{ "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" : 3249, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3249", "Disp_Access_No" : "94-P-405", "_AccNumSort1" : "", "Disp_Create_DT" : "1994", "_Disp_Start_Dat" : "1994", "_Disp_End_Date" : "1994", "Disp_Title" : "Misty Morning (North Carolina)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Richard J. Watson", "Sort_Artist" : "Watson, Richard J.", "Disp_Dimen" : "11 1/2 x 10 1/8 in. (29.2 x 25.7 cm)", "Disp_Height" : "11 1/2 in.", "Disp_Width" : "10 1/8 in.", "Dimen_Extent" : "Window Opening", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "Gallery Label: Born in a rural area of North Carolina, Watson studied at the Fleisher Art Memorial and the Pennsylvania Academy of the Fine Arts (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. He has painted murals at various institutions, such as the Church of the Advocate in North Philadelphia, which reflect his concern for social justice issues in an urban environment. This painting suggests the artist’s development from representational work to a more abstract personal style evoking feelings and memories.", "Dedication" : "Purchased with funds provided by the Art Angels", "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/94-P-405.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/94-P-405.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/94-P-405.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/94-P-405.jpg", "IsPrimary" : "1", "_SurrogateID" : "265", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 381, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/381", "Disp_Access_No" : "08-P-538", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1940", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1945", "Disp_Title" : "Wister, Spring Lane, Chestnut Hill", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Anton P. Albers", "Sort_Artist" : "Albers, Anton P.", "Disp_Dimen" : "55 x 64 1/2 in. (139.7 x 163.8 cm)", "Disp_Height" : "55 in.", "Disp_Width" : "64 1/2 in.", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Ann Chahbandour and Jay Robert Stiefel", "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/08-P-538.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/08-P-538.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/08-P-538.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/08-P-538.jpg", "IsPrimary" : "1", "_SurrogateID" : "61", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 110, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/110", "Disp_Access_No" : "03-P-491", "_AccNumSort1" : "", "Disp_Create_DT" : "18th Century", "_Disp_Start_Dat" : "1700", "_Disp_End_Date" : "1799", "Disp_Title" : "William Penn", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Gustavus Hesselius", "Sort_Artist" : "Hesselius, Gustavus", "Disp_Dimen" : "41 x 35 in. (104.1 x 88.9 cm)", "Disp_Height" : "41 in.", "Disp_Width" : "35 in.", "Dimen_Extent" : "", "Medium" : "oil", "Support" : "canvas", "Disp_Medium" : "oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of the Estate of Joanne Porter", "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-491.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/03-P-491.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/03-P-491.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/03-P-491.jpg", "IsPrimary" : "1", "_SurrogateID" : "2354", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3421, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3421", "Disp_Access_No" : "98-P-455", "_AccNumSort1" : "", "Disp_Create_DT" : "1998", "_Disp_Start_Dat" : "1998", "_Disp_End_Date" : "1998", "Disp_Title" : "The Annunciation", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Niko Chocheli", "Sort_Artist" : "Chocheli, Niko", "Disp_Dimen" : "60 x 48 in. (152.4 x 121.9 cm)", "Disp_Height" : "60 in.", "Disp_Width" : "48 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting was commissioned by Brother Daniel Burke, FSC, and La Salle University as part of artist's Year-In-Residency, 1998-1999.", "Dedication" : "Commissioned by La Salle University, 1998", "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/98-P-455.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98-P-455.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98-P-455.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98-P-455.jpg", "IsPrimary" : "1", "_SurrogateID" : "287", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1287, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1287", "Disp_Access_No" : "68-P-47", "_AccNumSort1" : "", "Disp_Create_DT" : "1961", "_Disp_Start_Dat" : "1961", "_Disp_End_Date" : "1961", "Disp_Title" : "Still Life with Artichoke", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "August Charles Cook", "Sort_Artist" : "Cook, August Charles", "Disp_Dimen" : "16 1/2 x 23 1/4 in. (41.9 x 59.1 cm)", "Disp_Height" : "16 1/2 in.", "Disp_Width" : "23 1/4 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "masonite", "Disp_Medium" : "Oil on masonite", "Info_Page_Comm" : "", "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/68-P-47.