{ "objects" : [ { "embark_ID" : 31, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/31", "Disp_Access_No" : "00-D-403", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Shoe Shine Boy", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Julius Bloch", "Sort_Artist" : "Bloch, Julius", "Disp_Dimen" : "8 1/4 x 11 3/8 in. (21 x 28.9 cm)", "Disp_Height" : "8 1/4 in.", "Disp_Width" : "11 3/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Watercolor", "Support" : "", "Disp_Medium" : "Watercolor", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Bloch was a prominent German-born Jewish artist who immigrated to Philadelphia with his family in 1893. He studied at the Philadelphia College of Art (now University of the Arts) and PAFA, where he was influenced by Thomas Eakins. He became an important Social Realist artist known for his sympathetic depictions of working class people, particularly African American men. During the Great Depression, he worked for the Federal Art Project and received national attention for his portrayals of poor and oppressed groups of people. He became an instructor at PAFA in 1948. His work was featured in a major retrospective at the Philadelphia Museum of Art in 1983.<BR/></SPAN></SPAN>", "Dedication" : "Gift of Benjamin D. Bernstein", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/00-D-403.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/00-D-403.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/00-D-403.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/00-D-403.jpg", "IsPrimary" : "1", "_SurrogateID" : "1591", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 304, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/304", "Disp_Access_No" : "07-D-432", "_AccNumSort1" : "", "Disp_Create_DT" : "1975", "_Disp_Start_Dat" : "1975", "_Disp_End_Date" : "1975", "Disp_Title" : "Holding a Dance", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Gladys Nilsson", "Sort_Artist" : "Nilsson, Gladys", "Disp_Dimen" : "5 3/8 x 7 1/2 in. (13.7 x 19.1 cm)", "Disp_Height" : "5 3/8 in.", "Disp_Width" : "7 1/2 in.", "Dimen_Extent" : "Sheet", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor on paper", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Born in Chicago, Nilsson attended the Art Institute of Chicago where she would develop her representational style. There she met her husband Jim Nutt, and the two became involved in the Chicago Imagists during the 1960s and 1970s—Chicago artists who turned towards figural imagery, often laden with fantasy and strangeness. There were three distinct groups of Chicago Imagists which exhibited at the Hyde Park Center. Both Nilsson and her husband were part of the “Hairy Who” group with four other artists, exhibiting together from 1966 to 1968. In 1973 Nilsson was the first “Hairy Who” member to have her own solo show. In Holding a Dance, Nilsson combined watercolor techniques with the exaggerated forms of Surrealism, creating a strange chaotic scene of faceless rubber-limbed figures in movement.<BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/07-D-432.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/07-D-432.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/07-D-432.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/07-D-432.jpg", "IsPrimary" : "1", "_SurrogateID" : "1424", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 910, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/910", "Disp_Access_No" : "13-D-444", "_AccNumSort1" : "", "Disp_Create_DT" : "1979", "_Disp_Start_Dat" : "1979", "_Disp_End_Date" : "1979", "Disp_Title" : "Ink Wash Rendering for Sculpture", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Robert Searles", "Sort_Artist" : "Searles, Charles Robert", "Disp_Dimen" : "20 x 14 1/8 in. (50.8 x 35.9 cm)", "Disp_Height" : "20 in.", "Disp_Width" : "14 1/8 in.", "Dimen_Extent" : "Sheet", "Medium" : "Ink Wash", "Support" : "watercolor paper", "Disp_Medium" : "Ink Wash on watercolor paper", "Info_Page_Comm" : " <SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Searles was an important African American artist from Philadelphia, educated at PAFA, who was active from the 1960s until his death. He traveled to West Africa in the 1970s, at a time when many African American artists were exploring their ancestral African roots. His artwork reflected not only the changing social times but also his evolving vision as an individual who came to embrace universal cross-cultural connections. He created paintings and sculptures that responded to African, Japanese, and Indian cultural traditions, and that often included abstract references to music as well as dance. Many of his abstract works seem to have a life of their own, evoking visual associations with human and animal forms. In this ink wash rendering for a sculpture, he presents a ladder-like form which rests against the wall, but also seems to be emerging from it, creatively playing with notions of space and animation. <BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © Searles Spicer Estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-D-444.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-D-444.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-D-444.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-D-444.jpg", "IsPrimary" : "1", "_SurrogateID" : "1343", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4594, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4594", "Disp_Access_No" : "15-D-456", "_AccNumSort1" : "", "Disp_Create_DT" : "1935", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1935", "Disp_Title" : "Chicago Jazz", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William Sylvester Carter", "Sort_Artist" : "Carter, William Sylvester", "Disp_Dimen" : "16 x 13 3/8 in. (40.6 x 34 cm)", "Disp_Height" : "16 in.", "Disp_Width" : "13 3/8 in.", "Dimen_Extent" : "", "Medium" : "Gouache", "Support" : "", "Disp_Medium" : "Gouache", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Inscribed "Drawn especially for William McBride"<BR/><BR/>Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Carter was an African American painter known for his colorful scenes of city life. Born in St. Louis, Missouri, he moved to Chicago in 1930 to study at the Art Institute of Chicago and the University of Illinois. He was involved in the Chicago Renaissance of African American arts during the 1930s, and he also taught at the South Side Community Art Center. In 1940, he exhibited his work at the important Exhibition of the Art of the American Negro (1851-1940) in Chicago, organized by Alonzo Aden and Alain Locke. He also became involved with the WPA mural program during the 1940s.<BR/><BR/>This gouache painting was made for William McBride; another African American artist who trained at the Art Institute who became involved in the Chicago Renaissance. In representing </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Chicago Jazz, </SPAN><SPAN STYLE="font-size:10pt">Carter combines various musical instruments and figures into a Cubist-inspired assembling of forms.<BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-D-456.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-D-456.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-D-456.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-D-456.jpg", "IsPrimary" : "1", "_SurrogateID" : "3475", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4595, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4595", "Disp_Access_No" : "15-D-457", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1960", "_Disp_Start_Dat" : "1955", "_Disp_End_Date" : "1965", "Disp_Title" : "The Young Fisherman ", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frederick Jones", "Sort_Artist" : "Jones, Frederick", "Disp_Dimen" : "16 x 22 in. (40.6 x 55.9 cm)", "Disp_Height" : "16 in.", "Disp_Width" : "22 in.", "Dimen_Extent" : "Sheet", "Medium" : "Mixed media on artist board", "Support" : "", "Disp_Medium" : "Mixed media on artist board", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Originally from Georgetown, South Carolina, Jones began drawing at five years old. After his family moved to Atlanta, Georgia, Jones continued to develop his artistic skills under the tutelage of noted African American artist Hale Woodruff, who taught at nearby Spelman College. While he pursued training to become a professional artist, he also worked for the Coca-Cola Company to earn a living. The C.E.O. of Coca-Cola, recognizing Jones’ talent, transferred him to the Chicago plant in 1940 and sponsored his studies at the Art Institute of Chicago. From 1943 to 1946, Jones paused his artistic studies to serve in the U.S. Navy. After World War II, he resumed his work at the Coca-Cola factory as well as exhibited and sold his artwork successfully on the side. Around 1973, Jones retired early from Coca-Cola with a full pension in order to devote himself full-time to his art. <BR/><BR/>Jones’ distinctive artistic style is characterized by a Neo-Romanticism that often borders on Surrealism. Like many other African American artists of his time, he looked back to the arts of Africa for inspiration, particularly beginning in the 1950s. With The Young Fisherman, Jones combined biblical references to Mary and the Christ Child, and the symbolism of Christ as a fisherman; with the image of a black Madonna bearing mask-like features resembling Yoruba sculpture from Nigeria, suggestive of a Pan-African aesthetic.<BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-D-457.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-D-457.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-D-457.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-D-457.jpg", "IsPrimary" : "1", "_SurrogateID" : "3476", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4439, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4439", "Disp_Access_No" : "15-D-458", "_AccNumSort1" : "", "Disp_Create_DT" : "1921", "_Disp_Start_Dat" : "1921", "_Disp_End_Date" : "1921", "Disp_Title" : "Cadmus Saw Harmonia", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Virginia Sterrett", "Sort_Artist" : "Sterrett, Virginia", "Disp_Dimen" : "14 1/4 x 10 3/4 in. (36.2 x 27.3 cm)", "Disp_Height" : "14 1/4 in.", "Disp_Width" : "10 3/4 in.", "Dimen_Extent" : "Sheet", "Medium" : "Gouache, pen and ink", "Support" : "illustration board", "Disp_Medium" : "Gouache, pen and ink on illustration board", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">"Cadmus beheld a female figure, wonderfully beautiful"<BR/>Frontispiece to "Tanglewood Tales" by Nathaniel Hawthorne (Philadelphia: Penn Publishing, 1921)<BR/><BR/>Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:</SPAN><SPAN STYLE="font-size:10pt"><BR/><BR/>From early on in life, Sterrett had a passion for art. While in high school she received a scholarship to attend the Art Institute of Chicago. She received her first commission from the Penn Publishing Company to illustrate </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Old French Fairy Tales</SPAN><SPAN STYLE="font-size:10pt"> (1920). She was 19 years old and had recently been diagnosed with tuberculosis. She was soon commissioned to make illustrations for another book, Tanglewood Tales, by Nathaniel Hawthorne. Unfortunately, while her art was on the rise, her health was on the decline; and her illness greatly affected the rate at which she could complete her drawings. She left commissions uncompleted at her death in 1931.<BR/><BR/>Sterrett’s illustrations for the </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Tanglewood Tales</SPAN><SPAN STYLE="font-size:10pt"> reveal the influence of European design styles such as Art Nouveau and Art Deco. Art Nouveau (also known as Jugendstil), which reached the height of its popularity from 1890 to 1910, was inspired by organic forms, such as plants and flowers, and emphasized harmony with nature. In contrast, the Art Deco style, which developed around 1915 and became influential in the 1920s and 1930s, employed a more geometric visual language celebrating industrial order and embracing modern technologies. In Cadmus Saw Harmonia, the vertical columns and the checkerboard-patterned floor emphasize the ordered nature of Cadmus’ palace, while the flowers on Harmonia’s cloak and on the curtain of the arched doorway highlight the beautiful appearance of this royal stranger described in Hawthorne’s story of “The Dragon’s Teeth.”<BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds from the Art Angels", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-D-458.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-D-458.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-D-458.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-D-458.jpg", "IsPrimary" : "1", "_SurrogateID" : "3417", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5063, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5063", "Disp_Access_No" : "15-D-462", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1930-1940", "_Disp_Start_Dat" : "1930", "_Disp_End_Date" : "1940", "Disp_Title" : "Circus Comes to Town", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Beatrice Levy", "Sort_Artist" : "Levy, Beatrice", "Disp_Dimen" : "19 x 24 in. (48.3 x 61 cm)", "Disp_Height" : "19 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor on paper", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Originally from Chicago, Levy took classes at the Art Institute of Chicago; then in 1915 she traveled to Provincetown and New York City where she studied printmaking. In the 1930s she worked for the Illinois Art Project of the WPA, which is where she probably painted </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Circus Comes to Town</SPAN><SPAN STYLE="font-size:10pt">. The subject of the traveling circus was popular among American Scene painters and was illustrative of the historical shift that took place after World War I, as American artists turned inward to portray scenes of American life which were relevant to and appreciated by their American audiences, including Americans living in rural areas of the Midwest. <BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-D-462.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-D-462.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-D-462.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-D-462.jpg", "IsPrimary" : "1", "_SurrogateID" : "5009", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-D-462_verso.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-D-462_verso.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-D-462_verso.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-D-462_verso.jpg", "IsPrimary" : "0", "_SurrogateID" : "5010", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1668, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1668", "Disp_Access_No" : "76-D-76", "_AccNumSort1" : "", "Disp_Create_DT" : "1885", "_Disp_Start_Dat" : "1885", "_Disp_End_Date" : "1885", "Disp_Title" : "Peterborough Cathedral - The West Front 1885", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Joseph Pennell", "Sort_Artist" : "Pennell, Joseph", "Disp_Dimen" : "14 1/4 x 21 1/8 in. (36.2 x 53.7 cm)", "Disp_Height" : "14 1/4 in.", "Disp_Width" : "21 1/8 in.", "Dimen_Extent" : "Sheet", "Medium" : "Pen and ink, with wash; white heightening", "Support" : "", "Disp_Medium" : "Pen and ink, with wash; white heightening", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Joseph Pennell was born to a Philadelphia Quaker family, and attended Germantown Friends School and PAFA. He spent much time traveling and working in Europe and, like his close friend James Abbott McNeill Whistler, he later made his home in London. During his lifetime, Pennell was a prolific artist and produced more than 4,700 drawings, 900 etchings and mezzotints, and 600 lithographs. He had numerous books published, both as an author and as an illustrator, many of them in collaboration with his wife, Elizabeth Robins Pennell. His publications include several books on drawing and printmaking, as well as a biography of Whistler that he wrote with his wife in 1908. The Pennells moved back to the United States during World War I and settled in Brooklyn. <BR/><BR/>Pennell’s drawing Peterborough Cathedral - The West Front served as an illustration of </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Mariana Griswold </SPAN><SPAN STYLE="font-size:10pt">Rensselaer’s articles for </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">The Century Magazine </SPAN><SPAN STYLE="font-size:10pt">about cathedrals of England and France. His academic training is evident in his precise rendering of the cathedral’s architecture. </SPAN><SPAN STYLE="font-family:'Book Antiqua';font-size:14pt"><BR/></SPAN></SPAN>", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/76-D-76.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/76-D-76.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/76-D-76.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/76-D-76.jpg", "IsPrimary" : "1", "_SurrogateID" : "1346", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1847, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1847", "Disp_Access_No" : "77-D-110", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Ecclesiastes", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Fritz Eichenberg", "Sort_Artist" : "Eichenberg, Fritz", "Disp_Dimen" : "9 5/8 x 7 7/8 in. (24.4 x 20 cm)", "Disp_Height" : "9 5/8 in.", "Disp_Width" : "7 7/8 in.", "Dimen_Extent" : "Sheet", "Medium" : "Pen and Pencil", "Support" : "", "Disp_Medium" : "Pen and Pencil", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">A public critic of Nazism, Eichenberg left his German homeland in 1933 and immigrated with his family to New York City where he became employed by the Federal Art Project. He taught art at the Pratt Institute and the University of Rhode Island, and he became a prolific illustrator who produced many artworks that addressed themes of social justice, non-violence and spirituality. Although he grew up in a non-religious family, Eichenberg was attracted to Taoism, Zen Buddhism, and Quakerism. He joined the Religious Society of Friends in 1940 and later contributed illustrations to Dorothy Day’s newspaper, </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">The Catholic Worker</SPAN><SPAN STYLE="font-size:10pt">. Eichenberg’s drawing of Ecclesiastes was reproduced in an edition of wood engravings, and demonstrates the artist’s expressive and non-traditional approach to religious subject matter.<BR/></SPAN></SPAN>", "Dedication" : "", "Copyright_Type" : "Art © Estate of Fritz Eichenberg/Licensed by VAGA, New York, NY", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77-D-110.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77-D-110.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77-D-110.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77-D-110.jpg", "IsPrimary" : "1", "_SurrogateID" : "1614", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1949, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1949", "Disp_Access_No" : "78-D-128", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Scribners Magazine Cover, Venetian Gondola Scene", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Wilfred J. Jones", "Sort_Artist" : "Jones, Wilfred J.", "Disp_Dimen" : "20 1/2 x 14 1/4 in. (52.1 x 36.2 cm)", "Disp_Height" : "20 1/2 in.", "Disp_Width" : "14 1/4 in.", "Dimen_Extent" : "Sheet", "Medium" : "Gouache", "Support" : "cardboard", "Disp_Medium" : "Gouache on cardboard", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Jones was a 20th century Philadelphia painter and illustrator. He was a frequent contributor to </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Scribner’s Magazine covers</SPAN><SPAN STYLE="font-size:10pt">, producing several images for the popular journal. His illustrations are marked by their bold design, with thick outlining and broad flat areas of color. This painting of a masquerading couple riding in a Venetian gondola down the Grand Canal is suggestive of a romantic European experience and was likely made to illustrate a fiction story in</SPAN><SPAN STYLE="font-size:10pt;font-style:italic"> Scribner’s Magazine.</SPAN><SPAN STYLE="font-size:10pt"><BR/></SPAN></SPAN>", "Dedication" : "Gift of Mrs. Elizabeth Jones Greenhall (artist's daughter)", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78-D-128.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78-D-128.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78-D-128.