969): 259–60.<br><br> Hills, Patricia. <i>The Painter’s America: Rural and Urban Life, 1810–1910</i>. New York: Praeger Publishers, in association with the Whitney Museum of American Art, 1974. Text p. 2.<br><br> Hoover, Catherine. "The Influence of David Wilkie's Prints on the Genre Paintings of William Sidney Mount." <i>American Art Journal</i> 13, no. 3 (Summer 1981): 5–33. Text p. 6n8–7n8, 11–12.<br><br> Christie's, New York, New York (Sale 5472, December 9, 1983): lot 5. Text p. 14; ill. p. 15, lot 5 (color). <br><br> <i>American Paintings III 1985</i>. New York: Berry-Hill Galleries, Inc., 1985. Text p. 12; ill. p. 13 (color).<br><br> <i>The Magazine Antiques</i> 130 (September 1986): 334. Text p. 334; ill. p. 334 (color). <br><br> Naeve, Milo. <i>John Lewis Krimmel: An Artist in Federal America</i>. Newark, Delaware: University of Delaware Press, 1987. Text pp. 57, 71–73; ill. p. 72, no. 3 (black & white). <br><br> Falk, Peter Hastings, ed. <i>The Annual Exhibition Record of the Pennsylvania Academy of the Fine Arts</i>. Madison, Connecticut: Sound View Press, 1988. Text p. 116, no. 119.<br><br> Oedel, William T. “Review: Krimmel at the Crossroads.” <i>Winterthur Portfolio</i> 23, no. 4 (Winter 1988): 273–281. Text p. 279.<br><br> Stewart, Robert G. “Review: <i>John Lewis Krimmel: An Artist in Federal America</i>. By Milo N. Naeve.” <i>The Pennsylvania Magazine of History and Biography</i> 113, no. 3 (July 1989): 467–469. Text p. 468.<br><br> Harding, Anneliese. <i>John Lewis Krimmel: Genre Painter of the Early Republic</i>. Winterthur, Delaware: The Henry Francis du Pont Winterthur Museum, 1994. Text pp. 67, 70.<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 p. 28 (checklist); ill. p. 32 (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 p. 28 (checklist); ill. p. 32 (color).<br><br> Harding, Annelise. “British and Scottish Models for the American Genre Paintings of John Lewis Krimmel.” <i>Winterthur Portfolio</i> 38, no. 4 (Winter 2003): 221–244. Text p. 227–230, 232, 238; ill. p. 229 (black & white).<br><br> Dasch, Rowena Houghton. “’Now Exhibiting’: Charles Bird King’s Picture Gallery, Fashioning American Taste and Nation, 1824–1861.” PhD dissertation, The University of Texas at Austin, 2012. Text pp. xx, 187n8, 188–194; ill. p. 313, fig. 84 (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. 80–82; fig. 1, p. 81 (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
William Sidney Mount
Date: 1844
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.52
Text Entries: (modified anniversary publication entry) Hailed by his contemporary critics as an original American artist, William Sidney Mount studied briefly at the National Academy of Design after a short apprenticeship as a sign maker. An ambitious painter, inventor, and entrepreneur who worked both in New York City and in rural Long Island Sound, Mount carefully developed his image as a homegrown talent. His paintings of everyday life rejected the high-culture demand for grand historical scenes made popular by European trends; his subsequent refusal to travel abroad for further study underscored Mount's commitment to the American scene. By the late 1830s one New York critic could rave that Mount was "a vigorous, untaught, untutored plant, who borrows from no one, imitates no one." Mount's familiar subjects of agrarian labor, childhood innocence, and Yankee ingenuity spoke directly to the American experience. Yet, despite their innocent veneer, Mount's works often deliver a deeper message. The Trap Sprung, for example, seems to celebrate the excitement of youthful anticipation, as two country boys rush to a rabbit trap to collect their prize. Painted in the years following the Panic of 1837, the informed contemporary viewer would not have failed to recognize Mount's veiled political message. In the aftermath of the economic crisis, the conservative Whig party sought to blame the populist-based Democrats for the nation's troubles, and thereby convert (or trap) the large Democratic electorate base to the Whig cause. Mount's use of a rabbit trap draws on the familiar association of "rabbit," or "hare," with the Whigs in popular joke books and suggests that the victim (the Democrat) was lured unsuspectingly by the trapper's (the Whig) unsophisticated, though effective, trapping technology. Alternatively known as The Dead Fall in reference to a type of trap that instantly kills its prey, Mount's painting would have had resonance as an image of rural life with a political message.
