{ "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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Bower", "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/78-P-212.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78-P-212.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78-P-212.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78-P-212.jpg", "IsPrimary" : "1", "_SurrogateID" : "166", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3039, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3039", "Disp_Access_No" : "91-P-376", "_AccNumSort1" : "", "Disp_Create_DT" : "1980", "_Disp_Start_Dat" : "1980", "_Disp_End_Date" : "1980", "Disp_Title" : "Little Girl", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Peter Paone", "Sort_Artist" : "Paone, Peter", "Disp_Dimen" : "10 x 8 in. 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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" : 3144, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3144", "Disp_Access_No" : "92-P-394", "_AccNumSort1" : "", "Disp_Create_DT" : "1983", "_Disp_Start_Dat" : "1983", "_Disp_End_Date" : "1983", "Disp_Title" : "A Winter Day", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Louis B. Sloan", "Sort_Artist" : "Sloan, Louis B.", "Disp_Dimen" : "10 3/4 x 11 1/2 in. (27.3 x 29.2 cm)", "Disp_Height" : "10 3/4 in.", "Disp_Width" : "11 1/2 in.", "Dimen_Extent" : "Window Opening", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "Gallery Label: A native of Philadelphia, Sloan began attending classes at the Fleisher School of Art when he was 11 years of age. He was the first African American to teach painting at the Pennsylvania Academy of the Fine Arts (PAFA), from 1962-1997. During this period, he also worked as a Painting Conservator at the Philadelphia Museum of Art. 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", "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" : 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. 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Campbell", "Sort_Artist" : "Campbell, William H.", "Disp_Dimen" : "10 x 14 in. 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Mossey", "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-450.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98-P-450.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98-P-450.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98-P-450.jpg", "IsPrimary" : "1", "_SurrogateID" : "283", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2822, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2822", "Disp_Access_No" : "86-P-341", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1950", "_Disp_Start_Dat" : "1945", "_Disp_End_Date" : "1955", "Disp_Title" : "Bermeo, Spain", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Gerard Negelspach", "Sort_Artist" : "Negelspach, Gerard", "Disp_Dimen" : "46 3/4 x 67 1/2 in. 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