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Artists Associated with Chicago

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Metadata Embedded, 2019

The Terra's collection contains works of art by several individuals who had close professional ties to Chicago, whether by maintaining a studio in the area, belonging to local artists' organizations, or sending work to local exhibitions such as the annual Artists of Chicago and Vicinity at the Art Institute of Chicago.

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Fleeting Time, Thou Hast Left Me Old
Ivan Le Lorraine Albright
Date: 1945
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1996.80
Text Entries: <i>Magazine Arts</i> 43 (December 1950): 290. Ill. p. 290.<br><br> Croydon, Michael. <i>Ivan Albright</i>. New York: Abbeville Press, 1978. Text p. 199; pl. 97, p. 207 [oil painting: text p. 45; pl. 23, p. 72 (color); detail p. 73 (color)].<br><br> Grayson, Gael, ed. <i>Graven Image: The Prints of Ivan Albright</i>. (exh. cat., Lake Forest College). Lake Forest, Illinois: Lake Forest College, 1978. Pl. 11.<br><br> <i>American Printmakers, </i>1860–1950. Chicago, Illinois: R. S. Johnson Fine Art, 1987. Ill. no. 89.<br><br> Teller, Susan Pirpiris. "The Prints of Ivan Albright." <i>Print Review</i> 10 (1979): 21–35. Fig. 10, pp. 28–31 (this print but not this impression).<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 p. 60; pl. 1, p. 28 (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. Text p. 60; pl. 1, p. 28 (black & white). [specific reference to Terra print]<br><br> Kennedy, Elizabeth and Sophie Lévy. <i>Faces of America: Portraits of the Terra Foundation for the Arts Collection, 1770–1940</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2004. Text pp. 19, 30 (checklist); fig. 6, p. 19 (color). [specific reference to Terra print]<br><br> Kennedy, Elizabeth and Sophie Lévy. <i>Visages de l'Amérique: le portrait dans la collection de la Terra Foundation for the Arts, 1770–1940</i>. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2004. Text pp. 19, 30 (checklist); fig. 6, p. 19 (color). [specific reference to Terra print]<br><br> Lévy, Sophie, et al. <i>Twarze Ameryki: Portrety z kolekcji Terra Foundation for American Art, 1770–1940/Faces of America: Portraits from the collection of the Terra Foundation for American Art, 1770–1940</i>. (exh. cat. International Cultural Center). Cracow, Poland: International Cultural Center, 2006. Text pp. 24–26; ill., Fig. 5, p. 26 (color). [specific refernce to Terra print]
 2019 Metadata Embedded
Francis Chapin
Date: c. 1940
Credit Line: Terra Foundation for American Art, Gift of Bridges Collection
Object number: C1994.23
Text Entries: <i>Figures and Forms: Selections from the Terra Foundation for the Arts, </i>Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, May 9–July 9, 2000.
Metadata embedded, 2021
Gerald K. Geerlings
Date: 1933
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1995.14
Text Entries: Czestochowski, Joseph S. <i>Gerald K. Geerlings</i>. (exh. cat., Cedar Rapids Art Association). Cedar Rapids, Iowa: Cedar Rapids Art Association, 1984. Text pp. 14, 17, 20, 71; ill. p. 17 (black & white), no. 31, p. 58 (black & white).<br><br> <i>Gerald Geerlings: A Retrospective Exhibition of Prints, 1926–1988</i>. (exh. cat., Associated Museum Artists). New York: Associated Museum Artists, 1989. No. 28.<br><br> <i>Graphic Excursions: American Prints in Black and White, 1900–1950</i>. (exh. cat., American Federation of Arts). Boston, Massachusetts: David R. Godine, Publisher, Inc. in association with The American Federation of Arts, 1991. Ill. no. 42.
Metadata Embedded, 2019
Richard La Barre Goodwin
Date: c. 1880–1902
Credit Line: Terra Foundation for American Art, Gift of Mr. and Mrs. John Estabrook
Object number: C1982.2
Text Entries: Sharp, Kevin, ed. <i>Wild Spaces, Open Seasons: Hunting and Fishing in American Art</i>. (exh. cat., Dixon Gallery and Gardens, Joslyn Art Museum, Shelburne Museum, and Amon Carter Museum of Art). Norman, Oklahoma: University of Oklahoma Press, 2016. Text pp. 14, 76, 175, cat. no. 24 (checklist); ill. p. 79, fig. 2.17 (color).<br><br>
metadata embedded, 2021
George P. A. Healy
Date: 1865
Credit Line: Terra Foundation for American Art, Gift of Mr. and Mrs. John Estabrook
Object number: C1983.5
Text Entries: Lévy, Sophie, et al. <i>Twarze Ameryki: Portrety z kolekcji Terra Foundation for American Art, 1770–1940/Faces of America: Portraits from the collection of the Terra Foundation for American Art, 1770–1940</i>. (exh. cat. International Cultural Center). Cracow, Poland: International Cultural Center, 2006. Text p. 70; ill. p. 70 (color).<br><br> <i>Re: Chicago</i>. (exh. cat. DePaul Art Museum). Chicago, Illinois: DePaul University, 2011. Text, p. 60, ill. fig. 21 (color).
Metadata Embedded, 2019
George Josimovich
Date: 1927
Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund
Object number: 2004.1
Text Entries: <i>Seventh Annual Exhibition of the Chicago No-Jury Society of Artists</i>. (exh. cat. Chicago Society of Artists). Chicago, Illinois: Chicago Society of Artists, 1928. Text p. 11, cat. no. 180 (checklist, as <i>I.C.</i>).<br><br> <i>Defining the Edge: Early American Abstraction</i>. (exh. cat., Laguna Art Museum, Michael Rosenfeld Gallery), New York, NY: Michael Rosenfeld Gallery, 1998. Text pp. 32, 54 (checklist); ill. p. 32 (color).<br><br> <i>George Josimovich: American Purist</i>. Chicago, Illinois: Robert Adams Fine Art, Inc., Chicago, Illinois, 2004. Ill. (color).<br><br> Camper, Fred. <a href="http://www.chicagoreader.com/chicago/hot-and-cold-visions/Content?oid=915701 " target="_blank">“Hot and Cold Visions.”</a> Chicago Reader (June 3rd, 2004). Accessed January 25, 2017.  Text. <br><br><i>Illinois Central,</i> George Josimovich. Brochure for International Conference for <i>Narratives About American Art.</i> John F. Kennedy Institute for American Studies, Berlin, and Terra Foundation for American Art, Chicago, IL, May 24–26, 2007. Ill. cover (color).<br><br>Cozzolino, Robert. <i>Art in Chicago: Resisting Regionalism, Transforming Modernism.</i> (exh. cat., Pennsylvania Academy of the Fine Arts). Philadelphia, Pennsylvania: Pennsylvania Academy of the Fine Arts, 2007. Text p. 17; ill. p. 25 (color detail); pl. 7, p. 29 (color).<br><br> Cypriano, Fabio. “Paisagem nas Américas trata encanto pela natureza sem simplificação.” <i>Folha de São Paulo</i> (March 27, 2016): illustrada C3. Text.<br><br> Eleutério, Maria de Lourdes. “Paisagem nas Américas.” <i>Remate de Males</i> 36, no. 1 (January–June 2016): 301–309. Text p. 307.<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. 68, cat. no.42 (checklist); ill. pp. 69, 140 (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. 132; ill. p. 133 (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, 38; pl. p. 50 (color).<br><br>   
2017 Metadata embedded
Archibald J. Motley, Jr.
Date: 1935
Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund
Object number: 2009.1
Text Entries: Greenhouse, Wendy, and Jontyle Theresa Robinson. <i>The Art of Archibald J. Motley, Jr.</i> (exh. cat., Chicago Historical Society). Chicago: Chicago Historical Society, 1991. Text p. 107; ill. p. 107, no. 35 (color).<br><br> Mooney, Amy M. <i>Archibald Motley, Jr.</i> The David C. Driskell Series of African American Art: Volume IV. San Francisco: Pomegranate, 2004. Text pp. 99, 101; ill p. 100, pl. 45 (color).<br><br> Baldwin, Davarian L. <i>Chicago’s New Negroes: Modernity, The Great Migration, and Black Urban Life</i>. Chapel Hill NC: University of North Carolina Press, 2009. Text p. 42.<br><br> Schlabach, Elizabeth Schroeder. <i>Along the Streets of Bronzeville: Black Chicago’s Literary Landscape</i>. Chicago: University of Illinois Press, 2013. Text p. 13.<br><br> Powell, Richard J., ed. <i>Archibald Motley: Jazz Age Modernist</i> (exh. cat., Nasher Museum of Art at Duke University). Durham, NC: Nasher Museum of Art at Duke University, 2014. Text p. 159 (checklist); ill. p. 16, cat. no. 26 (color), p. 159 (checklist).<br><br> Wallace, Caroline. “Exhibiting Authenticity: The Black Emergency Cultural Coalition’s Protests of the Whitney Museum of American Art, 1968–71.” <i>Art Journal</i> 74, no. 2 (Summer 2015): 5–23. Ill. p. 13 (color).<br><br> Soutif, Daniel.  <i>The Color Line: Les Artistes Africains-Américains et la Ségrégation 1865–2016.</i> (exh. cat. Musée du quai Branly). Paris:  Flammiron, 2016. ill. p. 117 (color).<br><br> Halasz, Piri. <a href="http://observer.com/2016/01/meet-the-harlem-renaissance-artist-who-captured-the-era-of-le-jazz-hot/" target="_blank">“Meet the Harlem Renaissance Artist Who Captured the Era of ‘Le Jazz Hot.’”</a>. <i>Observer</i> (January 11, 2016). Accessed January 12, 2017. Text.<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. 214, 215; ill. p. 214, detail pp. 215–216 (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. Pl. p. 99 (color).<br><br> 
metadata embedded, 2021
Louis Ritman
Date: 1912–1915
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1987.5
Text Entries: Giverny: summered 1911-1929 Having received artistic training in Chicago, Louis Ritman moved to France in 1909 for additional art instruction and stayed for twenty years, dividing his time between Paris and Giverny. Ritman was one of the youngest American artists in the small village, and upon joining the burgeoning art colony, Frederick Frieseke became his mentor. Like Frieseke, Ritman often focused on the female figure-nude or clothed and placed in an intimate setting in or out of doors-for his paintings. Brilliant coloring and intricate patterning additionally characterize much of Ritman's work exemplified by Early Morning. Interestingly, such formal elements would also make the otherwise erotic work palatable to a conservative American audience.
Metadata embedded 2021
John Storrs
Date: December 29, 1930
Credit Line: Terra Foundation for American Art: Gift of Michelle Storrs Booz
Object number: 2008.2
Text Entries: In his preparatory sketch for <a href="http://collection.terraamericanart.org/objects/1606"><i>Politics</i> (TF 2008.1)</a>, John Storrs precisely details the lines and shapes he used in the final, painted version of the composition, noting the relative values of the colors for the painting by means of various densities of shading. Even the scattered dots on the light-colored central shape, the only seemingly casual element among the composition's sharply edged and carefully ordered forms, correspond almost completely with their placement in the painting. Storrs's methodical and deliberate creative process, surely influenced by the architectural practice of his father, is underscored by his precise dating of the sketch (in the European order of day-month-year) and his inscription of the dimensions of the canvas for the painted version, a forty-inch square, at the lower right.
2017 Metadata embedded
John Storrs
Date: 1931
Credit Line: Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund
Object number: 2008.1
Text Entries: <i>John Storrs</i>, (exh. brochure, The Downtown Gallery, New York, NY) The Downtown Gallery, New York, NY, 1967. Ill. No. 8 front cover.<br><br> <i>John Storrs</i>, (exh. cat., Whitney Museum of American Art, New York, NY). New York, NY: Whitney Museum of American Art, 1986. Text p. 93, ill. p. 92 (black & white).<br><br> <i>John Storrs: Rhythm of Line</i>, (exh. cat. Hirschl & Adler Galleries, New York, NY). New York, NY: Hirschl & Adler Galleries, 1993. Ill. no. 32, p. 32 (color).<br><br> <i>John Storrs: Abstract Forms of the 1930s</i>, (exh. cat. Valerie Carberry Gallery, Chicago) Chicago, IL: Valerie Carberry Gallery, 2008. Ill. No. 1, cover, p. 5 (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. 144; ill. p. 145 (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. 267; ill. p. 267 (color).<br><br>
Metadata Embedded, 2017
Charles Turzak
Date: c. 1936
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1996.45
Text Entries: <i>Visions of a Nation: Exploring Identity through American Art, </i>Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, August 10, 1996–January 12, 1997.<br><br><i>On Process: The American Print, Technique Examined, </i>Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, January 13–March 2, 2001.<i>Terra Collection-in-Residence<i>, Ashmolean Museum of Art & Archaeology, Oxford, United Kingdom, September 15, 2022–September 30, 2026.<br><br> 
Metadata Embedded, 2019
Walter Ufer
Date: 1923
Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection
Object number: 1992.174
Text Entries: Walter Ufer's penchant for depicting realist and socially conscious images of southwestern Native Americans is exemplified in this monumental painting.  Ufer portrayed with equal importance the Indians' laborious endeavor of baking bricks for their five hundred-year-old community and the magnificent Taos landscape.