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Pastels

Some of the Terra collection's most iconic works are pastels, executed by such masters of the medium as William Merritt Chase, Mary Cassatt, and Arthur Dove among others.

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Metadata embedded, 2017
William Merritt Chase
Date: 1892
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1988.26
Text Entries: In this pastel Chase used a fine weave canvas as his primary support and prepared it with grey ground that appears to be oil paint. The oil ground was brush applied and the patterns of the horizontal brushstrokes are evident throughout. The pastel was applied over the ground in several layers, and some intermittent fixing of the unedrlayers evident. The majority of the pastel is, however, unfixed. In sevral areas such as the window frame in the upper right, in the flower stand to the right, in the black dress of the sitter and in the large piece of furniture behind her, black and greyish-black gouache were used in combination woth the pastel. In critical light, tide lines of gouache are visible and the aqueous medium is somewhat glossier than the pastel around it. In the sitter's dress and in the furniture behind her, pastel was applied over the gouache. Along the left edge of the composition applications of white pastel are extremely powdery. There is some evidence of fixing of the undermost layer of pastel in the background, but little or no fixative was used in any subsequently applied layers of pastel. To achieve a more painterly quality in this pastel Chase applied the pastel such that the brushstrokes in the ground would remain visible and give the impression of a painting. The execution of the pastel on a stretched and prepared canvas allowed the artist to present the work like a painting and his technique in applying the medium gave the pastel the painterly appearance.
Metadata Embedded, 2017
William Merritt Chase
Date: 1892
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.5
Text Entries: Sotheby's New York, New York (Sale 6247, December 5, 1991): lot 64. Text lot 64; ill. cover (color detail), lot 64 (color).<br><br> <i>The Journal of the American Medical Association</i> 268:6 (August 12, 1992): 765. Ill. p. 765 (color).<br><br> Southgate, M. Therese. "The Cover." <i>The Journal of the American Medical Association</i> 268:6 (August 16, 1992): 692. Text p. 692; ill. cover (color).<br><br> <i>The Journal of the American Medical Association Czechoslovakia</i> (June 1993): cover. Ill. cover (color).<br><br> <i>The Journal of the American Medical Association Pakistan</i> 5:10 (December 1993): cover. Ill. cover (color).<br><br> Pisano, Ronald G.; completed by D. Frederick Baker. <i>William Merritt Chase; The Paintings in Pastel, Monotypes, Painted Tiles and Ceramic Plates, Watercolors and Prints (The Complete Catalogue of Known and Documented Work of William Merritt Chase, Vol 1)</i>. New Haven, Connecticut: Yale University Press, 2006. Text p. 36; ill. pp. 36, 84 (color).<br><br> Hirshler, Erica E. <i>William Merritt Chase</i>. Boston, MA: Museum of Fine Arts, Boston, 2016. Ill. p. 50 (color).<br><br> Smithgall, Elsa, Erica E. Hirshler, Katherine M. Bourguignon, Giovanna Ginex, and John Davis, <i>William Merritt Chase: A Modern Master</i>. (exh. cat., The Phillips Collection, the Museum of Fine Arts, Boston, the Fondazione Musei Civici di Venezia, and the Terra Foundation for American Art). With a foreword by D. Frederick Baker. Washington, DC: Phillips Collection; New Haven: Yale University Press, 2016. Text pp. 220 (checklist). Ill. p. 155, plate 55 (color).<br><br> Dobrzynski, Judith H. “William Merritt Chase: A Modern Master Review: Between Old and New.” The Wall Street Journal (August 10, 2016). Accessed August 10, 2016. <a href=”http://www.wsj.com/article_email/william-merritt-chase-a-modern-master-review-between-old-and-new-1470864662-lMyQjAxMTA2ODEzMTcxOTEzWj” target=”_blank”>http://www.wsj.com/article_email/william-merritt-chase-a-modern-master-review-between-old-and-new-1470864662-lMyQjAxMTA2ODEzMTcxOTEzWj</a>. Text.<br><br>
Metadata embedded 4-2021
Maurice Brazil Prendergast
Date: 1916–19
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.67
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-123, p. 232 (color).<br><br> Clark, Carol, Nancy Mowll Mathews and Gwendolyn Owens. <i>Maurice Brazil Prendergast; Charles Prendergast: A Catalogue Raisonné.</i> Munich, Germany and Williamstown, Massachusetts: Prestel-Verlag and The President and Trustees of Williams College, 1990. No. 1303, p. 525; ill. no. 1303, p. 525 (black & white).