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/68-P-47.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/68-P-47.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/68-P-47.jpg", "IsPrimary" : "1", "_SurrogateID" : "92", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2020, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2020", "Disp_Access_No" : "78-P-212", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "The Lace Maker", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Nicola D'Ascenzo", "Sort_Artist" : "D'Ascenzo, Nicola", "Disp_Dimen" : "13 5/8 x 10 5/8 in. (34.6 x 27 cm)", "Disp_Height" : "13 5/8 in.", "Disp_Width" : "10 5/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "Gallery Label: Born in Torricella, Italy, D'Ascenzo immigrated to the U.S. in 1882 where he became the founder of D'Ascenzo Stained Glass Studio in Philadelphia. This internationally renowned studio, inspired by the medieval guild system, continues today in Merion, Pennsylvania. With the exception of design studies undertaken at the Scoula Libera, Rome, for a brief period, all of D’Ascenzo’s formal training was at American institutions: The Pennsylvania Academy of Fine Arts, The Pennsylvania Museum School of Industrial Art, and The New York School of Design. Although he gained considerable reputation as an oil and watercolor painter, he is most widely remembered for his stained glass designs. His work may be seen in such well-known buildings as Valley Forge Memorial Chapel; Riverside Church, New York; the National Cathedral, Washington, DC; the Chapels of Yale and Princeton Universities; and the Fidelity Trust Company, Philadelphia. ", "Dedication" : "Gift of the Reverend Msgr. Walter A. 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(25 x 20 cm)", "Disp_Height" : "10 in.", "Disp_Width" : "8 in.", "Dimen_Extent" : "", "Medium" : "Oil on Wood", "Support" : "", "Disp_Medium" : "Oil on Wood", "Info_Page_Comm" : "", "Dedication" : "Gift of Tranda Fischelis in memory of Bill Fischelis", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/17-P-597.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/17-P-597.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/17-P-597.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/17-P-597.jpg", "IsPrimary" : "1", "_SurrogateID" : "9473", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8124, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8124", "Disp_Access_No" : "17-P-594", "_AccNumSort1" : "", "Disp_Create_DT" : "2016", "_Disp_Start_Dat" : "2016", "_Disp_End_Date" : "2016", "Disp_Title" : "Zouri", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "James Brantley", "Sort_Artist" : "Brantley, James", "Disp_Dimen" : "24 x 24 in. 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This painting depicts his young granddaughter Zouri.", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © James Brantley", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/17-P-594.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/17-P-594.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/17-P-594.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/17-P-594.jpg", "IsPrimary" : "1", "_SurrogateID" : "9406", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8304, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8304", "Disp_Access_No" : "17-P-606", "_AccNumSort1" : "", "Disp_Create_DT" : "1975", "_Disp_Start_Dat" : "1975", "_Disp_End_Date" : "1975", "Disp_Title" : "Dancer", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Robert Searles", "Sort_Artist" : "Searles, Charles Robert", "Disp_Dimen" : "73 x 49 in. (185 x 124 cm)", "Disp_Height" : "73 in.", "Disp_Width" : "49 in.", "Dimen_Extent" : "", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : " Searles’ first visit to West Africa in 1972 had a major impact on his work. He was intrigued by the way that Africans dressed. They did not pair solid pants with a patterned blouse as we would in Western culture, but instead mixed patterns to create completely unique combinations. By setting patterns next to each other in his paintings and sculptures, Searles incorporated these African influences. Searles often listened to jazz as he worked, and music was an integral part of his life. In the 1970s, he played percussion with the Afro-American Dance Ensemble at the Ile Ife Cultural Center in Germantown. His dancer paintings were inspired by the Ile Ife dancers, with colorful visual repetitions evoking the rhythms of percussion. ", "Dedication" : "Purchased with funds provided by the Art Angels; Partial Gift of Barbara J. Bullock", "Copyright_Type" : "Artwork © Searles Spicer Estate", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/17-P-606.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/17-P-606.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/17-P-606.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/17-P-606.jpg", "IsPrimary" : "1", "_SurrogateID" : "10351", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }