{ "objects" : [ { "embark_ID" : 2765, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2765", "Disp_Access_No" : "85-P-307", "_AccNumSort1" : "", "Disp_Create_DT" : "1984", "_Disp_Start_Dat" : "1984", "_Disp_End_Date" : "1984", "Disp_Title" : "Cratermen", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Bo Bartlett", "Sort_Artist" : "Bartlett, Bo", "Disp_Dimen" : "116 x 92 in. (294.6 x 233.7 cm)", "Disp_Height" : "116 in.", "Disp_Width" : "92 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : " This painting focuses on the activities of contemporary construction workers, exploring an underground cavity in the earth. As in <i>Jesus at the Festival of Shelters</i>, it depicts an area in Philadelphia around 8th and Vine streets that is under construction. Early in his painting career, Bartlett executed a number of large-scale paintings devoted to the working-class man that stand as an homage to his common, essential, but often overlooked role in society. Here the strength in the composition comes from the forceful triangle formed by the African American workers, rather than from their white supervisor who bends down on the left. The title reinforces the notion of a monumental and important subject, though one with ambiguous overtones of destruction as well as renewal. One of the earliest sketches for this painting suggests something more somber: the workers are lifting, apparently exhuming, a body from the excavation. The painted and actual blood (accidentally spattered from a cut on the artist’s hand) on the bottom of the supervisor’s pants leaves a provocative and enigmatic symbol. Another small detail is in a lighter vein: the very tip of the supervisor’s pointing finger is reflected in the puddle beside him. <b>About <i>Triptych</i>:</b> Three paintings by American artist Bo Bartlett, though created separately, were installed in the lobby of Olney Hall in fall 1989 as a three-part installation: <i>Triptych,</i> and still hang there today. Born in Columbus, Georgia, Bartlett studied Old Master paintings in Florence, Italy before moving to Philadelphia in 1976. As a student at the Pennsylvania Academy of the Fine Arts he received numerous awards and was taught and inspired by Philadelphia artists Sidney Goodman, Arthur DeCosta, and Morris Blackburn. He later apprenticed under the notable realist painter Nelson Shanks, and followed an anatomy class at The Philadelphia College of Osteopathic Medicine. Bartlett’s work recalls American realist traditions, as defined by artists such as Thomas Eakins and Andrew Wyeth. The familiar subjects of home, family, and friends prevail in his dreamlike, hyper-realist canvases. The commonplace is raised to epic prominence as his monumental paintings subtly blend biblical, political, or social themes and imagery within contemporary settings. The viewer becomes intrigued, almost haunted, by Bartlett’s figures and symbolic situations which suggest tension, vulnerability, and the complexity and mystery of the human soul. The narrative content is often enigmatic, and Bartlett’s works may be interpreted in numerous ways. Barlett’s work expresses his strong commitment to social justice, community engagement, and the transformative power of art. These paintings are well placed within our University, as an institution of higher education that seeks to impart secular knowledge and social involvement in an atmosphere that celebrates spiritual values. See also: <i>Jesus at The Festival of Shelters (Feast of Tabernacles)</i>: http://artcollection.lasalle.edu/Obj2908; and <i>Exodus</i>: http://artcollection.lasalle.edu/Obj2956.", "Dedication" : "Gift of the Artist", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/85-P-307.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/85-P-307.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/85-P-307.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/85-P-307.jpg", "IsPrimary" : "1", "_SurrogateID" : "2355", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2769, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2769", "Disp_Access_No" : "85-P-315", "_AccNumSort1" : "", "Disp_Create_DT" : "1985", "_Disp_Start_Dat" : "1985", "_Disp_End_Date" : "1985", "Disp_Title" : "Self-portrait with Father and Son", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Bo Bartlett", "Sort_Artist" : "Bartlett, Bo", "Disp_Dimen" : "11 1/4 x 15 3/4 in. (28.6 x 40 cm)", "Disp_Height" : "11 1/4 in.", "Disp_Width" : "15 3/4 in.", "Dimen_Extent" : "Window Opening", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "Gallery Label: Born in Georgia, Bartlett studied under Sidney Goodman and other realist painters at the Pennsylvania Academy of the Fine Arts. He later apprenticed under Nelson Shanks, founder of Studio Incamminati in Philadelphia. Bartlett’s work recalls American realist traditions, as defined by artists such as Thomas Eakins and Andrew Wyeth. His preference for the familiar subjects of home, family, and friends prevails in his monumental canvases (see Olney Hall Lobby for three examples) and in this intimate self-portrait as well. ", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/85-P-315.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/85-P-315.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/85-P-315.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/85-P-315.jpg", "IsPrimary" : "1", "_SurrogateID" : "204", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2908, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2908", "Disp_Access_No" : "88-P-351", "_AccNumSort1" : "", "Disp_Create_DT" : "1984", "_Disp_Start_Dat" : "1984", "_Disp_End_Date" : "1984", "Disp_Title" : "Jesus at The Festival of Shelters (Feast of Tabernacles)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Bo Bartlett", "Sort_Artist" : "Bartlett, Bo", "Disp_Dimen" : "144 x 132 in. (365.8 x 335.3 cm)", "Disp_Height" : "144 in.", "Disp_Width" : "132 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : " This large panel painted for the sanctuary of the former St. Luke’s Episcopal Church in Kensington represents a passage from St. John’s Gospel (VII: 1-44) in which Christ visits Jerusalem during the last Jewish festival of the calendar year, the Feast of Tabernacles or Shelters. Here the artist interprets the biblical story in contemporary terms, including painted portraits of St. Luke’s former pastor, the Reverend Clifford Cutler, and several parishioners. As in <i>Cratermen</i>, the background depicts an area in Philadelphia around Eighth and Vine Streets, with the Ukrainian Catholic Cathedral and the steeple of St. Michael’s Church (where La Salle College commenced in 1863). The figure of Christ, who stands on a mound of earth on the far right, is presented as an African American man, a modern rabbi, wearing a Roman clerical collar. This rendering suggests the unity of our diverse humanity. The tents in the background refer to the shelters erected in the desert at the time of the Jews’ exodus from Egypt, while the telephone poles evoke the cross. As in the biblical story of Jesus in the Temple, the people in the crowd here have varied reactions. Some are oblivious to Christ’s presence; others are doubtful; and a few already believe and commit themselves. Despite its complexity, the dynamic grouping of people is directed towards the elevated figure of Christ, isolated against a wide expanse of sky. He preaches amid a scene of industrial destruction, hopefully soon to be followed by renewal. The inclusion of a construction worker by the pool of water in the foreground (a self-portrait of the artist) refers to the words spoken by Christ in St. John’s Gospel (VII: 37-38), “If any man thirst, let him come unto me and drink. He that believeth on me as the Scripture hath said, out of his belly shall flow rivers of living water.” <b>About <i>Triptych</i>:</b> Three paintings by American artist Bo Bartlett, though created separately, were installed in the lobby of Olney Hall in fall 1989 as a three-part installation: <i>Triptych,</i> and still hang there today. Born in Columbus, Georgia, Bartlett studied Old Master paintings in Florence, Italy before moving to Philadelphia in 1976. As a student at the Pennsylvania Academy of the Fine Arts he received numerous awards and was taught and inspired by Philadelphia artists Sidney Goodman, Arthur DeCosta, and Morris Blackburn. He later apprenticed under the notable realist painter Nelson Shanks, and followed an anatomy class at The Philadelphia College of Osteopathic Medicine. Bartlett’s work recalls American realist traditions, as defined by artists such as Thomas Eakins and Andrew Wyeth. The familiar subjects of home, family, and friends prevail in his dreamlike, hyper-realist canvases. The commonplace is raised to epic prominence as his monumental paintings subtly blend biblical, political, or social themes and imagery within contemporary settings. The viewer becomes intrigued, almost haunted, by Bartlett’s figures and symbolic situations which suggest tension, vulnerability, and the complexity and mystery of the human soul. The narrative content is often enigmatic, and Bartlett’s works may be interpreted in numerous ways. Barlett’s work expresses his strong commitment to social justice, community engagement, and the transformative power of art. These paintings are well placed within our University, as an institution of higher education that seeks to impart secular knowledge and social involvement in an atmosphere that celebrates spiritual values. See also: <i>Craterman</i>: http://artcollection.lasalle.edu/Obj2765, and <i>Exodus</i>: http://artcollection.lasalle.edu/Obj2956.", "Dedication" : "Gift of St. Luke's Episcopal Church, Kensington, Philadelphia (Episcopal Diocese of PA)", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/88-P-351.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/88-P-351.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/88-P-351.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/88-P-351.jpg", "IsPrimary" : "1", "_SurrogateID" : "2356", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2956, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2956", "Disp_Access_No" : "89-P-360", "_AccNumSort1" : "", "Disp_Create_DT" : "1989", "_Disp_Start_Dat" : "1989", "_Disp_End_Date" : "1989", "Disp_Title" : "Exodus", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Bo Bartlett", "Sort_Artist" : "Bartlett, Bo", "Disp_Dimen" : "114 x 84 in. (289.6 x 213.4 cm)", "Disp_Height" : "114 in.", "Disp_Width" : "84 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : " The title, <i>Exodus</i>, refers to the Biblical story of the Israelites who fled from their enslavement. The central theme of this painting seems to be the search or journey for secular and spiritual knowledge undertaken by youth, especially during their college years. The successive stages of this journey are referred to by the various poses and expressions of the figures as they move up the hill in a rhythmical swing upwards from the lower right corner: from the bewildered toddler and youths at the bottom; to the young man standing at the top center, who seems captivated or inspired; and finally to the woman in red on the far right, with the glow of light above her head, who has reached the end of her journey toward wisdom. The four older men on the side of the hill serve as the teachers and guides along the journey. The message is one of hope, wonderment, and spiritual renewal for persons of all faiths. This painting was commissioned by La Salle and subjects were gathered to provide a cross-section of the University community: Professors Claude Koch, Joseph F. Flubacher, and Brother Francis McCormick are grouped together on the left; retired counselor Rosa Lee Smith stands at the top of the hill in red; Dr. Joseph Kane, former Dean of the Business School, stands on the left side of the hill with arm pointing; students Rachel Ravasco and Dave Weems stand on the hill in the middle background. Other La Salle students, professors, and staff members portrayed in the far background include Frank McLaughlin, Joanie Hasson, Brother Mike Andrejko, Brother Arthur Bangs, Mary Morrow Farrell, and Ann Shields. The two central figures at the top of the hill and those in the foreground are friends of the artist; his son is in the lower right corner. The composition began with the artist posing and taking photographs of the figures on the lawn of the Peale House one spring day in April 1989. <b>About <i>Triptych</i>:</b> Three paintings by American artist Bo Bartlett, though created separately, were installed in the lobby of Olney Hall in fall 1989 as a three-part installation: <i>Triptych,</i> and still hang there today. Born in Columbus, Georgia, Bartlett studied Old Master paintings in Florence, Italy before moving to Philadelphia in 1976. As a student at the Pennsylvania Academy of the Fine Arts he received numerous awards and was taught and inspired by Philadelphia artists Sidney Goodman, Arthur DeCosta, and Morris Blackburn. He later apprenticed under the notable realist painter Nelson Shanks, and followed an anatomy class at The Philadelphia College of Osteopathic Medicine. Bartlett’s work recalls American realist traditions, as defined by artists such as Thomas Eakins and Andrew Wyeth. The familiar subjects of home, family, and friends prevail in his dreamlike, hyper-realist canvases. The commonplace is raised to epic prominence as his monumental paintings subtly blend biblical, political, or social themes and imagery within contemporary settings. The viewer becomes intrigued, almost haunted, by Bartlett’s figures and symbolic situations which suggest tension, vulnerability, and the complexity and mystery of the human soul. The narrative content is often enigmatic, and Bartlett’s works may be interpreted in numerous ways. Barlett’s work expresses his strong commitment to social justice, community engagement, and the transformative power of art. These paintings are well placed within our University, as an institution of higher education that seeks to impart secular knowledge and social involvement in an atmosphere that celebrates spiritual values. See also: <i>Craterman</i>: http://artcollection.lasalle.edu/Obj2765, and <i>Jesus at The Festival of Shelters (Feast of Tabernacles)</i>: http://artcollection.lasalle.edu/Obj2908", "Dedication" : "Commissioned by La Salle University Art Museum", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/89-P-360.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/89-P-360.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/89-P-360.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/89-P-360.jpg", "IsPrimary" : "1", "_SurrogateID" : "2357", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3008, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3008", "Disp_Access_No" : "90-P-368", "_AccNumSort1" : "", "Disp_Create_DT" : "1989", "_Disp_Start_Dat" : "1989", "_Disp_End_Date" : "1989", "Disp_Title" : "Studies for La Salle's Triptych: Exodus- "Entire Painting"", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Bo Bartlett", "Sort_Artist" : "Bartlett, Bo", "Disp_Dimen" : "13 1/4 x 9 3/4 in. (33.7 x 24.8 cm)", "Disp_Height" : "13 1/4 in.", "Disp_Width" : "9 3/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "wood", "Disp_Medium" : "Oil on wood", "Info_Page_Comm" : "", "Dedication" : "Gift of the Artist", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/90-P-368.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/90-P-368.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/90-P-368.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/90-P-368.jpg", "IsPrimary" : "1", "_SurrogateID" : "237", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3225, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3225", "Disp_Access_No" : "93-P-404", "_AccNumSort1" : "", "Disp_Create_DT" : "1992", "_Disp_Start_Dat" : "1992", "_Disp_End_Date" : "1992", "Disp_Title" : "Free Will and Miracle", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Bo Bartlett", "Sort_Artist" : "Bartlett, Bo", "Disp_Dimen" : "60 1/8 x 48 in. (152.7 x 121.9 cm)", "Disp_Height" : "60 1/8 in.", "Disp_Width" : "48 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Gallery Label: Bartlett studied under Sidney Goodman and other realists at the Pennsylvania Academy of the Fine Arts and later apprenticed under Nelson Shanks. In the service of his art, Bartlett also studied anatomy at the Philadelphia College of Osteopathic Medicine and Thomas Jefferson University. Additionally, Bartlett earned a filmmaking degree at New York University and filmed a documentary about painter Andrew Wyeth. Bartlett’s composition suggests the rigid, iconic qualities and disguised symbolism of Early Renaissance Christian altar painting. In Bartlett’s work, however, one cannot straight-forwardly interpret the meaning from a study of iconography. The models for Free Will and Miracle were the artist himself and his wife. ", "Dedication" : "Purchased with funds provided by Benjamin D. Bernstein, Art Angels, and the kind consideration of the artist", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/93-P-404.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/93-P-404.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/93-P-404.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/93-P-404.jpg", "IsPrimary" : "1", "_SurrogateID" : "264", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2685, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2685", "Disp_Access_No" : "84-P-296", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1916", "_Disp_Start_Dat" : "1911", "_Disp_End_Date" : "1921", "Disp_Title" : "Portrait of Colonel Leslie Buswell", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Cecilia Beaux", "Sort_Artist" : "Beaux, Cecilia", "Disp_Dimen" : "23 3/4 x 17 1/2 in. (60.3 x 44.5 cm)", "Disp_Height" : "23 3/4 in.", "Disp_Width" : "17 1/2 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "Canvas", "Disp_Medium" : "Oil on Canvas", "Info_Page_Comm" : "", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/84-P-296.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/84-P-296.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/84-P-296.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/84-P-296.jpg", "IsPrimary" : "1", "_SurrogateID" : "194", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 55, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/55", "Disp_Access_No" : "00-P-466", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Sailor", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Julius Bloch", "Sort_Artist" : "Bloch, Julius", "Disp_Dimen" : "15 3/8 x 11 3/4 in. (39.1 x 29.8 cm)", "Disp_Height" : "15 3/8 in.", "Disp_Width" : "11 3/4 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "paper board", "Disp_Medium" : "Oil on paper board", "Info_Page_Comm" : "", "Dedication" : "Gift of Benjamin D. Bernstein", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/00-P-466.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/00-P-466.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/00-P-466.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/00-P-466.jpg", "IsPrimary" : "1", "_SurrogateID" : "7", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1261, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1261", "Disp_Access_No" : "67-P-17", "_AccNumSort1" : "", "Disp_Create_DT" : "1927", "_Disp_Start_Dat" : "1927", "_Disp_End_Date" : "1927", "Disp_Title" : "Tired Travelers", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Julius Bloch", "Sort_Artist" : "Bloch, Julius", "Disp_Dimen" : "40 x 50 1/8 in. (101.6 x 127.3 cm)", "Disp_Height" : "40 in.", "Disp_Width" : "50 1/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Gallery Label: Julius Bloch emigrated from Germany to Philadelphia with his Jewish family in 1893. He studied at the Pennsylvania Museum School and later at the Pennsylvania Academy of the Fine Arts. As an immigrant he identified with working class people, many of whom suffered racial discrimination and financial difficulty. Inspired by one of his favorite artists and teachers, Thomas Eakins, Bloch became interested in Social Realism, an artistic Movement which was popular in America during the 1920s and 1930s. Over the course of his life Bloch became close friends with Benjamin Bernstein, an art patron who acquired many of his works and later donated some to the La Salle University Art Museum and other cultural institutions. In Tired Travelers, Bloch illustrates a scene on a crowded train. The weary figures are seated in the train benches. The darkness of the windows and the way the people are dressed suggest that it is early evening and that the subjects are on their way home after a laboring day. The individuals depicted are very diverse in ethnicity, featuring an African American man and an Eastern European immigrant couple. The travelers are wearing the day’s work on their faces, displaying gloomy expressions while sleeping and resting during their travel. - Tricia Sackor, Intern, Class of 2017 ", "Dedication" : "Gift of the Estate of Julius Bloch", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/67-P-17.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/67-P-17.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/67-P-17.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/67-P-17.jpg", "IsPrimary" : "1", "_SurrogateID" : "88", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1262, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1262", "Disp_Access_No" : "67-P-18", "_AccNumSort1" : "", "Disp_Create_DT" : "1948", "_Disp_Start_Dat" : "1948", "_Disp_End_Date" : "1948", "Disp_Title" : "Man in the Blue Shirt, Bobby Fields", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Julius Bloch", "Sort_Artist" : "Bloch, Julius", "Disp_Dimen" : "28 x 22 1/8 in. (71.1 x 56.2 cm)", "Disp_Height" : "28 in.", "Disp_Width" : "22 1/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Gallery Label: Bloch was an important social realist artist known for his sympathetic portrayals of poor and oppressed working class people, particularly African Americans. Born in Germany, he immigrated to Philadelphia with his Jewish family in 1893. He worked for the Federal Art Project during the Great Depression and was “widely recognized for his psychological character studies of the Negro,” as noted by distinguished African American educator Alain Locke in 1940. Bloch was influenced by American realist artists such as Thomas Eakins, and he taught painting at the Pennsylvania Academy of the Fine Arts from 1947-1962. This portrait of Bobby Fields belongs to a number of portraits of African Americans that Bloch made during these years, including a portrait of the artist Horace Pippin, who had recently risen to fame. 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The middle panel features two symbols of Haitian Voodoo gods, Damballah and Ayida. The ancient male and female counterparts, symbolically represented as snakes, embody the cosmos coiled around the world. Keene also symbolically integrates Christianity by including Trinitarian references such as the tripartite composition and the addition of three drummers in the far right panel. - Tricia Sackor, Intern, Class of 2017 ", "Dedication" : "Gift of Benjamin D. Bernstein and Robin J. 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(14.6 x 13.3 cm)", "Disp_Height" : "5 3/4 in.", "Disp_Width" : "5 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "archival (paper) board", "Disp_Medium" : "Oil on archival (paper) board", "Info_Page_Comm" : "", "Dedication" : "Purchased with Anual Funds", "Copyright_Type" : "Artwork © David McShane", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/92-P-396.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92-P-396.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92-P-396.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92-P-396.jpg", "IsPrimary" : "1", "_SurrogateID" : "260", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 186, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/186", "Disp_Access_No" : "05-P-518", "_AccNumSort1" : "", "Disp_Create_DT" : "1986", "_Disp_Start_Dat" : "1986", "_Disp_End_Date" : "1986", "Disp_Title" : "Double Portrait", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Susan Moore", "Sort_Artist" : "Moore, Susan", "Disp_Dimen" : "16 x 28 in. (40.6 x 71.1 cm)", "Disp_Height" : "16 in.", "Disp_Width" : "28 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "Gallery Label: Born in Panama, Moore earned a BFA from Indiana University and an MFA from the University of California. She currently teaches at Temple University’s Tyler School of Art. Her favorite subject is the human figure, and she often focuses on certain body parts, especially faces. Although she refers to her subjects as portraits, she divulges little about her sitters’ inner thoughts or personalities. In this <i>Double Portrait</i>, she juxtaposes two mask-like female faces, encouraging the viewer to make comparisons between the two. Because the figures reveal so little about themselves, the viewer is forced to analyze the image’s formal qualities, including paint texture, color, and form. ", "Dedication" : "Gift of Robert Chamberlain", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/05-P-518.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/05-P-518.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/05-P-518.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/05-P-518.jpg", "IsPrimary" : "1", "_SurrogateID" : "43", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2951, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2951", "Disp_Access_No" : "89-P-354", "_AccNumSort1" : "", "Disp_Create_DT" : "1921", "_Disp_Start_Dat" : "1921", "_Disp_End_Date" : "1921", "Disp_Title" : "The Artist's Daughter Playing in the Meadow, Wisconsin", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Oberteuffer", "Sort_Artist" : "Oberteuffer, George", "Disp_Dimen" : "24 3/8 x 29 3/8 in. (61.9 x 74.6 cm)", "Disp_Height" : "24 3/8 in.", "Disp_Width" : "29 3/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds provided by Benjamin D. Bernstein", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/89-P-354.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/89-P-354.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/89-P-354.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/89-P-354.jpg", "IsPrimary" : "1", "_SurrogateID" : "227", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3009, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3009", "Disp_Access_No" : "90-P-371", "_AccNumSort1" : "", "Disp_Create_DT" : "1792", "_Disp_Start_Dat" : "1792", "_Disp_End_Date" : "1792", "Disp_Title" : "David Gelston", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Willson Peale", "Sort_Artist" : "Peale, Charles Willson", "Disp_Dimen" : "25 5/8 x 21 5/8 in. (65.1 x 54.9 cm)", "Disp_Height" : "25 5/8 in.", "Disp_Width" : "21 5/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Charles Willson Peale (1741-1827) - painter, patriot, writer, inventor, farmer, scientist, naturalist, and founder of one of America’s first museums - is one of the best-known past residents of the land now occupied by La Salle University’s campus. Peale resided at his "retirement" home, Belfield estate, in northwest Germantown from 1810 to 1821, and his house still stands on our campus as a National Historic Landmark. David Gelston (1744-1828) was a prominent New York City businessman and politician, who served as a representative from New York in the Continental Congress of 1789, the last under the Articles of Confederation. The 47-year-old Gelston was a member of the New York State Senate when he commissioned Peale to paint his and his wife and child's portraits in 1792.", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/90-P-371.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/90-P-371.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/90-P-371.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/90-P-371.jpg", "IsPrimary" : "1", "_SurrogateID" : "238", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 992, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/992", "Disp_Access_No" : "13-P-558", "_AccNumSort1" : "", "Disp_Create_DT" : "19th Century", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1899", "Disp_Title" : "Father's Return", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Harriet Cany Peale", "Sort_Artist" : "Peale, Harriet Cany", "Disp_Dimen" : "24 x 19 3/4 in. (61 x 50.2 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "19 3/4 in.", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "<SPAN>Gallery Label:<BR/><BR/>Harriet Cany Peale was the second wife of Rembrandt Peale. In 1840 he and Harriet married, and she also became his student and assistant. In that same year she began exhibiting her work in Philadelphia at the Pennsylvania Academy of the Fine Arts and the Artists’ Fund Society, and continued to exhibit regularly throughout the rest of her life. She has been associated with the Hudson River School of painting, and is primarily known for landscapes, portraits, and still-life, as well as copies of her husband’s and other artist’s works. She frequently collaborated with Rembrandt Peale on copies of his famous “Porthole” painting of George Washington (Patriae Pater).<BR/><BR/><SPAN STYLE="font-style:italic">Father’s Retur</SPAN>n depicts a pleasant and sentimental genre scene of 19th-century domestic life.<BR/></SPAN>", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-P-558.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-P-558.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-P-558.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-P-558.jpg", "IsPrimary" : "1", "_SurrogateID" : "79", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3012, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3012", "Disp_Access_No" : "90-P-374", "_AccNumSort1" : "", "Disp_Create_DT" : "Early 19th Century", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1832", "Disp_Title" : "Ann Emily Rush", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "James Peale", "Sort_Artist" : "Peale, James", "Disp_Dimen" : "29 x 24 5/8 in. (73.7 x 62.5 cm)", "Disp_Height" : "29 in.", "Disp_Width" : "24 5/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas, laid down on panel", "Disp_Medium" : "Oil on canvas, laid down on panel", "Info_Page_Comm" : "Gallery Label: James Peale’s early career was interrupted when he was commissioned to serve in the Maryland Regiment during the Revolutionary War. Afterwards, he moved to Philadelphia and worked together with his brother, Charles Willson, creating miniatures while his brother painted large-scale oil portraits. After 1810, failing eyesight forced Peale to abandon miniatures for larger formats. The sitter in this oil portrait is Ann Emily Rush, whose father was Benjamin Rush, a signer of the Declaration of Independence. Peale conveys Ann Emily’s intelligence and self-confidence with her direct gaze and upright posture. ", "Dedication" : "Purchased with funds provided by Philip Reiff, Mansfield W. Williams, and Alexis C. Manice", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/90-P-374.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/90-P-374.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/90-P-374.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/90-P-374.jpg", "IsPrimary" : "1", "_SurrogateID" : "241", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3051, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3051", "Disp_Access_No" : "91-P-389", "_AccNumSort1" : "", "Disp_Create_DT" : "1838", "_Disp_Start_Dat" : "1838", "_Disp_End_Date" : "1838", "Disp_Title" : "Self-Portrait", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rembrandt Peale", "Sort_Artist" : "Peale, Rembrandt", "Disp_Dimen" : "17 1/2 x 14 1/2 in. (44.5 x 36.8 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "14 1/2 in.", "Dimen_Extent" : "window opening-oval", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Gallery Label: Rembrandt was the second son of Charles Willson Peale. He was born in Bucks County and spent much of his career in Philadelphia. He is best known for the portrait of George Washington he painted as a teenager working alongside his father who was completing a commissioned portrait of the first President. In 1814, Rembrandt opened the first museum in North America designed specifically to exhibit art, known as "Peale's Baltimore Museum and Gallery of Fine Arts.” He painted this relatively informal, intimate self-portrait for his niece and art pupil, Mary, daughter of his brother and fellow-painter Rubens Peale. ", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91-P-389.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91-P-389.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91-P-389.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91-P-389.jpg", "IsPrimary" : "1", "_SurrogateID" : "254", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5093, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5093", "Disp_Access_No" : "15-P-585", "_AccNumSort1" : "", "Disp_Create_DT" : "19th Century", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1899", "Disp_Title" : "Portrait of Helena Lawrence Holmes Penington (1769-1852)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sarah Miriam Peale", "Sort_Artist" : "Peale, Sarah Miriam", "Disp_Dimen" : "24 x 17 1/2 in. (61 x 44.5 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "17 1/2 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "<SPAN>Gallery Label:<BR/><BR/>Born in Philadelphia, Sarah Miriam Peale along with her sisters, Margaretta Angelica and Anna Claypoole Peale trained as artists under the tutelage of their father, James Peale, serving as his apprentices. Sarah was known for her portraiture and still-life paintings. She moved to Baltimore for instruction in oil painting and glazing techniques and remained there for 20 years before moving to St. Louis where she was commissioned by various families. She is regarded by many as the first woman in the United States to achieve professional recognition as an artist. In 1824, Sarah and Anna became the first two female members of the Pennsylvania Academy of the Fine Arts. <BR/><BR/>This portrait was probably painted by Sarah at a young age, and was possibly painted together with Anna and instruction from their father.<SPAN STYLE="font-family:'Book Antiqua';font-size:16pt"><BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-P-585.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-P-585.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-P-585.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-P-585.jpg", "IsPrimary" : "1", "_SurrogateID" : "5217", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 187, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/187", "Disp_Access_No" : "05-P-519", "_AccNumSort1" : "", "Disp_Create_DT" : "1989", "_Disp_Start_Dat" : "1989", "_Disp_End_Date" : "1989", "Disp_Title" : "Love and Time", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Diane Pieri", "Sort_Artist" : "Pieri, Diane", "Disp_Dimen" : "14 x 26 in. (35.6 x 66 cm)", "Disp_Height" : "14 in.", "Disp_Width" : "26 in.", "Dimen_Extent" : "Unframed", "Medium" : "Cloth, gouache, acrylic, encaustic, oil, gold thread", "Support" : "", "Disp_Medium" : "Cloth, gouache, acrylic, encaustic, oil, gold thread", "Info_Page_Comm" : "", "Dedication" : "Gift of Robert Chamberlain", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/05-P-519.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/05-P-519.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/05-P-519.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/05-P-519.jpg", "IsPrimary" : "1", "_SurrogateID" : "44", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 54, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/54", "Disp_Access_No" : "00-P-465", "_AccNumSort1" : "", "Disp_Create_DT" : "1947", "_Disp_Start_Dat" : "1947", "_Disp_End_Date" : "1947", "Disp_Title" : "Stove with Pan- Interior", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Seymour Remenick", "Sort_Artist" : "Remenick, Seymour", "Disp_Dimen" : "36 x 26 in. (91.4 x 66 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "26 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Benjamin D. Bernstein", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/00-P-465.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/00-P-465.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/00-P-465.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/00-P-465.jpg", "IsPrimary" : "1", "_SurrogateID" : "6", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1304, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1304", "Disp_Access_No" : "69-P-60", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Still Life with Table and Chair", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Seymour Remenick", "Sort_Artist" : "Remenick, Seymour", "Disp_Dimen" : "7 1/2 x 11 3/8 in. (19.1 x 28.9 cm)", "Disp_Height" : "7 1/2 in.", "Disp_Width" : "11 3/8 in.", "Dimen_Extent" : "Window Opening", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "", "Dedication" : "Gift of Benjamin D. 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(74.9 x 62.2 cm)", "Disp_Height" : "29 1/2 in.", "Disp_Width" : "24 1/2 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : " See the interpretive label written by Sarah Seraphin, MSLS, CA, <i>Rare Materials Librarian, Connelly Library</i>, for the exhibition <i>Teaching and Learning in the Art Museum: La Salle University Faculty Selections</i> in the online exhibition <a href="https://digitalcommons.lasalle.edu/faculty_selections_2018/2/">HERE</a>. William Logan Fisher (1781-1862) and his second wife, Sarah Lindley Fisher (1785-1865), lived at Wakefield, which was first the home of his parents Thomas Fisher (1741-1810) and Sarah Logan (1751-1796). Sarah Logan had inherited the northeastern portion of the Stenton Estate, which belonged to her grandfather James Logan, Secretary to William Penn; it was on this very land that Thomas Fisher built the Wakefield mansion in 1798. The house once stood at the northeast corner of Ogontz and Lindley Avenues, but was unfortunately destroyed by fire in 1985. In 1807 William Logan Fisher inherited Wakefield estate from his father and lived there with his family. In 1826, Fisher purchased Belfield from neighbor Charles Willson Peale, and gifted the house to his daughter, Sarah Logan Fisher (1806-1891) upon her marriage to William Wister (1801-1881) that same year. Fisher’s son Thomas Rodman Fisher (1802-1861) built “Little Wakefield” in 1829, which still stands today on La Salle University campus as St. Mutien Hall. ", "Dedication" : "Gift of Michael T. Fox", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/03-P-493.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/03-P-493.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/03-P-493.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/03-P-493.jpg", "IsPrimary" : "1", "_SurrogateID" : "2323", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 113, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/113", "Disp_Access_No" : "03-P-494", "_AccNumSort1" : "", "Disp_Create_DT" : "1833", "_Disp_Start_Dat" : "1833", "_Disp_End_Date" : "1833", "Disp_Title" : "Sarah Lindley Fisher (1785-1865)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Robert Street", "Sort_Artist" : "Street, Robert", "Disp_Dimen" : "29 1/2 x 24 1/2 in. (74.9 x 62.2 cm)", "Disp_Height" : "29 1/2 in.", "Disp_Width" : "24 1/2 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : " See the interpretive label written by Sarah Seraphin, MSLS, CA, <i>Rare Materials Librarian, Connelly Library</i>, for the exhibition <i>Teaching and Learning in the Art Museum: La Salle University Faculty Selections</i> in the online exhibition <a href="https://digitalcommons.lasalle.edu/faculty_selections_2018/3/">HERE</a>. William Logan Fisher (1781-1862) and his second wife, Sarah Lindley Fisher (1785-1865), lived at Wakefield, which was first the home of his parents Thomas Fisher (1741-1810) and Sarah Logan (1751-1796). Sarah Logan had inherited the northeastern portion of the Stenton Estate, which belonged to her grandfather James Logan, Secretary to William Penn; it was on this very land that Thomas Fisher built the Wakefield mansion in 1798. The house once stood at the northeast corner of Ogontz and Lindley Avenues, but was unfortunately destroyed by fire in 1985. In 1807 William Logan Fisher inherited Wakefield estate from his father and lived there with his family. In 1826, Fisher purchased Belfield from neighbor Charles Willson Peale, and gifted the house to his daughter, Sarah Logan Fisher (1806-1891) upon her marriage to William Wister (1801-1881) that same year. Fisher’s son Thomas Rodman Fisher (1802-1861) built “Little Wakefield” in 1829, which still stands today on La Salle University campus as St. Mutien Hall. ", "Dedication" : "Gift of Michael T. Fox", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/03-P-494.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/03-P-494.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/03-P-494.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/03-P-494.jpg", "IsPrimary" : "1", "_SurrogateID" : "2324", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2687, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2687", "Disp_Access_No" : "84-P-298", "_AccNumSort1" : "", "Disp_Create_DT" : "1898", "_Disp_Start_Dat" : "1898", "_Disp_End_Date" : "1898", "Disp_Title" : "Mary (La Sainte-Marie)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Henry Ossawa Tanner", "Sort_Artist" : "Tanner, Henry Ossawa", "Disp_Dimen" : "34 1/8 x 42 5/8 in. (86.7 x 108.3 cm)", "Disp_Height" : "34 1/8 in.", "Disp_Width" : "42 5/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "<SPAN>Gallery Label:<BR/><BR/>In this unconventional rendering of the Virgin Mary with the Christ child, Mary appears melancholy and lost in thought. The infant is almost completely covered by a shroud-like cloth, suggesting a foreshadowing of Jesus’ death. Tanner paid careful attention to details studied first-hand in Jerusalem, where he first traveled in 1898. Tanner’s style is academic and is distinctive for his use of luminous lighting. The model for Mary was newlywed Tanner’s Swedish-American wife. Tanner studied with Thomas Eakins at the Pennsylvania Academy of Fine Arts in the 1880s before traveling to and eventually settling in Paris, where, from 1894 on, his work appeared in the annual, juried Salon. <SPAN STYLE="font-style:italic">Mary</SPAN> is in its original tabernacle frame with its Salon entry number, 1252, and another label noting Tanner’s previous Salon medal for an earlier painting. While it was common for American artists to travel to Paris to study art and even settle in that art-making capital, Tanner attributed his choice to remain there to the racism he encountered in the United States as an artist of mixed African-, European-, and Native-American ancestry and his ability to be judged simply by his talent in France.<BR/></SPAN>", "Dedication" : "Purchased with funds provided by Regina and Ragan Henry", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/84-P-298.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/84-P-298.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/84-P-298.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/84-P-298.jpg", "IsPrimary" : "1", "_SurrogateID" : "196", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2022, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2022", "Disp_Access_No" : "78-P-217", "_AccNumSort1" : "", "Disp_Create_DT" : "18th Century-19th Century", "_Disp_Start_Dat" : "1700", "_Disp_End_Date" : "1899", "Disp_Title" : "Profile Head- Study", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Benjamin West", "Sort_Artist" : "West, Benjamin", "Disp_Dimen" : "22 1/2 x 17 in. (57.2 x 43.2 cm)", "Disp_Height" : "22 1/2 in.", "Disp_Width" : "17 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "paper on board", "Disp_Medium" : "Oil on paper on board", "Info_Page_Comm" : "Gallery Label: Benjamin West was born in a Quaker settlement in Springfield, PA. His parents encouraged his artistic talents, and by the age of 15 he was already known for his portraits. In 1760, West sailed for England where he would soon develop an international reputation like no other American artist. West was the first American to study art in Italy, and he embraced the popular Neoclassical style of Europe. Through his close ties with England and patronage by George III, West became president of the Royal Academy of Arts in London. He was very fond of his American heritage and always kept an open door for American artists who wished to study in Europe. He became the teacher of up-and-coming American artists like Gilbert Stuart and Charles Willson Peale. Alexis Corey, '16 Curatorial Intern, Fall 2015 ", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78-P-217_back.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78-P-217_back.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78-P-217_back.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78-P-217_back.jpg", "IsPrimary" : "0", "_SurrogateID" : "6576", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78-P-217_front.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78-P-217_front.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78-P-217_front.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78-P-217_front.jpg", "IsPrimary" : "1", "_SurrogateID" : "6575", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 114, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/114", "Disp_Access_No" : "03-P-495", "_AccNumSort1" : "", "Disp_Create_DT" : "2003", "_Disp_Start_Dat" : "2003", "_Disp_End_Date" : "2003", "Disp_Title" : "Bucks Co. Sketch", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jim Williams", "Sort_Artist" : "Williams, Jim", "Disp_Dimen" : "14 x 20 1/4 in. (35.6 x 51.4 cm)", "Disp_Height" : "14 in.", "Disp_Width" : "20 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Gallery Label: Jim Williams taught oil painting, print-making, art theory, and art history at La Salle University from 1985 until his retirement in 2013. In recent years, he has concentrated on his painting and has produced numerous landscapes and scenes of Philadelphia and the local environs. His work displays his unique interest in light, color and reflections. Williams’ early study was in English literature. He went on to earn an M.F.A at the University of Delaware, with additional work at the Pennsylvania Academy of the Fine Arts (PAFA) and at the Barnes Foundation. ", "Dedication" : "Purchased with funds provided by Joseph Flubacher", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/03-P-495.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/03-P-495.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/03-P-495.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/03-P-495.jpg", "IsPrimary" : "1", "_SurrogateID" : "25", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2703, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2703", "Disp_Access_No" : "85-D-316", "_AccNumSort1" : "", "Disp_Create_DT" : "1985", "_Disp_Start_Dat" : "1985", "_Disp_End_Date" : "1985", "Disp_Title" : "Melonie May", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Bo Bartlett", "Sort_Artist" : "Bartlett, Bo", "Disp_Dimen" : "21 1/4 x 14 1/2 in. (54 x 36.8 cm)", "Disp_Height" : "21 1/4 in.", "Disp_Width" : "14 1/2 in.", "Dimen_Extent" : "window opening", "Medium" : "Graphite, white chalk heightening", "Support" : "", "Disp_Medium" : "Graphite, white chalk heightening", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds provided by Alfred J. Crawford Esq.", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/85-D-316.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/85-D-316.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/85-D-316.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/85-D-316.jpg", "IsPrimary" : "1", "_SurrogateID" : "1651", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2978, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2978", "Disp_Access_No" : "90-D-338(1)", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Studies for La Salle's Triptych: Jesus at the Festival of Shelters- "Entire Painting"", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Bo Bartlett", "Sort_Artist" : "Bartlett, Bo", "Disp_Dimen" : "10 x 12 1/2 in. (25.4 x 31.8 cm)", "Disp_Height" : "10 in.", "Disp_Width" : "12 1/2 in.", "Dimen_Extent" : "", "Medium" : "Graphite, Pen and Ink", "Support" : "", "Disp_Medium" : "Graphite, Pen and Ink", "Info_Page_Comm" : "", "Dedication" : "Gift of the Artist", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/90-D-338(1).jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/90-D-338(1).jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/90-D-338(1).jpg", "IIIF_URL": "http://iiif.gallerysystems.com/90-D-338(1).jpg", "IsPrimary" : "1", "_SurrogateID" : "1571", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2979, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2979", "Disp_Access_No" : "90-D-338(11)", "_AccNumSort1" : "", "Disp_Create_DT" : "1989", "_Disp_Start_Dat" : "1989", "_Disp_End_Date" : "1989", "Disp_Title" : "Studies for La Salle's Triptych: Exodus- Central figures at top of hill", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Bo Bartlett", "Sort_Artist" : "Bartlett, Bo", "Disp_Dimen" : "38 3/8 x 28 3/8 in. (97.5 x 72.1 cm)", "Disp_Height" : "38 3/8 in.", "Disp_Width" : "28 3/8 in.", "Dimen_Extent" : "Sheet", "Medium" : "Charcoal, graphite", "Support" : "", "Disp_Medium" : "Charcoal, graphite", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:</SPAN><SPAN STYLE="font-size:10pt"><BR/><BR/>Originally from Columbus, Georgia, Bo Bartlett studied at PAFA where he learned Realist principles to help shape his Modernist style. After time spent traveling in Europe he was included in Philadelphia Magazine’s “81 People to Watch.” Five years later he was proclaimed Philadelphia Magazine’s </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Best Artist in Philly</SPAN><SPAN STYLE="font-size:10pt">. <BR/><BR/>This drawing of Central Figures at the Top of Hill was a study for a series of large paintings in Olney Hall’s main entrance. This triptych, entitled </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Exodus</SPAN><SPAN STYLE="font-size:10pt">, features some of La Salle University’s faculty and students, such as Brother Francis McCormick and Dr. Joseph Kane. The two central figures represented in this drawing are close personal friends of the artist. In April of 1989, Bartlett gathered his subjects at Belfield Farm to take photographs for this composition. Bartlett’s ideas for his paintings typically arise from recurring dreams which he usually works out in sketches. The idea behind </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Exodus</SPAN><SPAN STYLE="font-size:10pt"> is that humans are set free from ignorance through the enlightenment of education, and the hope of renewal with an understanding of faith.</SPAN><SPAN STYLE="font-family:'Book Antiqua';font-size:14pt"><BR/></SPAN></SPAN>", "Dedication" : "Gift of the Artist", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/90-D-338(11).jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/90-D-338(11).jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/90-D-338(11).jpg", "IIIF_URL": "http://iiif.gallerysystems.com/90-D-338(11).jpg", "IsPrimary" : "1", "_SurrogateID" : "1868", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2980, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2980", "Disp_Access_No" : "90-D-338(12)", "_AccNumSort1" : "", "Disp_Create_DT" : "1989", "_Disp_Start_Dat" : "1989", "_Disp_End_Date" : "1989", "Disp_Title" : "Studies for La Salle's Triptych: Exodus- "Professor Joseph F. 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(57.5 x 38.7 cm)", "Disp_Height" : "22 5/8 in.", "Disp_Width" : "15 1/4 in.", "Dimen_Extent" : "Sheet", "Medium" : "Gouache", "Support" : "cardboard", "Disp_Medium" : "Gouache on cardboard", "Info_Page_Comm" : "", "Dedication" : "Gift of Mrs. Elizabeth Jones Greenhall (artist's daughter)", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78-D-127.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78-D-127.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78-D-127.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78-D-127.jpg", "IsPrimary" : "1", "_SurrogateID" : "1352", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1949, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1949", "Disp_Access_No" : "78-D-128", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Scribners Magazine Cover, Venetian Gondola Scene", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Wilfred J. 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(47 x 60.3 cm)", "Disp_Height" : "18 1/2 in.", "Disp_Width" : "23 3/4 in.", "Dimen_Extent" : "Sheet", "Medium" : "Charcoal with color washes", "Support" : "", "Disp_Medium" : "Charcoal with color washes", "Info_Page_Comm" : "", "Dedication" : "Gift of Rachel Kaplan", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/11-D-439.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/11-D-439.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/11-D-439.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/11-D-439.jpg", "IsPrimary" : "1", "_SurrogateID" : "1828", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 813, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/813", "Disp_Access_No" : "12-D-443", "_AccNumSort1" : "", "Disp_Create_DT" : "1951", "_Disp_Start_Dat" : "1951", "_Disp_End_Date" : "1951", "Disp_Title" : "Seated Man", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jerome Eugene Kaplan", "Sort_Artist" : "Kaplan, Jerome Eugene", "Disp_Dimen" : "15 1/4 x 22 1/4 in. (38.7 x 56.5 cm)", "Disp_Height" : "15 1/4 in.", "Disp_Width" : "22 1/4 in.", "Dimen_Extent" : "Sheet", "Medium" : "Ink and Wash", "Support" : "Paper", "Disp_Medium" : "Ink and Wash on Paper", "Info_Page_Comm" : "", "Dedication" : "Gift of Anne Kaplan", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/12-D-443.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/12-D-443.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/12-D-443.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/12-D-443.jpg", "IsPrimary" : "1", "_SurrogateID" : "1829", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3230, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3230", "Disp_Access_No" : "94-D-364", "_AccNumSort1" : "", "Disp_Create_DT" : "1994", "_Disp_Start_Dat" : "1994", "_Disp_End_Date" : "1994", "Disp_Title" : "For A Friend 5", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sam Maitin", "Sort_Artist" : "Maitin, Sam", "Disp_Dimen" : "13 x 9 in. 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For each design, she completed a series of preliminary sketches, figure studies, and scaled drawings prior to executing the final mural painting. <BR/><BR/>In the biblical story, Dorcas is described as a </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">mathetria,</SPAN><SPAN STYLE="font-size:10pt"> meaning “female disciple.” She is the only woman in the bible given that title because of her strong family values, commitment to her community, and faithfulness as holy woman. The drawing on bottom depicts the story of her rising from the dead surrounded by friends and family after Saint Peter had visited and prayed over her. After a time, he commands her to waken, extending his hand to help her rise as she opens her eyes.<BR/><BR/>In the late 19th and early 20th centuries, the feminist “New Woman” movement encouraged women to become entrepreneurs in their professional education and careers. Violet Oakley and several other female artists lived together at the Red Rose Inn in Villanova to pursue the creation of “art for art’s sake.” Oakley and her friends later moved to a home in Mount Airy which they called Cogslea, now listed on the National Register of Historic Places. 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Violet Oakley and several other female artists lived together at the Red Rose Inn in Villanova to pursue the creation of “art for art’s sake.” Oakley and her friends later moved to a home in Mount Airy which they called Cogslea, now listed on the National Register of Historic Places. 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Upon her return to Philadelphia, she studied briefly at PAFA in 1896 before joining Howard Pyle's illustration class at Drexel Institute. She was a successful illustrator and muralist whose work reflected the influence of English pre-Raphaelite artists. She was the first woman to be awarded a Gold Medal of Honor from PAFA in 1905. Oakley completed 43 murals in the Pennsylvania State Capital. The mock-ups and sketches in La Salle University Art Museum’s collection, including Head of Christ, were made as preliminary designs for Oakley’s Great Women of the Bible murals at the First Presbyterian Church in Germantown, Philadelphia, executed from 1945-1949.<BR/></SPAN></SPAN>", "Dedication" : "Gift of the Violet Oakley Memorial Foundation", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/82-D-292.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/82-D-292.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/82-D-292.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/82-D-292.jpg", "IsPrimary" : "1", "_SurrogateID" : "1863", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2493, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2493", "Disp_Access_No" : "83-D-294", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1945-1948", "_Disp_Start_Dat" : "1945", "_Disp_End_Date" : "1948", "Disp_Title" : "Great Women of the Bible, "Redemption", Sketch of model for Mary", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Violet Oakley", "Sort_Artist" : "Oakley, Violet", "Disp_Dimen" : "25 3/4 x 19 in. 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He spent much time traveling and working in Europe and, like his close friend James Abbott McNeill Whistler, he later made his home in London. During his lifetime, Pennell was a prolific artist and produced more than 4,700 drawings, 900 etchings and mezzotints, and 600 lithographs. He had numerous books published, both as an author and as an illustrator, many of them in collaboration with his wife, Elizabeth Robins Pennell. His publications include several books on drawing and printmaking, as well as a biography of Whistler that he wrote with his wife in 1908. 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(50.8 x 35.9 cm)", "Disp_Height" : "20 in.", "Disp_Width" : "14 1/8 in.", "Dimen_Extent" : "Sheet", "Medium" : "Ink Wash", "Support" : "watercolor paper", "Disp_Medium" : "Ink Wash on watercolor paper", "Info_Page_Comm" : " <SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Searles was an important African American artist from Philadelphia, educated at PAFA, who was active from the 1960s until his death. He traveled to West Africa in the 1970s, at a time when many African American artists were exploring their ancestral African roots. His artwork reflected not only the changing social times but also his evolving vision as an individual who came to embrace universal cross-cultural connections. He created paintings and sculptures that responded to African, Japanese, and Indian cultural traditions, and that often included abstract references to music as well as dance. Many of his abstract works seem to have a life of their own, evoking visual associations with human and animal forms. In this ink wash rendering for a sculpture, he presents a ladder-like form which rests against the wall, but also seems to be emerging from it, creatively playing with notions of space and animation. <BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © Searles Spicer Estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-D-444.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-D-444.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-D-444.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-D-444.jpg", "IsPrimary" : "1", "_SurrogateID" : "1343", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2852, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2852", "Disp_Access_No" : "88-D-328", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "The Burning Harpoon", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Benton Murdoch Spruance", "Sort_Artist" : "Spruance, Benton Murdoch", "Disp_Dimen" : "30 1/4 x 22 in. (76.8 x 55.9 cm)", "Disp_Height" : "30 1/4 in.", "Disp_Width" : "22 in.", "Dimen_Extent" : "Sheet", "Medium" : "Charcoal", "Support" : "", "Disp_Medium" : "Charcoal", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Spruance was a Philadelphia painter and printmaker based in Germantown. He studied painting at PAFA, and in his senior year he won a scholarship which enabled him to travel to France. He taught at Beaver College (now Arcadia University) and the Philadelphia College of Art, and was known for his innovations in color lithography. This drawing was the basis for a lithograph called The Burning Harpoon, published in 1968 as part of a set of 26 fine art lithographs illustrating Herman Melville’s novel, Moby Dick: The Passion of Ahab. 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(24.1 x 31.8 cm)", "Disp_Height" : "9 1/2 in.", "Disp_Width" : "12 1/2 in.", "Dimen_Extent" : "Sheet", "Medium" : "Graphite", "Support" : "", "Disp_Medium" : "Graphite", "Info_Page_Comm" : "", "Dedication" : "Gift of Ann Chahbandour and Jay Robert Stiefel", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/95-D-375(4).jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/95-D-375(4).jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/95-D-375(4).jpg", "IIIF_URL": "http://iiif.gallerysystems.com/95-D-375(4).jpg", "IsPrimary" : "1", "_SurrogateID" : "1561", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3270, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3270", "Disp_Access_No" : "95-D-375(5)", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1870", "_Disp_Start_Dat" : "1865", "_Disp_End_Date" : "1875", "Disp_Title" : "Landscape with Pond", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Peter Moran", "Sort_Artist" : "Moran, Peter", "Disp_Dimen" : "9 x 12 in. (22.9 x 30.5 cm)", "Disp_Height" : "9 in.", "Disp_Width" : "12 in.", "Dimen_Extent" : "Sheet", "Medium" : "Graphite", "Support" : "paper", "Disp_Medium" : "Graphite on paper", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Peter Moran was a British-born American landscape painter and etcher. He came from a family of painters, including his two older brothers, Thomas and Edward. Most of Moran’s career was spent in Philadelphia, where he had a successful career as an etcher. He and his family also ventured to the American West, visiting Yosemite, the Teton Mountains, New Mexico, Arizona, and Mexico itself. Although his brothers mostly painted marine and traditional landscapes, Moran was primarily interested in animal subjects. He was particularly fond of cattle and often painted them in addition to more traditional landscapes. <BR/></SPAN></SPAN>", "Dedication" : "Gift of Ann Chahbandour and Jay Robert Stiefel", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/95-D-375(5).jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/95-D-375(5).jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/95-D-375(5).jpg", "IIIF_URL": "http://iiif.gallerysystems.com/95-D-375(5).jpg", "IsPrimary" : "1", "_SurrogateID" : "5790", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 566, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/566", "Disp_Access_No" : "10-D-434", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Fought For What?", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Floretta Mostovoy", "Sort_Artist" : "Mostovoy, Floretta", "Disp_Dimen" : "23 5/8 x 19 3/4 in. 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(25.4 x 20.3 cm)", "Disp_Height" : "10 in.", "Disp_Width" : "8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas; Frame is Renaissance style wood frame (gilded-molded) made by the artist", "Disp_Medium" : "Oil on canvas; Frame is Renaissance style wood frame (gilded-molded) made by the artist", "Info_Page_Comm" : "Gallery Label: Paone was born and raised in Philadelphia, where he studied at the Philadelphia College of Art. He taught at several institutions such as the Pratt Institute in New York, The National Academy of Design in New York, and the Pennsylvania Academy of the Fine Arts (PAFA) in Philadelphia. His works have been displayed in the U.S. and abroad, and have been featured in over 60 exhibitions. Growing up in South Philadelphia, Paone was exposed and influenced by the traditional Mummers Parade. <i>Little Girl</i> depicts a child in a clown-like costume with a vibrant background. The saturated tones of blue, orange, and red create a chromatic environment much like one would see in the traditional folk parade. ", "Dedication" : "Gift of Dr. and Mrs. Harold Robinson", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91-P-376.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91-P-376.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91-P-376.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91-P-376.jpg", "IsPrimary" : "1", "_SurrogateID" : "243", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 73, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/73", "Disp_Access_No" : "01-G-3259", "_AccNumSort1" : "", "Disp_Create_DT" : "1881", "_Disp_Start_Dat" : "1881", "_Disp_End_Date" : "1881", "Disp_Title" : "Little Wakefield in German town", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Joseph Pennell", "Sort_Artist" : "Pennell, Joseph", "Disp_Dimen" : "4 1/8 x 3 1/8 in. 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He instead learned the technique in the Paris shop of Edmond and Jacques Desjobert while on a Cresson grant study trip.1 Spruance especially liked that lithographs could be economically mass-produced and acquired by people who could not otherwise afford to buy art.<BR/><BR/>Like many American Modern artists of his generation, Spruance aspired to create work that was intrinsically American in response to the dominance of European Modernism.3 Spruance’s style evolved throughout his career. In the 1930s, he worked in a then-contemporary Social Realist vein and his series, </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">The People Work</SPAN><SPAN STYLE="font-size:10pt">, shows his clear affinity for the work of Ashcan artist George Bellows, Regionalist Thomas Hart Benton, and Mexican muralists. <BR/><BR/>The People Work (1937) was Spruance’s first major se­ries. 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(27.3 x 22.2 cm)", "Disp_Height" : "10 3/4 in.", "Disp_Width" : "8 3/4 in.", "Dimen_Extent" : "Image", "Medium" : "Carborundum Mezzotint, Restrike", "Support" : "", "Disp_Medium" : "Carborundum Mezzotint, Restrike", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>Thrash depicted African American subjects in an era when many worried that being labeled an African American artist, rather than just an artist, would marginalize their work. Langston Hughes, Alain Locke, and Marcus Garvey called for race-conscious art and Thrash was among the artists who embraced their thinking. <BR/><BR/>Here Thrash depicts a little girl absorbed in the act of reading </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Life </SPAN><SPAN STYLE="font-size:10pt">magazine. The choice of </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Life</SPAN><SPAN STYLE="font-size:10pt"> magazine em­phasizes the girl’s identity as an American. Art historian Richard Powell asserts that the “non-racial genre” image soft sells the idea of “commonality” and “unity” rather than separation in the African American experience of childhood.<BR/><BR/>Between 1930 and 1947, African American illiteracy rates stood at 11-18% compared with 2-4% for European Americans.3 Thrash had left school after fourth grade, which was not uncommon for an African American growing up in rural Georgia in the early 20th century. Thrash was an autodidact who studied by correspondence while living on the road as a teenager before attending the School of the Art Institute of Chicago. The act of reading was no doubt intended to communicate a posi­tive affirmation of the sitter’s literacy, intelligence, and cultural savvy.<BR/><BR/>Carmen Vendelin </SPAN><SPAN STYLE="font-family:'Goudy Oldstyle Std';font-size:10pt"><BR/></SPAN><SPAN STYLE="font-family:'Goudy Oldstyle Std'">Curator of Art, La Salle University Art Museum<BR/></SPAN><SPAN STYLE="font-family:'Segoe UI'"><BR/></SPAN></SPAN>", "Dedication" : "Gift of Benjamin D. Bernstein", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/79-G-1054.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/79-G-1054.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/79-G-1054.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/79-G-1054.jpg", "IsPrimary" : "1", "_SurrogateID" : "2457", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3118, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3118", "Disp_Access_No" : "92-D-353", "_AccNumSort1" : "", "Disp_Create_DT" : "1991", "_Disp_Start_Dat" : "1991", "_Disp_End_Date" : "1991", "Disp_Title" : "The flowering of a person", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Mary Ward", "Sort_Artist" : "Ward, Mary", "Disp_Dimen" : "6 3/8 x 5 in. (16.2 x 12.7 cm)", "Disp_Height" : "6 3/8 in.", "Disp_Width" : "5 in.", "Dimen_Extent" : "Sheet", "Medium" : "Linoleum Cut", "Support" : "", "Disp_Medium" : "Linoleum Cut", "Info_Page_Comm" : "", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/92-D-353.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92-D-353.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92-D-353.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92-D-353.jpg", "IsPrimary" : "1", "_SurrogateID" : "2108", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3226, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3226", "Disp_Access_No" : "94-D-357", "_AccNumSort1" : "", "Disp_Create_DT" : "1992", "_Disp_Start_Dat" : "1992", "_Disp_End_Date" : "1992", "Disp_Title" : "Midnight Serenade", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Richard J. Watson", "Sort_Artist" : "Watson, Richard J.", "Disp_Dimen" : "10 x 6 in. (25.4 x 15.2 cm)", "Disp_Height" : "10 in.", "Disp_Width" : "6 in.", "Dimen_Extent" : "Sheet", "Medium" : "Acrylic and watercolor", "Support" : "paper", "Disp_Medium" : "Acrylic and watercolor on paper", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Born in a rural area of North Carolina, Watson studied at the Fleisher Art Memorial and PAFA. He has worked at the African American Museum in Philadelphia for many years, most recently as Exhibitions Manager and Artist in Residence. In 1983, Watson became a member of Recherché, a Philadelphia exhibition group dedicated to showing the diversity of work by African-American artists, inclusive of both representational and abstract art. This work is representative of Watson’s imagination and creativity in his abstract painterly rendering of a moonlit landscape awash with color.<BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/94-D-357.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/94-D-357.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/94-D-357.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/94-D-357.jpg", "IsPrimary" : "1", "_SurrogateID" : "1552", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1837, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1837", "Disp_Access_No" : "76-P-180", "_AccNumSort1" : "", "Disp_Create_DT" : "1976", "_Disp_Start_Dat" : "1976", "_Disp_End_Date" : "1976", "Disp_Title" : "Edward Cornelius O'Leary, Bishop of Portland Maine 1976", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Neil Welliver", "Sort_Artist" : "Welliver, Neil", "Disp_Dimen" : "24 x 20 in. (61 x 50.8 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "Canvas", "Disp_Medium" : "Oil on Canvas", "Info_Page_Comm" : "Gallery Label: Welliver grew up in Millville, Pennsylvania. After graduating from the Philadelphia College of Art, he studied at Yale University under Joseph Albers, whose abstractions influenced his early work, and whose range of color he employed in his later work. Welliver began teaching at the University of Pennsylvania Graduate School of Fine Arts in 1965, and later became chairman of the department until his retirement in 1989. He is best known for his large-scale landscape paintings of rural Maine, This portrait of the Bishop of Portland, Maine, was commissioned by a committee headed by <i>Philadelphia Inquirer</i> art critic, Victoria Donohoe, and exhibited at the Exhibition of Liturgical Arts, held at the 41st International Eucharistic Congress in Philadelphia in 1976. ", "Dedication" : "Gift of Victoria Donohoe", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/76-P-180.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/76-P-180.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/76-P-180.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/76-P-180.jpg", "IsPrimary" : "1", "_SurrogateID" : "154", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 105, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/105", "Disp_Access_No" : "03-G-3274(A)", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Frederick Douglass", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Wells", "Sort_Artist" : "Wells, Charles", "Disp_Dimen" : "19 1/4 x 15 in. (48.9 x 38.1 cm)", "Disp_Height" : "19 1/4 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Image", "Medium" : "Mixed Intaglio", "Support" : "", "Disp_Medium" : "Mixed Intaglio", "Info_Page_Comm" : "", "Dedication" : "Gift of Dennis and Judy O'Brien", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/03-G-3274(A).jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/03-G-3274(A).jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/03-G-3274(A).jpg", "IIIF_URL": "http://iiif.gallerysystems.com/03-G-3274(A).jpg", "IsPrimary" : "1", "_SurrogateID" : "2614", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1276, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1276", "Disp_Access_No" : "68-G-226", "_AccNumSort1" : "", "Disp_Create_DT" : "1967", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1967", "Disp_Title" : "Childhood of A Leader", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Wells", "Sort_Artist" : "Wells, Charles", "Disp_Dimen" : "17 5/8 x 19 1/2 in. 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(94 x 46 x 20.3 cm)", "Disp_Height" : "37 in.", "Disp_Width" : "18 1/8 in.", "Dimen_Extent" : "", "Medium" : "Red Oak Relief", "Support" : "", "Disp_Medium" : "Red Oak Relief", "Info_Page_Comm" : "Gallery Label: As Dorothy Day’s elderly face thrusts forward, I am struck how her determined jaw, her smooth mouth and nose contrast with a deeply gouged skull, roughhewn cheeks, scarred-over eyes. Three thoughts: The mystery of the poor. They are Jesus for us; what we do for them, we do for him. Day did not see Jesus in the poor with bodily eyes, but eyes of faith. A blinded oracle, scored eyes of wood speak of deeper sight. Day saw life with the poor as unsentimental, enfolded in brokenness. Flesh mortified by cold, dirt; ears mortified by screams, noise; eyes mortified by sights of excretion, disease. Grooves and gashes mark solidarity in poverty. Francis of Assisi suffered terribly from diseased eyes. Day re-embodied Francis’s example, renewing his charism of holy poverty in herself for our modern cities and farms. Warm, strong red oak, thus fittingly commemorates a defiant, daring life of love. S. Joel Garver, Ph.D. Assistant Professor, Philosophy ", "Dedication" : "Commissioned and Given by Dennis and Judy O'Brien in honor of Br. Daniel Burke's 50th anniversary as a Christian Brother", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "SCULPTURE", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/96-SC-48.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/96-SC-48.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/96-SC-48.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/96-SC-48.jpg", "IsPrimary" : "1", "_SurrogateID" : "311", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3369, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3369", "Disp_Access_No" : "97-G-3206", "_AccNumSort1" : "", "Disp_Create_DT" : "1997", "_Disp_Start_Dat" : "1997", "_Disp_End_Date" : "1997", "Disp_Title" : "Dorothy Day (Artist's Proof)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Wells", "Sort_Artist" : "Wells, Charles", "Disp_Dimen" : "17 7/8 x 14 3/4 in. (45.4 x 37.5 cm)", "Disp_Height" : "17 7/8 in.", "Disp_Width" : "14 3/4 in.", "Dimen_Extent" : "Image", "Medium" : "Etching, roulette", "Support" : "", "Disp_Medium" : "Etching, roulette", "Info_Page_Comm" : "", "Dedication" : "Gift of the Artist", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97-G-3206.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97-G-3206.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97-G-3206.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97-G-3206.jpg", "IsPrimary" : "1", "_SurrogateID" : "2666", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3426, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3426", "Disp_Access_No" : "99-G-3236", "_AccNumSort1" : "", "Disp_Create_DT" : "1999", "_Disp_Start_Dat" : "1999", "_Disp_End_Date" : "1999", "Disp_Title" : "St. Jean Baptist de La Salle", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Wells", "Sort_Artist" : "Wells, Charles", "Disp_Dimen" : "19 1/2 x 15 1/2 in. (49.5 x 39.4 cm)", "Disp_Height" : "19 1/2 in.", "Disp_Width" : "15 1/2 in.", "Dimen_Extent" : "Image", "Medium" : "Mixed Intaglio", "Support" : "", "Disp_Medium" : "Mixed Intaglio", "Info_Page_Comm" : "", "Dedication" : "Originally commissioned in celebration of the 300th anniversary of The Christian Brothers' Order in 1980", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/99-G-3236.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/99-G-3236.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/99-G-3236.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/99-G-3236.jpg", "IsPrimary" : "1", "_SurrogateID" : "3530", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3427, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3427", "Disp_Access_No" : "99-G-3237", "_AccNumSort1" : "", "Disp_Create_DT" : "1999", "_Disp_Start_Dat" : "1999", "_Disp_End_Date" : "1999", "Disp_Title" : "St. Jean Baptiste de La Salle", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Wells", "Sort_Artist" : "Wells, Charles", "Disp_Dimen" : "19 1/2 x 15 1/2 in. (49.5 x 39.4 cm)", "Disp_Height" : "19 1/2 in.", "Disp_Width" : "15 1/2 in.", "Dimen_Extent" : "Image", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Commissioned in celebration of the 300th anniversary of The Christian Brothers' Order in 1980", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/99-G-3237.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/99-G-3237.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/99-G-3237.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/99-G-3237.jpg", "IsPrimary" : "1", "_SurrogateID" : "3531", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 964, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/964", "Disp_Access_No" : "13-G-3578", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1935", "_Disp_Start_Dat" : "1930", "_Disp_End_Date" : "1940", "Disp_Title" : "Unemployed", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George E. C. Wiggins", "Sort_Artist" : "Wiggins, George E. C.", "Disp_Dimen" : "8 1/4 x 12 1/2 in. (21 x 31.8 cm)", "Disp_Height" : "8 1/4 in.", "Disp_Width" : "12 1/2 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : " See the interpretive label written by S. Joel Garver, Ph.D., <i>Assistant Professor, Department of Philosophy</i>, for the exhibition <i>Teaching and Learning in the Art Museum: La Salle University Faculty Selections</i> in the online exhibition <a href="https://digitalcommons.lasalle.edu/faculty_selections_2018/9/">HERE</a>. <SPAN><SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>Originally from Arkansas, Wiggins attended the Penn­sylvania Academy of the Fine Arts and was awarded a prestigious Cresson scholarship for study abroad. He eventually settled in Philadelphia and worked as an il­lustrator for the </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Saturday Evening Post</SPAN><SPAN STYLE="font-size:10pt"> and other publi­cations.<BR/><BR/>In this Social Realist depiction, Wiggins focuses on the subject of a union strike. The banner in the background, “Philadelphia Union Workers,” situates the scene in Philadelphia. Signs reading “To Hell with Charity” and “[Wo]rkers [De]mand Free […] Water and [Elect]ricity” suggest possible connections with the burst of union activity that took place around 1935, with numerous organized union strikes and the emergence of the Com­mittee for Industrial Organization (CIO). On the left, a fiery speaker stands next to an American flag, his ex­tended arm pointing into the center of the composition; while a mounted policeman on the far right looks in­wards over the crowd of protestors. In the foreground, a smiling woman appears to beg for money. Wearing an armband in support of the strike, she holds out a cup to a gentleman who reaches into his pocket for coins. <BR/><BR/>Klare Scarborough<BR/>Director and Chief Curator, La Salle University Art Museum</SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3578.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3578.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3578.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3578.jpg", "IsPrimary" : "1", "_SurrogateID" : "2398", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2911, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2911", "Disp_Access_No" : "89-D-337", "_AccNumSort1" : "", "Disp_Create_DT" : "1877", "_Disp_Start_Dat" : "1877", "_Disp_End_Date" : "1877", "Disp_Title" : "Warming the Hands at Play", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Bacon Wood Jr.", "Sort_Artist" : "Wood Jr., George Bacon", "Disp_Dimen" : "7 1/4 x 10 in. (18.4 x 25.4 cm)", "Disp_Height" : "7 1/4 in.", "Disp_Width" : "10 in.", "Dimen_Extent" : "Sheet", "Medium" : "Watercolor", "Support" : "", "Disp_Medium" : "Watercolor", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Wood was a Quaker painter who lived and worked primarily in the Germantown area of Philadelphia. From the 1860s onwards, he also spent summers in the Adirondacks near Elizabethtown, New York. He studied and exhibited at PAFA and the National Academy of Design. Like many of his colleagues, he was influenced by the writings of English artist John Ruskin, who promoted life studies of nature. Wood was a member of the Philadelphia Sketch Club, and he became known for his landscapes and genre paintings, such as this watercolor rendering of children warming their hands near a wood-burning stove. <BR/><BR/></SPAN></SPAN>", "Dedication" : "Purchased with finds provided by Helen Siegl", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/89-D-337.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/89-D-337.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/89-D-337.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/89-D-337.jpg", "IsPrimary" : "1", "_SurrogateID" : "1546", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8081, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8081", "Disp_Access_No" : "16-MM-32", "_AccNumSort1" : "", "Disp_Create_DT" : "1992", "_Disp_Start_Dat" : "1992", "_Disp_End_Date" : "1992", "Disp_Title" : "Untitled (Abstract Composition)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Nannette Acker Clark", "Sort_Artist" : "Clark, Nannette Acker", "Disp_Dimen" : "22 x 28 in. (55.9 x 71.1 cm)", "Disp_Height" : "22 in.", "Disp_Width" : "28 in.", "Dimen_Extent" : "Sheet", "Medium" : "Offset Lithograph with hand-colored construction, ed. 50", "Support" : "", "Disp_Medium" : "Offset Lithograph with hand-colored construction, ed. 50", "Info_Page_Comm" : "Label from Beyond 2-D: Surface Play with Paper, LaSalle Art Museum, November 1, 2021- May 30, 2022 Nanette Clark is a Philadelphia-based artist and sculptor whose work is inspired by various cultural traditions. She utilizes strong colors, cross-cultural symbols and intricate patterns to portray the philosophical idea of a spiritual journey. In this composition, she creates a three-dimensional abstract landscape by layering vibrantly-colored patterned paper, marked by thick rugged edges and undulating lines. She encourages viewers to explore the visual relationships between the flowing patterns and forms. Tricia Sackor, Class of 2017 ", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © Nannette Acker Clark", "Disp_Obj_Type" : "MIXED MEDIA", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/16-MM-32.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/16-MM-32.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/16-MM-32.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/16-MM-32.jpg", "IsPrimary" : "1", "_SurrogateID" : "9337", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2034, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2034", "Disp_Access_No" : "79-D-153", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Harlequin", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Arthur B. Carles", "Sort_Artist" : "Carles, Arthur B.", "Disp_Dimen" : "10 1/2 x 8 in. (26.7 x 20.3 cm)", "Disp_Height" : "10 1/2 in.", "Disp_Width" : "8 in.", "Dimen_Extent" : "Sheet", "Medium" : "Charcoal", "Support" : "", "Disp_Medium" : "Charcoal", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Born in Philadelphia, Carles studied at PAFA from 1900-1907, then spent several years in France from 1907-1910, where he was influenced by the Modernist work of Cézanne and Matisse. Upon his return to the U.S., he exhibited at the New York Armory Show in 1913, and he taught at PAFA from 1917-1928. <BR/><BR/>Harlequin was a popular Post-Impressionist subject. Carles’ drawing of </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Harlequi</SPAN><SPAN STYLE="font-size:10pt">n is fairly academic and was likely executed prior to his sojourn in France. It does not indicate the Modernist turn his work would later take. After his death, his work was featured in major exhibition retrospectives in Philadelphia and New York.<BR/></SPAN></SPAN>", "Dedication" : "Gift of Edward I. Bernstein", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/79-D-153.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/79-D-153.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/79-D-153.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/79-D-153.jpg", "IsPrimary" : "1", "_SurrogateID" : "1476", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1836, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1836", "Disp_Access_No" : "76-P-178", "_AccNumSort1" : "", "Disp_Create_DT" : "1969-1970", "_Disp_Start_Dat" : "1969", "_Disp_End_Date" : "1970", "Disp_Title" : "Schuylkill Sails", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Walter Reinsel", "Sort_Artist" : "Reinsel, Walter", "Disp_Dimen" : "32 1/8 x 50 1/8 in. (81.6 x 127.3 cm)", "Disp_Height" : "32 1/8 in.", "Disp_Width" : "50 1/8 in.", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of the Artist", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/76-P-178.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/76-P-178.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/76-P-178.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/76-P-178.jpg", "IsPrimary" : "1", "_SurrogateID" : "153", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 107, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/107", "Disp_Access_No" : "03-P-488", "_AccNumSort1" : "", "Disp_Create_DT" : "1974", "_Disp_Start_Dat" : "1974", "_Disp_End_Date" : "1974", "Disp_Title" : "Evanescent Landscape, Descending Sky", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sanford Greenberg", "Sort_Artist" : "Greenberg, Sanford", "Disp_Dimen" : "40 3/4 x 50 7/8 in. (103.5 x 129.2 cm)", "Disp_Height" : "40 3/4 in.", "Disp_Width" : "50 7/8 in.", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Benjamin D. Bernstein", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/03-P-488.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/03-P-488.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/03-P-488.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/03-P-488.jpg", "IsPrimary" : "1", "_SurrogateID" : "21", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5110, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5110", "Disp_Access_No" : "15-P-588", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1935", "_Disp_Start_Dat" : "1930", "_Disp_End_Date" : "1940", "Disp_Title" : "Still Life", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William H. Campbell", "Sort_Artist" : "Campbell, William H.", "Disp_Dimen" : "10 x 14 in. (25.4 x 35.6 cm)", "Disp_Height" : "10 in.", "Disp_Width" : "14 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas board", "Disp_Medium" : "Oil on canvas board", "Info_Page_Comm" : "", "Dedication" : "Gift of Ron Rumford", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-P-588.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-P-588.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-P-588.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-P-588.jpg", "IsPrimary" : "1", "_SurrogateID" : "5215", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2887, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2887", "Disp_Access_No" : "88-G-3006", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "The Door to the Studio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "David Fertig", "Sort_Artist" : "Fertig, David", "Disp_Dimen" : "20 x 28 1/2 in. 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