Skip to main content
Collections Menu

New Web objects Abstract

Collection Info
Image Not Available

Last item added, 2015.3 Sheeler, Flower Forms (photograph)

Sort:
Filters
29 results
Metadata Embedded, 2017
Arthur Dove
Date: 1911–12
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1993.10
Text Entries: <i>Chicago Evening Post Literary Review</i> (March 29, 1912).<br><br> Chamberlain, Joseph Edgar. "Pattern Painting by A. G. Dove." <i>Evening Mail</i>, New York (March 2, 1912): 8.<br><br> "News and Notes of the Art World: Plain Pictures," <i>New York Times</i> (March 3, 1912): sec. 5, p. 15.<br><br> Cook, George Cram. "Causerie (Post-Impressionism After Seeing Mr. Dove's Pictures," <i>Friday Review</i>, New York (n.d.; btw. May 1911 and August 1912).<br><br> Wight, Frederick S. <i>Arthur G. Dove</i>. (exh. cat., Art Galleries of the University of California, Los Angeles). Berkeley, California: University of California Press, 1958. Ill. p. 33 (black & white).<br><br> Homer, William Innes. "Identifying Arthur Dove's 'The Ten Commandments. '" <i>The American Art Journal</i> 12:3 (Summer 1980): 21–32. Text p. 27; ill. no. 5, p. 27 (black & white). <br><br> <i>Sails</i>, Arthur G. Dove. Collection Cameo sheet, Terra Museum of American Art, Chicago, Ilinois, May 1994. Ill. (black & white).<br><br> Morgan, Ann Lee. <i>Arthur Dove: Life and Work, with a Catalogue Raisonné</i>. Newark, Delaware: University of Delaware Press, 1984. Text pp. 43, 109–10; ill. no. 11/12.8, p. 110 (black & white).<br><br> Cohn, Sherrye. <i>Arthur Dove: Nature as Symbol</i>. Ann Arbor, Michigan: UMI Research Press, 1985. Text pp. 26, 51, 95; fig. 8, p. 124 (black & white).<br><br> Balken, Debra Bricker. <i>Arthur Dove: A Retrospective</i>. (exh. cat., Addison Gallery of American Art, Phillips Academy, Andover and The Phillips Collection, Washington, D.C.). Andover: Addison Gallery of American Art; Cambridge: MIT Press, Massachusetts Institute of Technology in association with The Phillips Collection, Washington, D.C., 1997. Text p. 21; ill. no. 11, p. 44 (color).<br><br> Kirschner, Melanie. <i>Arthur Dove: Watercolors and Pastels</i>. New York: George Braziller Publisher, 1998. Text pp. 28, 31–32, 116; pl. 3, p. 75 (color).<br><br> Loughery, John. “Subject Matter in Modern Art.” <i>The Hudson Review</i> 51: 2 (Summer 1998). Text p. 389.<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. Pl. 11, p. 38 (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. Pl. 11, p. 38 (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. 156, 195; ill. pp. 11 (color), 157 (color), 195 (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. 156, 195; ill. pp. 11 (color), 157 (color), 195 (black & white).<br><br> Balkin, Debra Bricker. <i>Dove/O'Keefe: Circles of Influence</i>. (exh. cat., Sterling and Francine Clark Art Institute, Williamstown, Massachusetts). New Haven and London: Yale University Press, 2009. Text p. 22; ill. fig. 18, p. 23 (color).<br><br> Timpano, Nathan J., <i>Pan American Modernism: Avant-Garde Art in Latin America and the United States.</i> Edited by Patricia García-Vélez Hanna. Coral Gables, Florida: Lowe Art Museum, University of Miami, 2013. Text pp. 30–31 (in spanish and english); ill. 2, p. 31 (color).<br><br> DeLue, Rachael Z. <i>Arthur Dove: Always Connect</i>. Chicago: The University of Chicago Press, 2016. Text pp. 92–93, 95, 226. Ill. p. 92, fig. 67 (black & white).<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. 251; ill. p. 251 (color).<br><br>
A Walk: Poplars
Arthur Dove
Date: 1912 or 1913
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.47
Text Entries: <i>Exhibition of Paintings and Drawings Showing the Later Tendencies in Art</i> (exh. cat., The Pennsylvania Academy of the Fine Arts). Philadelphia: The Pennsylvania Academy of the Fine Arts, 1921. Text p. 15 (checklist), no. 123.<br><br> Solomon, Alan. <i>Arthur G. Dove – A Retrospective Exhibition</i>. (exh. cat., White Art Museum, Cornell University). Ithaca, New York: Cornell University Press, 1954. Text pp. 7, 9.<br><br> Wight, Frederick S. <i>Arthur G. Dove</i>. (exh. cat., Art Galleries of the University of California, Los Angeles). Berkeley, California: University of California Press, 1958. Text p. 46; ill. p. 34 (color).<br><br> Campbell, Lawrence. "Dove: Delicate Innovator: Retrospective at the Whitney Museum and Exhibition of Watercolors at Downtown Gallery." <i>Art News</i> 57, no. 6 (October 1958): 28–29, 57–58. Ill. p. 29 (color).<br><br> <i>The Decade of the Armory Show: New Directions in American Art, 1910–1920</i>. (exh. cat., Whitney Museum of American Art, 1963). New York: Whitney Museum of American Art, 1963. Text p. 73 (checklist), cat. no. 35.<br><br> <i>American Modernism: The First Wave, Painting from 1903 to 1933</i>. (exh. cat. Rose Art Museum, Brandeis University). Waltham, MA: Rose Art Museum, Brandeis University, 1963. Text (checklist), cat. no. 3.<br><br> <i>Arthur Dove: The Years of Collage</i>. (exh. cat. J. Millard Tawes Fine Arts Center, University of Maryland Art Gallery). College Park, MD: University of Maryland Art Gallery, 1967. Text p. 49 (checklist), cat. no. 1.<br><br> <i>Edith Gregor Halpert Memorial Exhibition</i>. (exh. cat., National Collection of Fine Arts, Smithsonian Institution). Washington, DC: National Collection of Fine Arts, Smithsonian Institution, 1973. Text (checklist), cat. no. 5.<br><br> <i>Highly Important 19th and 20th Century American Paintings, Drawings, Watercolors, and Sculpture from the Estate of the Late Edith Gregor Halpert (The Downtown Gallery)</i>. New York: Sotheby's Parke Bernet, Inc, 1973. Ill. lot 48 (color).<br><br> Reich, Sheldon. "The Halpert Sale, a Personal View." <i>American Art Review</i> (September-October 1973): 89. Ill. p. 89 (color).<br><br> Haskell, Barbara. <i>Arthur Dove</i>. (exh. cat., San Francisco Museum of Art). Boston, Massachusetts: New York Graphic Society, 1974. Ill. p. 26 (color).<br><br> <i>Art of the Twenties: American Painting at the Crossroads</i>. (exh. cat., Flint Institute of Art). Flint, Michigan: The Institute, 1979. Ill. p. 27 (color). <br><br> Cohn, Sherrye Baker. <i>The Dialectical Vision of Arthur Dove: The Impact of Science and Occultism on His Modern American Art</i>. PhD dissertation, Washington University, 1982. Text pp. 218–19; fig. 12.<br><br> Morgan, Ann Lee. <i>Arthur Dove: Life and Work, with a Catalogue Raisonné</i>. Newark, Delaware: University of Delaware Press, 1984. Text pp. 46, 113–14; ill. p. 113, no. 12/13.5 (black & white). <br><br> Cohn, Sherrye. "Arthur Dove and the Organic Analogy: A Rapprochement Between Art and Nature." <i>Arts Magazine</i> 59:10 (Summer 1985): 85–89. Text p. 88; ill. p. 85, fig. 3 (black & white).<br><br> Cohn, Sherrye. <i>Arthur Dove: Nature as Symbol</i>. Ann Arbor, Michigan: UMI Research Press, 1985. Text pp. 28, 33, 51, 107; ill. p. 128, fig. 12 (black & white).<br><br> Westfall, Stephen. "Abstract Naturalism: Authur [sic] Dove." <i>Art in America</i> 73, no. 5 (May 1985): 124–32. Ill. p. 132 (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-165, p. 274 (color).<br><br> <i>A Walk: Poplars</i>, Arthur G. Dove. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, February 1990. Ill. (black & white).<br><br> 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. 109–10; fig. 110, p. 110 (black & white).<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. 109–10; fig. 110, p. 110 (black & white).<br><br> Southgate, M. Therese. "The Cover." <i>The Journal of the American Medical Association</i> 267, no. 19 (May 20, 1992): 2569. Text p. 2569; ill. cover (color).<br><br> Yount, Sylvia and Elizabeth Johns. <i>To Be Modern: American Encounters with Cézanne and Company</i>. (exh. cat., Museum of American Art of the Pennsylvania Academy of the Fine Arts). Philadelphia, Pennsylvania: Museum of American Art of the Pennsylvania Academy of the Fine Arts, 1996. Text pp. 18, 74 (checklist facsimile); fig. 13, p. 18 (black & white).<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. Fig. 2, p. 17 (black & white).<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. 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. 158, 195; ill. pp. 15 (color), 159 (color), 195 (black & white), cover (color).<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. 158, 195; ill. pp. 15 (color), 159 (color), 195 (black & white).<br><br> Bourguignon, Katherine M. , Arthur G. Dove. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, November 2002. Ill. (color).<br><br> Kennedy, Elizabeth. "The Terra Museum of American Art." <i>American Art Review</i> (December 2002): 126–41. Text p. 139; ill. p. 138 (color).<br><br> Klatt, Mary Beth. "Chicago Sites" <i>AmericanStyle</i> (Winter 2002-2003): 80. Text p. 80; ill. p. 80 (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 p. 35 (checklist); ill. p. 8 (color).<br><br> Artner, Alan G. “’Manifest Destiny’ exhibit reflects an optimistic America.” <i>Chicago Tribune</i> (Thursday, June 19, 2008). Ill. (color).<br><br> Balkin, Debra Bricker. <i>Dove/O'Keefe: Circles of Influence</i>. (exh. cat., Sterling and Francine Clark Art Institute, Williamstown, Massachusetts). New Haven and London: Yale University Press, 2009. Text p. 36; ill. fig. 28, p. 37 (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 pp. 94, 206; ill. opposite p. 94 (color).<br><br> Hartel, Herbert R., Jr. “Reconsidering Nature as Inspiration and Meaning in the Early Abstract Paintings of Arthur Dove.” <i>New York History</i> 92, no. 1/2 (Winter/Spring 2011). Text p. 69.<br><br> Hartel, Herbert R., Jr. “What is the Subject of Arthur Dove’s ‘Abstraction No. 2’ (1910–1911)?” <i>Source: Notes in the History of Art</i> 31, no. 1 (Fall 2011). Text p. 39.<br><br> DeLue, Rachael Z. <i>Arthur Dove: Always Connect</i>. Chicago: The University of Chicago Press, 2016. Text pp. 225–226; ill. p. 224, fig. 130 (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. 246–247, 254, 255; fig. 5, p. 245; ill. p. 255, detail pp. 256-257 (color).<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. 196 (color).<br><br>
Metadata Embedded, 2019
Marsden Hartley
Date: 1914–15
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.61
Text Entries: Marsden Hartley was one of the pioneers of modern Art in America and a lifelong wanderer. His intellectual background derived from such sources as the writings of Ralph Waldo Emerson, the art theory of the Russian-German painter Wassily Kandinsky, and the ideas of contemporary French philosophy. His compositions and imagery were influenced by the most advanced vocabulary of Synthetic Cubism on the one hand, and by Bavarian folk art and Native American art on the other. No less incongruous was his selection of places: he chose to live in New York, Paris and Berlin, but at other times escaped to his native Maine, the burgeoning art community of New Mexico or the solitude of Nova Scotia. Hartley first visited Berlin in May 1913, and enchanted with the German capital and its military pageantry, he went back the next year and stayed until the end of 1915. In pre-World War I Berlin, he started a series of paintings inspired by two German officers whom he had befriended in Paris, developing a personal iconography of German military emblems and insignia. During the same period he enlarged his visual language, incorporating a bold interpretation of Native American color and design. The result was a group of approximately six paintings titled "Amerika." Painting No. 50 is one such work, combining recognizable objects-a teepee and bow and arrow-with abstract geometric forms. In this structured composition with reference to "the gentle race," Hartley might have found a sense of order within the turmoil of war-torn Germany.
Metadata embedded, 2017
Max Weber
Date: 1915
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1987.31
Text Entries: Though born in Russia, at the age of ten Max Weber moved with his family to Brooklyn, New York. After art training at the Pratt Institute, he returned to Europe and studied in Paris from 1905 to 1908. These years were crucial to Weber's development as a painter: he helped to found the New Society of American Artists in Paris, exhibited at the Salon d'Automne in 1908 and established himself in avant-garde artistic circles. Returning to the United States, Weber assumed an active role in introducing modernism to America as he restlessly searched to uncover the underlying structure of objects and define a twentieth-century artistic language. Even though he received discouraging and often abusive criticism from the art press, he continued to draw inspiration from the French avant-garde. Construction was painted at a time when Weber was America's leading experimenter in the cubist idiom. Despite the architectural association of its title, Construction is similar to a series of landscape scenes that Weber produced during the same year, and the rich earth tones of brown, blue and green also evoke nature. Weber, however, consciously converted three-dimensional natural forms onto canvas by fracturing surfaces into planes and facets that produce multiple views and perspectives. After 1920, his modernism evolved into a more figurative style that addressed post-World War I social changes and problems. Until the end, Weber fluctuated between abstraction and representation, never completely abandoning his cubist experiments or his expressionistic human figures.
Flower Forms
Charles Sheeler
Date: 1917
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1987.33
Text Entries: Flower Forms is a rhythmic and simplified semi-abstraction of a still life that in many respects seems atypical of the Precisionist paintings-such as Bucks County Barn-commonly associated with Charles Sheeler. In the painting, however, Sheeler still achieves a high degree of realism, his intense representation evoking the flowers' internal physiology. In fact, the almost anatomical treatment of the flower theme strongly suggests Georgia O'Keeffe's later botanical paintings. Developments in such modern sciences as biochemistry may partially account for the efforts of the early modernist artists to search out underlying forms. Certainly it is consistent with Sheeler's desire to probe beneath the surface of forms and to use art to increase our capacity for perception.
Metadata Embedded, 2018
Lyonel Feininger
Date: 1917
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1988.27
Text Entries: When Lyonel Feininger moved to Germany with his parents in 1887, it was to study the violin. Once in Leipzig, however, Feininger decided that he would rather study art, and with his parents support enrolled in the School of Arts and Crafts in Hamburg. He later continued his art education in Berlin, Belgium, and Paris. In 1913, Feininger exhibited with the artists of the German expressionist Blue Rider group in Berlin and six years later began teaching at the revolutionary German art and architecture school, the Bauhaus, at the request of architect Walter Gropius. In 1937, after fifty years of living abroad, Feininger returned to the United States. Feininger was first known for his humorous cartoons and caricatures, often printed in French and German newspapers. His reputation became international when he illustrated the cartoons "The Kin-der-Kids," and "Wee Willie Winkie's World" for the Chicago Tribune. At the age of thirty-five Feininger turned to painting. Feeling that specific work should reflect the artist's inner spiritual state, he looked to rhythm, form, color, and mood for expression. Denstedt reflects Feininger's beliefs: its abstraction requires probing beyond the recognizable. A depiction of a village-often thought to be in the German Province of Thuringia, where Feininger and his wife sometimes lived-the painting offers jumbled lines, schismatic planes and acidic colors. Completed during the World War I, Denstedt could easily represent the artist's inner state of turmoil, for as Feininger explained, "The frightful world events weigh upon us and leave their gloomy traces upon my work."
Metadata Embedded, 2017
Patrick Henry Bruce
Date: 1917–18
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.21
Text Entries: Only recently has Patrick Henry Bruce come to be understood as a pioneering American modernist. The great-great-grandson of the American statesman Patrick Henry (known for his imperative "give me liberty or give me death"), Bruce was born in the United States but spent most of his adult life in France. In New York, Bruce studied with William Merritt Chase and Robert Henri; later, in Paris, he became a friend and student of Henri Matisse. Bruce was well-versed in contemporary art theory and often frequented the salons of Gertrude and Leo Stein in Paris. His friends included the French artists Sonia and Robert Delauney as well as the Americans Edward Hopper, Man Ray, and Guy Pène du Bois. It was the work of French artist Paul Cézanne with its emphasis on underlying form, however, that Bruce was most drawn to. A consummate perfectionist, Bruce destroyed work that he felt was not up to his standards and left behind only around one hundred objects. Among the twenty-five surviving abstract still lifes, Peinture holds a distinct place as the first in a series. With its simplified, architectonic forms seen from multiple points-of-view, Peinture is a synthesis of Bruce's earlier stylistic excursions exploring structure and colored shapes. In 1930, Bruce stopped exhibiting his work. A fear that his art could not be understood in his lifetime coupled with a growing sense of dislocation led him to abandon painting in 1936. This same year he returned to New York from Europe-having already destroyed much of his work and personal papers-and took his own life.
2019 Photography Metadata Embedded
Max Weber
Date: 1919–20
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1995.49
Text Entries: Rubenstein, Daryl R. <i>Max Weber: A Catalogue Raisonné of His Graphic Work</i>. Chicago, Illinois: The University of Chicago Press, 1980. No. 24, p. 121.<br><br> <i>Max Weber: Prints and Color Variations</i>. (exh. booklet, Smithsonian Institution, National Collection of Fine Arts). Washington, D.C.: Smithsonian Institution, National Collection of Fine Arts, 1980.<br><br> Acton, David. <i>A Spectrum of Innovation: Color in American Printmaking, 1890–1960</i>. (exh. cat., Worcester Art Museum). New York: Norton, 1990. Text pp. 76, 290.
2019 Photography Metadata Embedded
Max Weber
Date: 1919–20
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1995.50
Text Entries: Rubenstein, Daryl R. <i>Max Weber: A Catalogue Raisonné of His Graphic Work</i>. Chicago, Illinois: The University of Chicago Press, 1980. No. 15, p. 118.<br><br> <i>Max Weber: Prints and Color Variations</i>. (exh. booklet, Smithsonian Institution, National Collection of Fine Arts). Washington, D.C.: Smithsonian Institution, National Collection of Fine Arts, 1980.<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>. Philadelphia, Pennsylvania: Philadelphia Museum of Art, 1982. No. 46, p. 48.
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, 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, 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>