Pasture with Barns
John H. Twachtman
Date: c. 1890–1900
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.135
Text Entries: Sotheby's New York, New York (Sale 6713, May 25, 1995): lot 22. Ill. lot 22 (color).
Metadata Embedded, 2017
James Abbott McNeill Whistler
Date: c. 1879
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.162
Text Entries: Godwin, E. W. "Notes on Current Events." <i>British Architect</i> (February 4, 1881): 59-64. Text.<br><br> <i>Pan</i> (February 5, 1881).<br><br> <i>Queen</i> (February 12, 1881).<br><br> Godwin, E. W. "With Whistler's Critics." <i>British Architect</i> (February 25, 1881): 98–99. <br><br> Way, T. R. <i>Memories of James McNeill Whistler, the Artist</i>. London, England: John Lane, 1912. Ill. following p. 52.<br><br> Stebbins, Theodore E., Jr. <i>American Master Drawings & Watercolors</i>. (exh. cat., The American Federation of the Arts). New York: Harper & Row, 1976. Text p. 226; fig. 184, p. 225 (color as <i>The Little Riva, in Opal</i>). <br><br> MacDonald, Margaret F. <i>Notes, Harmonies & Nocturnes: Small Works by James McNeill Whistler</i>. (exh. cat., M. Knoedler & Company, Inc.). New York: M. Knoedler & Company, Inc., 1984. Ill. no. 81, p. 64 (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-33, p. 142 (color).<br><br> Getscher, Robert. <i>James Abbott McNeill Whistler: Pastels</i>. New York: G. Braziller, 1991. Text p. 74; ill. p. 75 (color).<br><br> Dorment, Richard and Margaret F. MacDonald et al. <i>James McNeill Whistler</i>. (exh. cat., Tate Gallery). London, England: Tate Gallery, 1994. Text no. 112, p. 190; ill. no. 112, p. 191 (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. 774, pp. 285–86; ill. no. 774, p. 286 (color).<br><br> MacDonald, Margaret F. "Whistler on Exhibition." <i>The Magazine Antiques</i> 147:6 (June 1995): 864–73. Text p. 869; pl. XI, p. 870 (color).<br><br> Grieve, Alastair. <i>Whistler's Venice</i>. New Haven, Connecticut and London, England: Yale University Press, 2000. Text p. 76; fig. 78, p. 76 (color).<br><br> MacDonald, Margaret F. <i>Places in the Night: Whistler in Venice</i>. Hampshire, England: Lund Humphries, 2001. Text pp. 49, 52; ill. no. 55, p. 50 (color).<br><br> Stratis, Harriet K. and Britt Salvesen, eds. <i>The Broad Spectrum: Studies in the Materials, Techniques, and Conservation of Color on Paper</i>. London, England: Archetype Publications, 2002. Text p. 38; fig. 1.27, 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. 104, 108, 206; ill. pp. 105 (color), 206 (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. 104, 108, 206; ill. pp. 105 (color), 206 (black & white).<br><br> Hofelt, Miranda. <i>The Zattere: Harmony in Blue and Brown, </i>James McNeill Whistler. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, July 2003. Ill. (color).<br><br> Harris, Neil et al. <i>L'art américain: Identités d'une nation</i>. Edited by Veerle Thielemans et Matthias Waschek. Giverny: Musée d'Art Américain Giverny; Paris: Musée du Louvre, 2005. Text p. 95; ill. p. 97 (color).<br><br> Cleveland, David A. <I>A History of American Tonalism: 1880–1920</i>. Manchester, Vermont: Hudson Hills Press, 2010. Text, p. 140; ill. fig. 3.68, p. 140 (color). 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. 128; ill. p. 128 (color).<br><br>
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>
Spring
James Abbott McNeill Whistler
Date: c. 1893
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1996.91
Text Entries: Pyne, Kathleen. "Classical Figures, A Folding Screen by Thomas Dewing." <i>Bulletin of the Detroit Institute of Arts</i> 59.1 (Spring 1981): 6, 7. Text pp. 6, 7.<br><br> Sotheby's New York, New York (September 14, 1995): lot 121. Text lot 121; ill. cover, lot 121.<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. 1397, p. 507; ill. no. 1397, p. 506 (color).<br><br> Tedeschi, Martha and Britt Salvesen. "Songs on Stone: James McNeill Whistler and the Art of Lithography." <i>Museum Studies</i> 24:1 (1998): 4–135. Text p. 75 (checklist); fig. 89, p. 69 (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. 24 (checklist); ill. p. 44 (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. 24 (checklist); ill. p. 44 (color).
Metadata Embedded, 2017
William Merritt Chase
Date: by 1889
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.32
Text Entries: <i>Catalogue of Paintings Exhibited by the Inter-State Industrial Exposition of Chicago</i>, (exh. cat, Inter-State Industrial Exhibition of Chicago). Chicago, 1889. Text p. 16, cat. no. 96 (checklist, as <i>Spring Flowers</i>).<br><br> "Mr. Chase's Pictures." <i>Chicago Tribune</i> (September 15, 1889). Text (as <i>Spring Flowers</i>).<br><br> <i>Catalogue of Paintings by William Merritt Chase on exhibition at the Art Institute of Chicago</i>, (exh. cat., The Art Institute of Chicago, Chicago, Illinois). Chicago: The Art Institute of Chicago, 1897. Text cat. no. 66 (checklist, as </i>Peonies</i>).<br><br> Important Art Property of the Bendix Foundation, Parke-Bernet Galleries, Inc., New York, New York (Sale 379, May 29, 1942): lot 31. Text p. 19; ill. p. 19 (as <i>White Peonies</i>).<br><br> Parke-Bernet Galleries, Inc., New York, New York (Sale 1166, Engilsh and American Furniture & Decorations, May 18–20, 1950): lot 329. Text p. 58, lot 329 (as <i>Lady with Flowers</i>).<br><br> Pisano, Ronald G. and Alicia Grant Longwell. <i>Photographs from the William Merritt Chase Archives at the Parrish Art Museum</i>. Southampton, NY: Parrish Art Museum, 1992. Ill. p. 26 (black & white, appears in installation photograph).<br><br> Sotheby's, New York, New York (Sale 6429 HASSAM, May 27, 1994): lot 32. Text lot 32; ill. lot 32 (color).<br><br> Southgate, M. Therese. "The Cover." <i>The Journal of the American Medical Association</i> 271, no. 22 (June 8, 1994): 1722. Text p. 1722; ill. cover (color).<br><br> <i>Spring Flowers (Peonies) </i>, William Merritt Chase. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, December 1994. Ill. (black & white).<br><br> Gallati, Barbara. <i>William Merritt Chase</i>. New York: Harry N. Abrams, Inc., in association with the National Museum of American Art, Smithsonian Institution, 1995. Text p. 115; ill. p. 114 (color, as <i>Peonies</i>).<br><br> Berman, Ann E. "Buy American." <i>Art & Auction</i> (October 1996): 132–37. Ill. p. 135 (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. 110, 193; ill. pp. 15 (color), 111 (color), 193 (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. 110, 193; ill. pp. 15 (color), 111 (color), 193 (black & white).<br><br> Pisano, Ronald G.; completed by D. Frederick Baker. <i>William Merritt Chase; The Paintings in Pastel, Monotypes, Painted Tiles and Ceramic Plates, Watercolors and Prints (The Complete Catalogue of Known and Documented Work of William Merritt Chase, Vol 1)</i>. New Haven, Connecticut: Yale University Press, 2006. Text p. 26; Ill. front cover (color detail); p. 26, pl. 60 (color).<br><br> Jensen, Kristen M. “The American Salon: The Art Gallery at the Chicago Interstate Industrial exposition, 1873–1890, vol.1.” PhD diss., City University of New York, 2007. Text pp. xxxiv, 212, 500.<br><br> Marter, Joan M. <i>The Grove Encyclopedia of American Art, Vol. 1</i>. Oxford: Oxford University Press, 2011. Ill. p.x (color).<br><br> Burns, Thea and Philippe Saunier. <i>The Art of the Pastel</i>. New York: Abbeville Press Publishers, 2014. Ill. p. 304 (color). <br><br> Hirshler, Erica E. <i>William Merritt Chase</i>. Boston, MA: Museum of Fine Arts, Boston, 2016. Ill. pp. 49 (color), 78 (color, detail).<br><br> Smithgall, Elsa, Erica E. Hirshler, Katherine M. Bourguignon, Giovanna Ginex, and John Davis, <i>William Merritt Chase: A Modern Master</i>. (exh. cat., The Phillips Collection, the Museum of Fine Arts, Boston, the Fondazione Musei Civici di Venezia, and the Terra Foundation for American Art). With a foreword by D. Frederick Baker. Washington, DC: Phillips Collection; New Haven: Yale University Press, 2016. Text pp. 72, 219 (checklist); ill. p. 145, pl. 48 (color); p. 206 (black & white, appears in installation photograph).<br><br> Kennicott, Phillip. <a href="https://www.washingtonpost.com/entertainment/museums/william-merritt-chase-modernist-in-moderation/2016/06/05/ac309a00-276a-11e6-b989-4e5479715b54_story.html" target="_blank">"William Merrit Chase, modernist in moderation."</a> <i>The Washington Post</i> (June 5, 2016). Accessed June 20, 2016. Ill. (color).<br><br> Goley, Mary Anne. <a href="http://www.apollo-magazine.com/what-william-merritt-chase-learned-from-europe/" target="_blank">"What William Merritt Chase learned from Europe."</a> <i>Apollo</i> (June 14, 2016). Accessed June 20, 2016. Ill. (color).<br><br> Meisler, Stanley. <a href="http://www.latimes.com/entertainment/arts/la-ca-mn-william-merritt-chase-20160526-snap-htmlstory.html" target="_blank">“Restoring the portrait of an artist: How a new exhibition is giving William Merritt Chase his due.”</a> <i>Los Angeles Times</i> (June 23, 2016). Accessed June 24, 2016. Ill. (color).<br><br> Green, Dominic. “The Body Eclectic: As artist and teacher, William Merritt Chase showed how American art could take its place within European tradition while breaking new ground for the future.” <i>Art & Antiques</i> 39, no. 7 (Summer 2016): 88–93. Ill. p. 91 (color).<br><br> Smithgall, Elsa. “William Merritt Chase: A Modern Master.” <i>American Art Review</i> 28, no. 4 (July–August, 2016): 48–55, 111. Text p. 54. Ill. p. 49 (color).<br><br> Dobrzynski, Judith H. <a href=”http://www.wsj.com/article_email/william-merritt-chase-a-modern-master-review-between-old-and-new-1470864662-lMyQjAxMTA2ODEzMTcxOTEzWj” target=”_blank”>“William Merritt Chase: A Modern Master Review: Between Old and New.”</a> <i>The Wall Street Journal</i> (August 10, 2016). Accessed August 10, 2016. Text.<br><br> Casey Lauren. <a href="http://lebontravel-culture.com/william-merritt-chase.html" target="_blank">“William Merritt Chase.”</a> <i>Le Bon Travel and Culture</i> (October 6, 2016). Accessed October 26, 2016.<br><br> Baker, D. Frederick. <a href="http://afamag.com/index.php?option=com_zoo&task=item&item_id=434&category_id=9&Itemid=102#120" target="_blank">“Anatomy of an Exhibition: William Merritt Chase.”</a> <i>Antiques and Fine Art Magazine</i> (Winter 2016). Ill. p.125 (color). Ill.<br><br> Skwire-Routhier, Jessica. “William Merritt Chase.” <i>Antiques and the Arts Weekly</i> (December 9th, 2016): 1, 30–31. Text p. 31. Ill. p. 31.<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. 138, 139; ill. p. 139, detail pp. 140–141 (color).<br><br> Carr, Carolyn Kinder. <i>Sara Tyson Hallowell: Pioneer Curator and Art Advisor in the Gilded Age</i>. Washington, DC: Smithsonian Institution Scholarly Press, 2019. Text pp. 80, 330; ill. p. 81 (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>
Blue Girl
James Abbott McNeill Whistler
Date: c. 1894
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.146a
Text Entries: James McNeill Whistler employed pastel drawings to different effects during his career. In his early years as a painter, his pastel sketches of young women in classical garments were studies for his oil paintings. Executed in 1879-1880, his pastels of Venetian city scenes were produced as independent works of art that received critical acclaim and commercial success. Returning to figural sketches in the 1890s, Whistler drew pastel confections of nubile girls depicted nude or draped in gossamer robes that were conceived of as autonomous works of art. Whistler's pastels incorporated the brown paper support as the major value while the pastels-fabricated chalk bright friable sticks of pigment-were used as light and color. Whistler modified textures and colors by scraping the side of the pastel across the grain (known as scumbling) and rubbing it. Just as in his oil paintings, Whistler would, at times, completely scrape off the colored pigment to begin again-note the faint impression of a previous drawing of a sitting figure in Reclining Nude.
Woman Holding a Fan
James Abbott McNeill Whistler
Date: c. 1894
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1999.146b
Text Entries: MacDonald, Margaret F. <i>Notes, Harmonies & Nocturnes: Small Works by James McNeill Whistler</i>. (exh. cat., M. Knoedler & Company, Inc.). New York: M. Knoedler & Company, Inc., 1984. Text nos. 42, 42A, p. 43; ill. no. 42A, p. 43. (black & white).<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. 1223, p. 442; ill. no. 1223v, p. 442 (black & white).<br><br>