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78-D-128.jpg", "IsPrimary" : "1", "_SurrogateID" : "1472", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2025, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2025", "Disp_Access_No" : "79-D-141", "_AccNumSort1" : "", "Disp_Create_DT" : "1923", "_Disp_Start_Dat" : "1923", "_Disp_End_Date" : "1923", "Disp_Title" : "The Bridge of Ronda (Spain)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edith Emerson", "Sort_Artist" : "Emerson, Edith", "Disp_Dimen" : "14 3/4 x 10 3/8 in. (37.5 x 26.4 cm)", "Disp_Height" : "14 3/4 in.", "Disp_Width" : "10 3/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Pencil + Watercolor + Gouache", "Support" : "", "Disp_Medium" : "Pencil + Watercolor + Gouache", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Born in Ohio, Emerson trained at the Art Institute of Chicago before moving to Philadelphia to study at PAFA under Cecilia Beaux and Violet Oakley. Emerson assisted Oakley in her studio between 1917 and 1930, developing a partnership which lasted until Oakley’s death in 1961. Emerson taught art at the Agnes Irwin School from 1916 to 1927; at the Philadelphia College of Art from 1929 to 1936; and at Chestnut Hill College 1948 to 1956. She also worked as a curator and director of the Woodmere Art Museum from the early 1940s through 1978. She traveled widely in Europe, including Spain, where she was inspired to paint the 18th century Puente Nuevo (New Bridge) in the town of Ronda.</SPAN><SPAN STYLE="font-family:'Book Antiqua';font-size:14pt"><BR/></SPAN></SPAN>", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/79-D-141.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/79-D-141.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/79-D-141.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/79-D-141.jpg", "IsPrimary" : "1", "_SurrogateID" : "1615", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2034, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2034", "Disp_Access_No" : "79-D-153", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Harlequin", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Arthur B. Carles", "Sort_Artist" : "Carles, Arthur B.", "Disp_Dimen" : "10 1/2 x 8 in. (26.7 x 20.3 cm)", "Disp_Height" : "10 1/2 in.", "Disp_Width" : "8 in.", "Dimen_Extent" : "Sheet", "Medium" : "Charcoal", "Support" : "", "Disp_Medium" : "Charcoal", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Born in Philadelphia, Carles studied at PAFA from 1900-1907, then spent several years in France from 1907-1910, where he was influenced by the Modernist work of Cézanne and Matisse. Upon his return to the U.S., he exhibited at the New York Armory Show in 1913, and he taught at PAFA from 1917-1928. <BR/><BR/>Harlequin was a popular Post-Impressionist subject. Carles’ drawing of </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Harlequi</SPAN><SPAN STYLE="font-size:10pt">n is fairly academic and was likely executed prior to his sojourn in France. It does not indicate the Modernist turn his work would later take. After his death, his work was featured in major exhibition retrospectives in Philadelphia and New York.<BR/></SPAN></SPAN>", "Dedication" : "Gift of Edward I. Bernstein", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/79-D-153.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/79-D-153.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/79-D-153.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/79-D-153.jpg", "IsPrimary" : "1", "_SurrogateID" : "1476", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2348, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2348", "Disp_Access_No" : "82-D-234", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1945-1948", "_Disp_Start_Dat" : "1945", "_Disp_End_Date" : "1948", "Disp_Title" : "Great Women of the Bible, "The Raising of Dorcas by Saint Peter", sketch", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Violet Oakley", "Sort_Artist" : "Oakley, Violet", "Disp_Dimen" : "18 7/8 x 12 1/4 in. (47.9 x 31.1 cm)", "Disp_Height" : "18 7/8 in.", "Disp_Width" : "12 1/4 in.", "Dimen_Extent" : "Sheet", "Medium" : "Charcoal, pastel", "Support" : "paper", "Disp_Medium" : "Charcoal, pastel on paper", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">From 1945-1949 Oakley worked on 10 designs for the series Great Women of the Bible murals for the First Presbyterian Church in Germantown. For each design, she completed a series of preliminary sketches, figure studies, and scaled drawings prior to executing the final mural painting. <BR/><BR/>In the biblical story, Dorcas is described as a </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">mathetria,</SPAN><SPAN STYLE="font-size:10pt"> meaning “female disciple.” She is the only woman in the bible given that title because of her strong family values, commitment to her community, and faithfulness as holy woman. The drawing on bottom depicts the story of her rising from the dead surrounded by friends and family after Saint Peter had visited and prayed over her. After a time, he commands her to waken, extending his hand to help her rise as she opens her eyes.<BR/><BR/>In the late 19th and early 20th centuries, the feminist “New Woman” movement encouraged women to become entrepreneurs in their professional education and careers. Violet Oakley and several other female artists lived together at the Red Rose Inn in Villanova to pursue the creation of “art for art’s sake.” Oakley and her friends later moved to a home in Mount Airy which they called Cogslea, now listed on the National Register of Historic Places. Known collectively as the “Red Rose Girls,” these artists strived to be independent and to help raise the value and opinion of women’s artwork. </SPAN><SPAN STYLE="font-family:'Book Antiqua';font-size:14pt"><BR/><BR/></SPAN></SPAN>", "Dedication" : "Gift of the Violet Oakley Memorial Foundation", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/82-D-234.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/82-D-234.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/82-D-234.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/82-D-234.jpg", "IsPrimary" : "1", "_SurrogateID" : "1634", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2402, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2402", "Disp_Access_No" : "82-D-288", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1945-1948", "_Disp_Start_Dat" : "1945", "_Disp_End_Date" : "1948", "Disp_Title" : "Great Women of the Bible, "The Raising of Dorcas by Saint Peter", final sketch", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Violet Oakley", "Sort_Artist" : "Oakley, Violet", "Disp_Dimen" : "11 x 15 3/8 in. (27.9 x 39.1 cm)", "Disp_Height" : "11 in.", "Disp_Width" : "15 3/8 in.", "Dimen_Extent" : "Sheet", "Medium" : "Gouache, graphite, red chalk, gold gilt", "Support" : "board", "Disp_Medium" : "Gouache, graphite, red chalk, gold gilt on board", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">From 1945-1949 Oakley worked on 10 designs for the series Great Women of the Bible murals for the First Presbyterian Church in Germantown. For each design, she completed a series of preliminary sketches, figure studies, and scaled drawings prior to executing the final mural painting. <BR/><BR/>In the biblical story, Dorcas is described as a </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">mathetria,</SPAN><SPAN STYLE="font-size:10pt"> meaning “female disciple.” She is the only woman in the bible given that title because of her strong family values, commitment to her community, and faithfulness as holy woman. The drawing on bottom depicts the story of her rising from the dead surrounded by friends and family after Saint Peter had visited and prayed over her. After a time, he commands her to waken, extending his hand to help her rise as she opens her eyes.<BR/><BR/>In the late 19th and early 20th centuries, the feminist “New Woman” movement encouraged women to become entrepreneurs in their professional education and careers. Violet Oakley and several other female artists lived together at the Red Rose Inn in Villanova to pursue the creation of “art for art’s sake.” Oakley and her friends later moved to a home in Mount Airy which they called Cogslea, now listed on the National Register of Historic Places. Known collectively as the “Red Rose Girls,” these artists strived to be independent and to help raise the value and opinion of women’s artwork. </SPAN></SPAN>", "Dedication" : "Gift of the Violet Oakley Memorial Foundation", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/82-D-288.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/82-D-288.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/82-D-288.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/82-D-288.jpg", "IsPrimary" : "1", "_SurrogateID" : "1532", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2405, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2405", "Disp_Access_No" : "82-D-291", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1945-1948", "_Disp_Start_Dat" : "1945", "_Disp_End_Date" : "1948", "Disp_Title" : "Great Women of the Bible, "The Coming of the Wise Men from the East", final sketch", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Violet Oakley", "Sort_Artist" : "Oakley, Violet", "Disp_Dimen" : "31 1/2 x 36 in. (80 x 91.4 cm)", "Disp_Height" : "31 1/2 in.", "Disp_Width" : "36 in.", "Dimen_Extent" : "window opening", "Medium" : "Gouache, graphite, gold gilt", "Support" : "board", "Disp_Medium" : "Gouache, graphite, gold gilt on board", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">From 1945-1949 Oakley worked on 10 designs for the series Great Women of the Bible murals for the First Presbyterian Church in Germantown. For each design, she completed a series of preliminary sketches, figure studies, and scaled drawings prior to executing the final mural painting. <BR/><BR/>In the late 19th and early 20th centuries, the feminist “New Woman” movement encouraged women to become entrepreneurs in their professional education and careers. Violet Oakley and several other female artists lived together at the Red Rose Inn in Villanova to pursue the creation of “art for art’s sake.” Oakley and her friends later moved to a home in Mount Airy which they called Cogslea, now listed on the National Register of Historic Places. Known collectively as the “Red Rose Girls,” these artists strived to be independent and to help raise the value and opinion of women’s artwork. </SPAN></SPAN>", "Dedication" : "Gift of the Violet Oakley Memorial Foundation", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/82-D-291.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/82-D-291.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/82-D-291.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/82-D-291.jpg", "IsPrimary" : "1", "_SurrogateID" : "1318", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2406, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2406", "Disp_Access_No" : "82-D-292", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1945-1948", "_Disp_Start_Dat" : "1945", "_Disp_End_Date" : "1948", "Disp_Title" : "Great Women of the Bible, "Jesus in the house of Mary and Martha", Head of Christ", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Violet Oakley", "Sort_Artist" : "Oakley, Violet", "Disp_Dimen" : "20 3/4 x 25 3/8 in. (52.7 x 64.5 cm)", "Disp_Height" : "20 3/4 in.", "Disp_Width" : "25 3/8 in.", "Dimen_Extent" : "Sheet", "Medium" : "Charcoal, white heightening", "Support" : "paper", "Disp_Medium" : "Charcoal, white heightening on paper", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Oakley was born in New Jersey, studied at the Art Students League of New York in 1892, and then traveled in England and France. Upon her return to Philadelphia, she studied briefly at PAFA in 1896 before joining Howard Pyle's illustration class at Drexel Institute. She was a successful illustrator and muralist whose work reflected the influence of English pre-Raphaelite artists. She was the first woman to be awarded a Gold Medal of Honor from PAFA in 1905. Oakley completed 43 murals in the Pennsylvania State Capital. The mock-ups and sketches in La Salle University Art Museum’s collection, including Head of Christ, were made as preliminary designs for Oakley’s Great Women of the Bible murals at the First Presbyterian Church in Germantown, Philadelphia, executed from 1945-1949.<BR/></SPAN></SPAN>", "Dedication" : "Gift of the Violet Oakley Memorial Foundation", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/82-D-292.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/82-D-292.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/82-D-292.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/82-D-292.jpg", "IsPrimary" : "1", "_SurrogateID" : "1863", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2700, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2700", "Disp_Access_No" : "85-D-313", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1900", "_Disp_Start_Dat" : "1895", "_Disp_End_Date" : "1905", "Disp_Title" : "Back of Draped Female Holding Vase", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas School of Eakins", "Sort_Artist" : "Eakins, Thomas School of", "Disp_Dimen" : "13 x 7 in. (33 x 17.8 cm)", "Disp_Height" : "13 in.", "Disp_Width" : "7 in.", "Dimen_Extent" : "Sheet", "Medium" : "Pencil, heightened with white", "Support" : "", "Disp_Medium" : "Pencil, heightened with white", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Eakins was arguably the greatest American Realist of his generation. He was important as an educator as well as a painter. Born in Philadelphia, he studied at PAFA and took anatomy courses at Jefferson Medical College in the 1860s, then traveled in Europe and studied with French Realist painters Jean-Léon Gérôme and Léon Bonnat. He was concerned with rendering anatomical precision in his art, and he stressed the importance of working from live models rather than sculptural casts. He returned to Philadelphia and began teaching at PAFA in 1876. He served as director of the school from 1882 to 1886, advancing the institution’s prestigious reputation and attracting talented students who emulated his figural drawing techniques, as exemplified in </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Back of Draped Female Holding Vase.<BR/></SPAN><SPAN STYLE="font-size:10pt"><BR/></SPAN></SPAN>", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/85-D-313.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/85-D-313.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/85-D-313.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/85-D-313.jpg", "IsPrimary" : "1", "_SurrogateID" : "1538", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2781, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2781", "Disp_Access_No" : "86-D-323", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Study of a Black Man", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Julius Bloch", "Sort_Artist" : "Bloch, Julius", "Disp_Dimen" : "4 1/8 x 6 7/8 in. (10.5 x 17.5 cm)", "Disp_Height" : "4 1/8 in.", "Disp_Width" : "6 7/8 in.", "Dimen_Extent" : "Sheet", "Medium" : "Pen and brown ink, with gray wash", "Support" : "", "Disp_Medium" : "Pen and brown ink, with gray wash", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Bloch was a prominent German-born Jewish artist who immigrated to Philadelphia with his family in 1893. He studied at the Philadelphia College of Art (now University of the Arts) and PAFA, where he was influenced by Thomas Eakins. He became an important Social Realist artist known for his sympathetic depictions of working class people, particularly African American men. During the Great Depression, he worked for the Federal Art Project and received national attention for his portrayals of poor and oppressed groups of people. He became an instructor at PAFA in 1948. His work was featured in a major retrospective at the Philadelphia Museum of Art in 1983. These two artworks illustrate variations in Bloch’s drawing techniques, from a detailed portrayal of facial features in </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Study of a Black Man</SPAN><SPAN STYLE="font-size:10pt">, to a sketchier rendering of an outdoor scene in Shoe Shine Boy. </SPAN><BR/></SPAN>", "Dedication" : "Gift of Benjamin D. Bernstein", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86-D-323.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86-D-323.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86-D-323.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86-D-323.jpg", "IsPrimary" : "1", "_SurrogateID" : "5786", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2852, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2852", "Disp_Access_No" : "88-D-328", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "The Burning Harpoon", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Benton Murdoch Spruance", "Sort_Artist" : "Spruance, Benton Murdoch", "Disp_Dimen" : "30 1/4 x 22 in. (76.8 x 55.9 cm)", "Disp_Height" : "30 1/4 in.", "Disp_Width" : "22 in.", "Dimen_Extent" : "Sheet", "Medium" : "Charcoal", "Support" : "", "Disp_Medium" : "Charcoal", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Spruance was a Philadelphia painter and printmaker based in Germantown. He studied painting at PAFA, and in his senior year he won a scholarship which enabled him to travel to France. He taught at Beaver College (now Arcadia University) and the Philadelphia College of Art, and was known for his innovations in color lithography. This drawing was the basis for a lithograph called The Burning Harpoon, published in 1968 as part of a set of 26 fine art lithographs illustrating Herman Melville’s novel, Moby Dick: The Passion of Ahab. This set of haunting images was among the final works of Spruance, who died before the project was completed. <BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/88-D-328.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/88-D-328.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/88-D-328.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/88-D-328.jpg", "IsPrimary" : "1", "_SurrogateID" : "1865", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2911, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2911", "Disp_Access_No" : "89-D-337", "_AccNumSort1" : "", "Disp_Create_DT" : "1877", "_Disp_Start_Dat" : "1877", "_Disp_End_Date" : "1877", "Disp_Title" : "Warming the Hands at Play", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Bacon Wood Jr.", "Sort_Artist" : "Wood Jr., George Bacon", "Disp_Dimen" : "7 1/4 x 10 in. (18.4 x 25.4 cm)", "Disp_Height" : "7 1/4 in.", "Disp_Width" : "10 in.", "Dimen_Extent" : "Sheet", "Medium" : "Watercolor", "Support" : "", "Disp_Medium" : "Watercolor", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Wood was a Quaker painter who lived and worked primarily in the Germantown area of Philadelphia. From the 1860s onwards, he also spent summers in the Adirondacks near Elizabethtown, New York. He studied and exhibited at PAFA and the National Academy of Design. Like many of his colleagues, he was influenced by the writings of English artist John Ruskin, who promoted life studies of nature. Wood was a member of the Philadelphia Sketch Club, and he became known for his landscapes and genre paintings, such as this watercolor rendering of children warming their hands near a wood-burning stove. <BR/><BR/></SPAN></SPAN>", "Dedication" : "Purchased with finds provided by Helen Siegl", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/89-D-337.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/89-D-337.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/89-D-337.