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.
Rail Shooting
William Tylee Ranney
Date: c. 1856–59
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.124
Text Entries: "Americans to 1875." <i>Art Digest</i> (April 15, 1942): 18. Text p. 18; ill. p. 18.<br><br> Grubar, Francis. <i>William Ranney: Painter of the Early West</i>. (exh. cat., The Corcoran Gallery of Art). Washington, D.C.: The Corcoran Gallery of Art, 1962. No. 85, p. 45. <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-19, p. 128 (color).<br><br> Thistlewaite, Mark. <i>William Tylee Ranney East of the Mississippi</i>. (exh. cat., Brandywine River Museum). Chadds Ford, Pennsylvania: Brandywine River Museum, 1991. Text pp. 35, 82 (checklist); ill. p. 34 (black & white).<br><br> Luhrs, Kathleen, ed. <i>Forging an American Identity: The Art of William Ranney with a Catalogue of his Works</i>. (exh, cat. Buffalo Bill Historical Center). Cody, Wyoming: Buffalo Bill Historical Center, 2006. Text pp. 167–168; ill. p. 169 (color).<br><br> Neset, Arne. <i>Arcadian Waters and Wanton Seas: The Iconology of Waterscapes in Nineteenth-Century Transatlantic Culture</i>. New York, New York: Peter Lang Publishing, Inc., 2009. Text p. 147; Ill. p. 148 (black & white).
Metadata Embedded, 2020
Eugene Benson
Date: 1858
Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund
Object number: 1999.6
Text Entries: <i>The Magazine Antiques</i> 153:5 (May 1998): 658. Ill. p. 658 (color).<br><br> Brownlee, Peter John, Sarah Burns, Diane Dillon, Daniel Greene, and Scott Manning Stevens.<i>Home Front: Daily Life in the Civil War North with a foreword by Adam Goodheart.</i>(exh. Cat., Terra Foundation for American Art and Newberry Library). Chicago: University of Chicago Press, 2013. Text pp. 10, 48-50, 51, 159 (checklist); Fig. 26, p. 49 (color).<br><br>
Metadata embedded, 2021
James Abbott McNeill Whistler
Date: 1859
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1995.4
Text Entries: Kennedy, Edward Guthrie. <i>The Etched Work of Whistler. Illustrated by reproductions in collotype of the different states of the plates</i>. New York: Grolier Club, 1910. No. 46.<br><br> Fryberger, Betsy G. <i>Whistler: Themes and Variations</i>. (exh. cat., Stanford University Museum of Art). Stanford, California: Stanford Art Book, 1978. No. 6, p. 19.<br><br> Fine, Ruth E. <i>Drawing Near: Whistler Etchings from the Zelman Collection</i>. (exh. cat., Los Angeles County Museum of Art). Los Angeles, California: Los Angeles County Museum of Art, 1984. No. 17, pp. 56–57.<br><br> Lochnan, Katharine A. <i>The Etchings of James McNeill Whistler</i>. New Haven, Connecticut and London, England: Art Gallery of Ontario and Yale University Press, 1984. No. 49.<br><br> Dorment, Richard and Margaret F. MacDonald et al. <i>James McNeill Whistler</i>. (exh. cat., Tate Gallery). London, England: Tate Gallery, 1994. No. 31, pp. 101–102.<br><br> McNamara, Carole and John Siewert. <i>Whistler: Prosaic Views, Poetic Vision</i>. (exh. cat., University of Michigan Museum of Art). Ann Arbor, Michigan: University of Michigan Museum of Art, 1994. No. 14, pp. 54–55.
Metadata embedded, 2021
James Abbott McNeill Whistler
Date: 1860
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1995.5
Text Entries: The London Etchings Refining the prosaic etching technique learned while working for the US Coast and Geodetic Survey, James McNeill Whistler won recognition for his artistic prints of topographical views of Paris in 1858. A few years later, the Thames Set, sixteen etchings portraying the poverty of the working class along London's river thoroughfare, brought him international critical approval when exhibited in London and Paris. The Venetian Etchings Winning the notorious Whistler v. Ruskin libel trail in 1878 was a financial disaster for the artist, who was awarded a single farthing but had to pay substantial court costs. A commission from the London Fine Arts Society for twelve etchings of Venice offered Whistler an opportunity to redeem his artistic reputation. Working outdoors during his fourteen-month stay, Whistler drew directly onto a copper plate is an impressionistic interpretation of a scene that diverged significantly from his detailed etchings of London. Whistler's emphasis on the plane parallel to the surface distinguishes his views of Venice from other artists. The emphasis is not merely formal, but a way of creating a sense of theatrical anticipation. Contrasts of light and texture are emphasized by the broken intricately cross-hatched lines with which Whistler drew the figures, decaying bricks and the light wiry lines that depict the people. Returning to London in December 1880, Whistler displayed twelve of his fifty Venice etchings at the London Fine Arts Society. Known as the First Venice Set, the exhibition alternated six horizontal and six vertical subjects. The Second Venice Set of twenty-six etchings was exhibited in 1883. While the compositions range in subject from private courtyard scenes to tourist views, they all have a theatrical quality to them. Whistler's command of portraying depth in his etched landscapes and his emphasis on working from the center to the edge of the paper distinguish the series.
Metadata embedded, 2021
James Abbott McNeill Whistler
Date: 1860
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1995.53
Text Entries: Brownell, William C. "Whistler in Painting and Etching." <i>Scribner's Monthly</i> 18:4 (August 1879): 486–90, 493–95. Ill. p. 488.<br><br> Mansfield, Howard. <i>A Descriptive Catalogue of the Etchings and Dry-points of James Abbott McNeill Whistler</i>. Chicago, Illinois: Caxton Club, 1909. No. 65.<br><br> Kennedy, Edward Guthrie. <i>The Etched Work of Whistler. Illustrated by reproductions in collotype of the different states of the plates</i>. New York: Grolier Club, 1910. No. 65, i/iii.<br><br> Lochnan, Katharine A. <i>The Etchings of James McNeill Whistler</i>. New Haven, Connecticut and London, England: Art Gallery of Ontario and Yale University Press, 1984. No. 69.<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. 24, 30 (checklist); fig. 13, p. 24 (black & white). [specific reference to Terra print]<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. 24, 30 (checklist); fig. 13, p. 24 (black & white). [specific reference to Terra print]
Metadata Embedded, 2019
Winslow Homer
Date: 1864
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1994.11
Text Entries: Goodrich, Lloyd. <i>Winslow Homer</i>. New York: Published for the Whitney Museum of American Art by Macmillan, 1944. Ill. frontispiece.<br><br> Goodrich, Lloyd. <i>Winslow Homer</i>. New York: George Braziller, 1959. Ill. no. 3. <br><br> Christie's New York, New York (Sale ANNABELLE-7894, May 26, 1994): lot 31. Text p. 44; ill. lot 31, p. 45 (color).<br><br> Wilson, Claire. "Winslow Homer at Giverny." <i>France Magazine</i> 35 (Summer 1995). Ill. p. 9.<br><br> <i>On Guard</i>, Winslow Homer. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, January 1996. Ill. (black & white).<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. 93; ill. p. 88 (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. 88, 198; ill. pp. 9 (color), 89 (color), 198 (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. 88, 198; ill. pp. 9 (color), 89 (color), 198 (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. 11; ill. p. 10 (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. 11; ill. p. 10 (color).<br><br> Tedeschi, Martha with Kristi Dahm. <i>Watercolors by Winslow Homer: The Color of Light.</i> (exh. cat., The Art Institute of Chicago, Chicago, Illinois). Chicago, Illinois: The Art Institute of Chicago, 2008. Text p. 37; ill. p. 39 fig. 3 (color).<br><br> Brownlee, Peter John, Sarah Burns, Diane Dillon, Daniel Greene, and Scott Manning Stevens.<i>Home Front: Daily Life in the Civil War North with a foreword by Adam Goodheart.</i>(exh. Cat., Terra Foundation for American Art and Newberry Library). Chicago: University of Chicago Press, 2013. Text pp. 70, 121, 162 (checklist), 178n31; Fig. 72, p. 120 (color).<br><br> Byrd, Dana E. and Frank H. Goodyear. <i>Winslow Homer and the Camera: Photography and the Art of Painting</i>. (exh. cat., Bowdoin College Museum of Art). New Haven: Yale University Press, 2018. Pl. 12, p. 80 (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. 18; ill. p. 19 (color).<br><br>
metadata embedded, 2020
Henry Mosler
Date: 1865
Credit Line: Terra Foundation for American Art, Gift of Mrs. W.C. Baker
Object number: C1994.6
Text Entries: Gilbert, Barbara C. <i>Henry Mosler Rediscovered: A Nineteenth-Century American-Jewish Artist</i>. Los Angeles, California: Skirball Museum/Skirball Cultural Center, 1995. Text pp. 32, 34, 132; fig. 13, p. 35 (black & white).<br><br> Baumgärtel, Bettina, ed. <i>Die Düsseldorfer Malerschule und ihre internationale Ausstrahlung 1819–1918</i>, Vol. I–II. (exh. cat., Museum Kunstpalast, Düsseldorf, Germany). Düsseldorf: Museum Kunstpalast, 2011. (German version). Text Vol. II, p. 437; ill. cat. no. 371, p. 437 (color).<br><br> Baumgärtel, Bettina, ed. <i>The Düsseldorf School of Painting and its International Influence 1819–1918</i>. (exh. cat. Museum Kunstpalast, Düsseldorf, Germany). Düsseldorf: Museum Kunstpalast, 2011. (English version). Ill. cat. no. 184, p. 319, (color).
Fiddling His Way
Date: c. 1866
Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund
Object number: 1999.8
Text Entries: "Eastman Johnson's Paintings Shown." <i>The New York Times</i> (February 11, 1907). Text.<br><br> Hills, Patricia. "The Genre Painting of Eastman Johnson: The Sources and Development of His Style and Themes." PhD dissertation, New York University, 1973. Text pp. 63–64.<br><br> Carbone, Teresa A. and Patricia Hills. <i>Eastman Johnson: Painting America</i>. (exh. cat., Brooklyn Museum of Art). New York: Brooklyn Museum of Art, 1999. Text p. 150; ill. p. 151, fig. 60 (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. 23 (checklist); ill. p. 14 (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. 14 (color).<br><br> Pinder, Kym. <i>Fiddling His Way, </i>Eastman Johnson. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, February 2001. Ill. (color).<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 (checklist).<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 (checklist).<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 p. 161; ill. p. 160 (color).<br><br> Slater, Amanda Melanie. “Conscience and Context in Eastman Johnson's <i>The Lord Is My Shepherd</i>.” Master’s Thesis, Bringham Young University, 2014. Text pp. vii, 17n43, 28; ill. p. 39, fig. 16.<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. 26; ill. p. 27 (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. 82–84, 94; fig. 2, p. 83; ill. p. 94 (color).<br><br>