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/89-D-337.jpg", "IsPrimary" : "1", "_SurrogateID" : "1546", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2979, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2979", "Disp_Access_No" : "90-D-338(11)", "_AccNumSort1" : "", "Disp_Create_DT" : "1989", "_Disp_Start_Dat" : "1989", "_Disp_End_Date" : "1989", "Disp_Title" : "Studies for La Salle's Triptych: Exodus- Central figures at top of hill", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Bo Bartlett", "Sort_Artist" : "Bartlett, Bo", "Disp_Dimen" : "38 3/8 x 28 3/8 in. (97.5 x 72.1 cm)", "Disp_Height" : "38 3/8 in.", "Disp_Width" : "28 3/8 in.", "Dimen_Extent" : "Sheet", "Medium" : "Charcoal, graphite", "Support" : "", "Disp_Medium" : "Charcoal, graphite", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:</SPAN><SPAN STYLE="font-size:10pt"><BR/><BR/>Originally from Columbus, Georgia, Bo Bartlett studied at PAFA where he learned Realist principles to help shape his Modernist style. After time spent traveling in Europe he was included in Philadelphia Magazine’s “81 People to Watch.” Five years later he was proclaimed Philadelphia Magazine’s </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Best Artist in Philly</SPAN><SPAN STYLE="font-size:10pt">. <BR/><BR/>This drawing of Central Figures at the Top of Hill was a study for a series of large paintings in Olney Hall’s main entrance. This triptych, entitled </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Exodus</SPAN><SPAN STYLE="font-size:10pt">, features some of La Salle University’s faculty and students, such as Brother Francis McCormick and Dr. Joseph Kane. The two central figures represented in this drawing are close personal friends of the artist. In April of 1989, Bartlett gathered his subjects at Belfield Farm to take photographs for this composition. Bartlett’s ideas for his paintings typically arise from recurring dreams which he usually works out in sketches. The idea behind </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Exodus</SPAN><SPAN STYLE="font-size:10pt"> is that humans are set free from ignorance through the enlightenment of education, and the hope of renewal with an understanding of faith.</SPAN><SPAN STYLE="font-family:'Book Antiqua';font-size:14pt"><BR/></SPAN></SPAN>", "Dedication" : "Gift of the Artist", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/90-D-338(11).jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/90-D-338(11).jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/90-D-338(11).jpg", "IIIF_URL": "http://iiif.gallerysystems.com/90-D-338(11).jpg", "IsPrimary" : "1", "_SurrogateID" : "1868", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3112, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3112", "Disp_Access_No" : "92-D-347", "_AccNumSort1" : "", "Disp_Create_DT" : "1889", "_Disp_Start_Dat" : "1889", "_Disp_End_Date" : "1889", "Disp_Title" : "Young Man with An Urn", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Cecilia Beaux", "Sort_Artist" : "Beaux, Cecilia", "Disp_Dimen" : "9 1/8 x 6 7/8 in. (23.2 x 17.5 cm)", "Disp_Height" : "9 1/8 in.", "Disp_Width" : "6 7/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Black chalk", "Support" : "", "Disp_Medium" : "Black chalk", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:</SPAN><SPAN STYLE="font-size:10pt"><BR/><BR/>Beaux was an important American portrait painter and educator. Born in Philadelphia, as a youth she took portrait lessons with a relative, Catherine Ann Drinker, who owned a portrait studio. Beaux began taking art classes at the PAFA in 1876. She studied with PAFA director, Christian Schussele, rather than with Thomas Eakins, whose progressive views on life drawing class were very controversial. She traveled to France in 1888-1889, studying at the Académie Julian and the Académie Colarossi in Paris. She then returned to Philadelphia, where she established herself as a professional portrait painter. She became the first woman to join the teaching staff of PAFA in 1895.<BR/><BR/>According to the inscription at the bottom left, this drawing was made at the Académie Julien in Paris in 1889. Beaux likely created the image as part of a life study class that featured a nude model. At the time, women were not permitted to enroll into French art academies such as the École des Beaux-Arts, but the Académie Julien provided female students with an alternative education and training.<BR/></SPAN><SPAN STYLE="font-family:'Segoe UI';font-size:14pt"><BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Benjamin D. Bernstein Acquisition fund and by Dr. and Mrs. Dennis O'Brien", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/92-D-347.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92-D-347.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92-D-347.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92-D-347.jpg", "IsPrimary" : "1", "_SurrogateID" : "1581", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3226, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3226", "Disp_Access_No" : "94-D-357", "_AccNumSort1" : "", "Disp_Create_DT" : "1992", "_Disp_Start_Dat" : "1992", "_Disp_End_Date" : "1992", "Disp_Title" : "Midnight Serenade", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Richard J. Watson", "Sort_Artist" : "Watson, Richard J.", "Disp_Dimen" : "10 x 6 in. (25.4 x 15.2 cm)", "Disp_Height" : "10 in.", "Disp_Width" : "6 in.", "Dimen_Extent" : "Sheet", "Medium" : "Acrylic and watercolor", "Support" : "paper", "Disp_Medium" : "Acrylic and watercolor on paper", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Born in a rural area of North Carolina, Watson studied at the Fleisher Art Memorial and PAFA. He has worked at the African American Museum in Philadelphia for many years, most recently as Exhibitions Manager and Artist in Residence. In 1983, Watson became a member of Recherché, a Philadelphia exhibition group dedicated to showing the diversity of work by African-American artists, inclusive of both representational and abstract art. This work is representative of Watson’s imagination and creativity in his abstract painterly rendering of a moonlit landscape awash with color.<BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/94-D-357.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/94-D-357.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/94-D-357.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/94-D-357.jpg", "IsPrimary" : "1", "_SurrogateID" : "1552", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3231, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3231", "Disp_Access_No" : "94-D-365", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1710", "_Disp_Start_Dat" : "1705", "_Disp_End_Date" : "1715", "Disp_Title" : "Portrait of a Young Woman", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Henrietta Johnston", "Sort_Artist" : "Johnston, Henrietta", "Disp_Dimen" : "14 5/8 x 10 5/8 in. (37.1 x 27 cm)", "Disp_Height" : "14 5/8 in.", "Disp_Width" : "10 5/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Pastel", "Support" : "paper", "Disp_Medium" : "Pastel on paper", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Johnston was both the earliest known female artist and the first pastelist in the English colonies of North America. Probably born near Rennes, France, she lived in England and Ireland before moving to Charleston, South Carolina, with her second husband who was a commissary of the Church of England. Johnston supplemented her husband’s limited income by selling modestly-priced portraits in pastel. Only about 40 portraits by Johnston survive, making this </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Portrait of a Young Woman</SPAN><SPAN STYLE="font-size:10pt"> a rare example. <BR/><BR/>A pastel is a crayon made of loosely-bound powdered pigment bound with a weak adhesive, and part of the pastel portrait’s appeal is its fragility. The French encyclopedist Denis Diderot described the medium as a “precious powder that will fly from its support, half of it scattered in the air and half clinging to Saturn’s long feathers.” Pastel portraits of society’s elites were in high demand in 18th-century France and England, as well as in their colonies. Because of the lack of varnish on their surface, the colors in pastel drawings remain brilliant and fresh, and would have sparkled in 18th-century interiors lit by candlelight and filled with mirrors and gilt furnishings.</SPAN><SPAN STYLE="font-family:'Book Antiqua';font-size:14pt"><BR/></SPAN></SPAN>", "Dedication" : "Gift of Ann Chahbandour and Jay Robert Stiefel", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/94-D-365.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/94-D-365.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/94-D-365.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/94-D-365.jpg", "IsPrimary" : "1", "_SurrogateID" : "5788", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3263, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3263", "Disp_Access_No" : "95-D-370", "_AccNumSort1" : "", "Disp_Create_DT" : "1920", "_Disp_Start_Dat" : "1920", "_Disp_End_Date" : "1920", "Disp_Title" : "Serenading Cowboy", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Dean Cornwell", "Sort_Artist" : "Cornwell, Dean", "Disp_Dimen" : "17 x 24 1/2 in. (43.2 x 62.2 cm)", "Disp_Height" : "17 in.", "Disp_Width" : "24 1/2 in.", "Dimen_Extent" : "Sheet", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Cornwell was an illustrator and a muralist. Born in Louisville, Kentucky, he studied at the Art Institute of Chicago and at the Art Students League of New York. Nicknamed the “Dean of Illustrators,” Cornwell’s designs appeared in newspapers such as The Louisville Herald and The Chicago Tribune; in popular journals such as </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Cosmopolitan</SPAN><SPAN STYLE="font-size:10pt">, </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Harper’s Bazaar</SPAN><SPAN STYLE="font-size:10pt">, and </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Good Housekeeping</SPAN><SPAN STYLE="font-size:10pt">; and in books by Pearl S. Buck, Ernest Hemingway, W. Somerset Maugham, Owen Wister and others. He painted over 20 public murals, including the Los Angeles Public Library in the late 1920s, Rockefeller Center in New York, and the 1939 World's Fair. He taught at the Art Students League and elsewhere, and his work has been exhibited in numerous museums, including the Whitney Museum of American Art, PAFA, and the National Academy of Design.<BR/></SPAN></SPAN>", "Dedication" : "Gift of Ann Chahbandour and Jay Robert Stiefel", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/95-D-370.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/95-D-370.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/95-D-370.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/95-D-370.jpg", "IsPrimary" : "1", "_SurrogateID" : "1871", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3270, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3270", "Disp_Access_No" : "95-D-375(5)", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1870", "_Disp_Start_Dat" : "1865", "_Disp_End_Date" : "1875", "Disp_Title" : "Landscape with Pond", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Peter Moran", "Sort_Artist" : "Moran, Peter", "Disp_Dimen" : "9 x 12 in. (22.9 x 30.5 cm)", "Disp_Height" : "9 in.", "Disp_Width" : "12 in.", "Dimen_Extent" : "Sheet", "Medium" : "Graphite", "Support" : "paper", "Disp_Medium" : "Graphite on paper", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Peter Moran was a British-born American landscape painter and etcher. He came from a family of painters, including his two older brothers, Thomas and Edward. Most of Moran’s career was spent in Philadelphia, where he had a successful career as an etcher. He and his family also ventured to the American West, visiting Yosemite, the Teton Mountains, New Mexico, Arizona, and Mexico itself. Although his brothers mostly painted marine and traditional landscapes, Moran was primarily interested in animal subjects. He was particularly fond of cattle and often painted them in addition to more traditional landscapes. <BR/></SPAN></SPAN>", "Dedication" : "Gift of Ann Chahbandour and Jay Robert Stiefel", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/95-D-375(5).jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/95-D-375(5).jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/95-D-375(5).jpg", "IIIF_URL": "http://iiif.gallerysystems.com/95-D-375(5).jpg", "IsPrimary" : "1", "_SurrogateID" : "5790", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3363, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3363", "Disp_Access_No" : "97-D-394", "_AccNumSort1" : "", "Disp_Create_DT" : "Late 19th Century", "_Disp_Start_Dat" : "1867", "_Disp_End_Date" : "1899", "Disp_Title" : "Composition with Apples, Pears, and Grapes", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Mary Jane Peale", "Sort_Artist" : "Peale, Mary Jane", "Disp_Dimen" : "11 x 8 1/2 in. (27.9 x 21.6 cm)", "Disp_Height" : "11 in.", "Disp_Width" : "8 1/2 in.", "Dimen_Extent" : "Sheet", "Medium" : "Graphite", "Support" : "paper", "Disp_Medium" : "Graphite on paper", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Mary Jane Peale was the daughter of Rubens Peale and the granddaughter of Charles Willson Peale, part of the important Peale family of painters active in Philadelphia and along the East Coast. Her parents settled in Pottstown in 1841. She studied with Thomas Sully, and her uncle Rembrandt Peale, then became a portrait painter in New York. When she returned to Philadelphia to care for her ailing father, she shifted her focus to still life paintings. Later, she took life drawing classes with Thomas Eakins at the Pennsylvania Academy of the Fine Arts. She is known for her portraits and still life paintings, which were inspired by those of her great uncle, James Peale. Her drawings of three clusters of fruit in Apples, Pears and Grapes were likely made as studies for her still life paintings. </SPAN><SPAN STYLE="font-family:'Book Antiqua';font-size:14pt"><BR/></SPAN></SPAN>", "Dedication" : "Gift of Ann Chahbandour and Jay Robert Stiefel", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97-D-394.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97-D-394.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97-D-394.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97-D-394.jpg", "IsPrimary" : "1", "_SurrogateID" : "1339", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }