{ "objects" : [ { "embark_ID" : 92, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/92", "Disp_Access_No" : "02-P-476", "_AccNumSort1" : "", "Disp_Create_DT" : "16th Century", "_Disp_Start_Dat" : "1500", "_Disp_End_Date" : "1599", "Disp_Title" : "Florentine Lady in Mourning", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Italian", "Sort_Artist" : "Unknown, Italian", "Disp_Dimen" : "16 1/4 x 14 1/4 in. (41.3 x 36.2 cm)", "Disp_Height" : "16 1/4 in.", "Disp_Width" : "14 1/4 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "wood panel", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "<SPAN>Gallery Label:<BR/><BR/>The representation of a woman in mourning was a popular theme in Italian painting, particularly Florentine, addressing issues of loss and death which faced women in the early modern period. It is likely that this kind of image was used to feminize a growing number of independent widows, who outnumbered widowers at the time and challenged traditional gender roles. Images like this perpetuated the depiction of the ideal widow, one which has endured into the contemporary age.<BR/><BR/><SPAN STYLE="font-style:italic">This painting was conserved with support from the Stockman Family Foundation in 2012. 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Hooft (1581-1647)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Michiel Jansz. van Miereveld", "Sort_Artist" : "Miereveld, Michiel Jansz. van", "Disp_Dimen" : "26 1/2 x 22 in. (67.3 x 55.9 cm)", "Disp_Height" : "26 1/2 in.", "Disp_Width" : "22 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "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/69-P-56.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/69-P-56.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/69-P-56.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/69-P-56.jpg", "IsPrimary" : "1", "_SurrogateID" : "96", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1513, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1513", "Disp_Access_No" : "73-P-110", "_AccNumSort1" : "", "Disp_Create_DT" : "1635", "_Disp_Start_Dat" : "1635", "_Disp_End_Date" : "1635", "Disp_Title" : "Portrait of a Gentleman, Aged 35", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Matthijs Harings", "Sort_Artist" : "Harings, Matthijs", "Disp_Dimen" : "41 3/8 x 29 1/8 in. (105.1 x 74 cm)", "Disp_Height" : "41 3/8 in.", "Disp_Width" : "29 1/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "<SPAN>Gallery Label:<BR/><BR/>Pendant portraits like this one of a married couple were very popular at the time. In their original setting, the portraits would have faced one another, perhaps on either side of a fireplace or chimneypiece. Usually, the woman’s portrait would hang at right, the man’s at left. From the sitter’s perspective, this placed the woman on the man’s left-hand, or lesser side, according to theological and social formulas, which prized the right-hand position. This idea followed 17th-century attitudes toward marriage as a relationship based on love, but guided by the man.<BR/><BR/>These paintings were formerly attributed to Thomas de Keyser (Dutch, 1596-1667), and were at one time in the collection of Archduke Franz Ferdinand of Austria.<SPAN STYLE="font-family:'Book Antiqua';font-size:16pt"><BR/></SPAN></SPAN>", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73-P-110.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73-P-110.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73-P-110.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73-P-110.jpg", "IsPrimary" : "1", "_SurrogateID" : "110", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1514, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1514", "Disp_Access_No" : "73-P-111", "_AccNumSort1" : "", "Disp_Create_DT" : "1635", "_Disp_Start_Dat" : "1635", "_Disp_End_Date" : "1635", "Disp_Title" : "Portrait of a Lady, Aged 25", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Matthijs Harings", "Sort_Artist" : "Harings, Matthijs", "Disp_Dimen" : "41 3/8 x 29 1/8 in. (105.1 x 74 cm)", "Disp_Height" : "41 3/8 in.", "Disp_Width" : "29 1/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "Gallery Label: Pendant portraits like this one of a married couple were very popular at the time. In their original setting, the portraits would have faced one another, perhaps on either side of a fireplace or chimneypiece. Usually, the woman’s portrait would hang at right, the man’s at left. From the sitter’s perspective, this placed the woman on the man’s left-hand, or lesser side, according to theological and social formulas, which prized the right-hand position. This idea followed 17th-century attitudes toward marriage as a relationship based on love, but guided by the man. These paintings were formerly attributed to Thomas de Keyser (Dutch, 1596-1667), and were at one time in the collection of Archduke Franz Ferdinand of Austria.", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73-P-111.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73-P-111.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73-P-111.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73-P-111.jpg", "IsPrimary" : "1", "_SurrogateID" : "111", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1565, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1565", "Disp_Access_No" : "74-P-140", "_AccNumSort1" : "", "Disp_Create_DT" : "17th Century", "_Disp_Start_Dat" : "1600", "_Disp_End_Date" : "1699", "Disp_Title" : "Portait of a Woman with Brooch", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Cornelis de Vos", "Sort_Artist" : "Vos, Cornelis de", "Disp_Dimen" : "22 1/4 x 17 3/4 in. (56.5 x 45.1 cm)", "Disp_Height" : "22 1/4 in.", "Disp_Width" : "17 3/4 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "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/74-P-140.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74-P-140.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74-P-140.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74-P-140.jpg", "IsPrimary" : "1", "_SurrogateID" : "128", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2954, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2954", "Disp_Access_No" : "89-P-357", "_AccNumSort1" : "", "Disp_Create_DT" : "17th Century", "_Disp_Start_Dat" : "1600", "_Disp_End_Date" : "1699", "Disp_Title" : "A Nun in Prayer", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Philippe de Champaigne", "Sort_Artist" : "de Champaigne, Philippe", "Disp_Dimen" : "28 1/2 x 22 5/8 in. (72.4 x 57.5 cm)", "Disp_Height" : "28 1/2 in.", "Disp_Width" : "22 5/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds provided by the Benjamin D. Bernstein Acquisition Fund", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/89-P-357.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/89-P-357.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/89-P-357.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/89-P-357.jpg", "IsPrimary" : "1", "_SurrogateID" : "230", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1370, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1370", "Disp_Access_No" : "71-P-85", "_AccNumSort1" : "", "Disp_Create_DT" : "18th Century", "_Disp_Start_Dat" : "1700", "_Disp_End_Date" : "1799", "Disp_Title" : "Dr. George Joseph Bell", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sir Henry Raeburn", "Sort_Artist" : "Raeburn, Sir Henry", "Disp_Dimen" : "29 3/8 x 24 1/4 in. (74.6 x 61.6 cm)", "Disp_Height" : "29 3/8 in.", "Disp_Width" : "24 1/4 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Dr. William Serri", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/71-P-85.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71-P-85.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71-P-85.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71-P-85.jpg", "IsPrimary" : "1", "_SurrogateID" : "103", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1520, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1520", "Disp_Access_No" : "73-P-122", "_AccNumSort1" : "", "Disp_Create_DT" : "18th Century", "_Disp_Start_Dat" : "1700", "_Disp_End_Date" : "1799", "Disp_Title" : ""Portrait of a Lady", Lady Elizabeth Foster, later Duchess of Devonshire", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Richard, R.A. Cosway", "Sort_Artist" : "Cosway, Richard, R.A.", "Disp_Dimen" : "29 5/8 x 24 5/8 in. (75.2 x 62.5 cm)", "Disp_Height" : "29 5/8 in.", "Disp_Width" : "24 5/8 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/73-P-122.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73-P-122.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73-P-122.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73-P-122.jpg", "IsPrimary" : "1", "_SurrogateID" : "115", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1569, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1569", "Disp_Access_No" : "74-P-145", "_AccNumSort1" : "", "Disp_Create_DT" : "18th Century", "_Disp_Start_Dat" : "1700", "_Disp_End_Date" : "1799", "Disp_Title" : "The Children of William Grant of Congalton", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John, R.A. Opie", "Sort_Artist" : "Opie, John, R.A.", "Disp_Dimen" : "49 1/2 x 40 3/4 in. (125.7 x 103.5 cm)", "Disp_Height" : "49 1/2 in.", "Disp_Width" : "40 3/4 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/74-P-145.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74-P-145.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74-P-145.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74-P-145.jpg", "IsPrimary" : "1", "_SurrogateID" : "132", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2297, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2297", "Disp_Access_No" : "81-P-266", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1740", "_Disp_Start_Dat" : "1735", "_Disp_End_Date" : "1745", "Disp_Title" : "Lady in White Dress", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Francis Hayman", "Sort_Artist" : "Hayman, Francis", "Disp_Dimen" : "29 3/8 x 24 3/8 in. (74.6 x 61.9 cm)", "Disp_Height" : "29 3/8 in.", "Disp_Width" : "24 3/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The figure sits against the dark background, drawing the eye to the lady’s fashionable white dress. She appears to be wearing the popular robe a l’Anglaise (English style gown), which had a close fit at the front and back of the dress. This contrasted with the robe a l’Francaise (French style gown), which had a fitted front style but fullness in the back. Open necklines also came into fashion by providing an additional way to flaunt wealth with accessories like the sitter’s fichu and the ruffled neck scarf. While the gown’s pale fabric and lace would have been impractical for reading in nature, country life was romanticized and aristocrats would commission portraits of themselves in these environments. Liana Salazar Class of 2022 Curatorial Intern", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/81-P-266.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/81-P-266.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/81-P-266.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/81-P-266.jpg", "IsPrimary" : "1", "_SurrogateID" : "183", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3009, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3009", "Disp_Access_No" : "90-P-371", "_AccNumSort1" : "", "Disp_Create_DT" : "1792", "_Disp_Start_Dat" : "1792", "_Disp_End_Date" : "1792", "Disp_Title" : "David Gelston", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Willson Peale", "Sort_Artist" : "Peale, Charles Willson", "Disp_Dimen" : "25 5/8 x 21 5/8 in. (65.1 x 54.9 cm)", "Disp_Height" : "25 5/8 in.", "Disp_Width" : "21 5/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Charles Willson Peale (1741-1827) - painter, patriot, writer, inventor, farmer, scientist, naturalist, and founder of one of America’s first museums - is one of the best-known past residents of the land now occupied by La Salle University’s campus. Peale resided at his "retirement" home, Belfield estate, in northwest Germantown from 1810 to 1821, and his house still stands on our campus as a National Historic Landmark. David Gelston (1744-1828) was a prominent New York City businessman and politician, who served as a representative from New York in the Continental Congress of 1789, the last under the Articles of Confederation. The 47-year-old Gelston was a member of the New York State Senate when he commissioned Peale to paint his and his wife and child's portraits in 1792.", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/90-P-371.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/90-P-371.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/90-P-371.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/90-P-371.jpg", "IsPrimary" : "1", "_SurrogateID" : "238", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3147, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3147", "Disp_Access_No" : "92-P-397", "_AccNumSort1" : "", "Disp_Create_DT" : "18th Century", "_Disp_Start_Dat" : "1700", "_Disp_End_Date" : "1799", "Disp_Title" : "Portrait of a Boy", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hugues Taraval", "Sort_Artist" : "Taraval, Hugues", "Disp_Dimen" : "16 1/2 x 13 7/8 in. (41.9 x 35.2 cm)", "Disp_Height" : "16 1/2 in.", "Disp_Width" : "13 7/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds provided by the Benjamin D. Bernstein Acquisition Fund", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/92-P-397.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92-P-397.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92-P-397.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92-P-397.jpg", "IsPrimary" : "1", "_SurrogateID" : "261", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 283, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/283", "Disp_Access_No" : "06-P-526", "_AccNumSort1" : "", "Disp_Create_DT" : "1851", "_Disp_Start_Dat" : "1851", "_Disp_End_Date" : "1851", "Disp_Title" : "Portrait of a Lady Seated on a Balcony in a Blue Dress", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rigot", "Sort_Artist" : "Rigot", "Disp_Dimen" : "23 1/2 x 19 1/4 in. (59.7 x 48.9 cm)", "Disp_Height" : "23 1/2 in.", "Disp_Width" : "19 1/4 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In the 1850s, a woman’s ideal silhouette consisted of a small waist, drooping shoulders, and a voluminous skirt. The skirt would get bigger as time went on, and by the mid-decade, it was supported by up to seven petticoats underneath. As a result, silk became a popular material for dresses as it was light enough to hold over many petticoats without losing its shape. The wealthy lady in the painting, evidenced by her footstool and lace, likely had her cashmere shawl imported from India, as the country was known for the high quality and expensive feminine accessory. Alternatively, she could have gotten a cheaper imitation shawl ordered from France, England, and Scotland as well. Another mark of the woman’s wealth are the ‘engageantes’— removable white undersleeves that puff and close at the wrist— here trimmed with ornamental green ribbons. Liana Salazar Class of 2022 Curatorial Intern", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/06-P-526.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/06-P-526.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/06-P-526.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/06-P-526.jpg", "IsPrimary" : "1", "_SurrogateID" : "301", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 777, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/777", "Disp_Access_No" : "11-P-546", "_AccNumSort1" : "", "Disp_Create_DT" : "1871", "_Disp_Start_Dat" : "1871", "_Disp_End_Date" : "1871", "Disp_Title" : "Whistler by the Thames, 1871", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Greaves,Walter", "Sort_Artist" : "Greaves,Walter", "Disp_Dimen" : "23 3/8 x 19 3/8 in. (59.4 x 49.2 cm)", "Disp_Height" : "23 3/8 in.", "Disp_Width" : "19 3/8 in.", "Dimen_Extent" : "window opening", "Medium" : "oil", "Support" : "canvas", "Disp_Medium" : "oil on canvas", "Info_Page_Comm" : "<SPAN>Gallery Label:<BR/><BR/>One can imagine James McNeill Whistler posing for this portrait, seated on the balcony of his London flat overlooking the Thames River. But the circumstances surrounding the painting’s origins are shrouded in mystery. During the 1860s and 1870s, Walter and his brother Henry Greaves were ardent students of Whistler, assisting with major commissions such as the Peacock Room. However, their relationship became estranged in the 1880s, and Walter Greaves fell into poverty, though he continued painting portraits of Whistler from memory. Following the discovery of rolls of canvases at a London pawn shop, the Goupil Gallery offered Greaves an exhibition in 1911, requiring him to sign and date many of the paintings retroactively. While the exhibition was a success, the detection that a key painting had been misdated ultimately led to a scandal, raising questions about the chronology as well as authorship of some of the paintings. <BR/><BR/>This was one of 14 paintings by Greaves that were purchased by the Rosenbach Museum co-founder Philip H. Rosenbach in 1911, which he was unable to resell due to the scandal. In 2010, with the approval of its Board of Trustees, Rosenbach Museum and Library deaccessioned all of its paintings by Greaves, auctioning off all except one that they considered the finest, which they gifted to La Salle University. It is a fascinating example of British Aestheticism, highly evocative of Whistler’s work, with an interesting and enigmatic history.<BR/><BR/><SPAN STYLE="font-style:italic">This painting was conserved with support from the Irwin Nat and Marjorie M. Pincus Endowment and the Art Angels in 2011. For details, visit our online conservation exhibit: http://artmuseum.lasalle.edu", "Dedication" : "Gift of the Rosenbach Museum and Library", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/11-P-546.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/11-P-546.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/11-P-546.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/11-P-546.jpg", "IsPrimary" : "1", "_SurrogateID" : "67", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5093, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5093", "Disp_Access_No" : "15-P-585", "_AccNumSort1" : "", "Disp_Create_DT" : "19th Century", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1899", "Disp_Title" : "Portrait of Helena Lawrence Holmes Penington (1769-1852)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sarah Miriam Peale", "Sort_Artist" : "Peale, Sarah Miriam", "Disp_Dimen" : "24 x 17 1/2 in. (61 x 44.5 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "17 1/2 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "<SPAN>Gallery Label:<BR/><BR/>Born in Philadelphia, Sarah Miriam Peale along with her sisters, Margaretta Angelica and Anna Claypoole Peale trained as artists under the tutelage of their father, James Peale, serving as his apprentices. Sarah was known for her portraiture and still-life paintings. She moved to Baltimore for instruction in oil painting and glazing techniques and remained there for 20 years before moving to St. Louis where she was commissioned by various families. She is regarded by many as the first woman in the United States to achieve professional recognition as an artist. In 1824, Sarah and Anna became the first two female members of the Pennsylvania Academy of the Fine Arts. <BR/><BR/>This portrait was probably painted by Sarah at a young age, and was possibly painted together with Anna and instruction from their father.<SPAN STYLE="font-family:'Book Antiqua';font-size:16pt"><BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-P-585.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-P-585.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-P-585.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-P-585.jpg", "IsPrimary" : "1", "_SurrogateID" : "5217", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1369, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1369", "Disp_Access_No" : "71-P-84", "_AccNumSort1" : "", "Disp_Create_DT" : "19th Century (c.1880)", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1899", "Disp_Title" : "Portrait of an Artist in Her Studio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Emile-August Carolus-Duran", "Sort_Artist" : "Carolus-Duran, Charles Emile-August", "Disp_Dimen" : "45 1/2 x 34 1/8 in. (115.6 x 86.7 cm)", "Disp_Height" : "45 1/2 in.", "Disp_Width" : "34 1/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "<SPAN>Gallery Label:<BR/><BR/>Carolus-Duran was a friend of avant-garde painters, but his more academic style reflects his decision to pursue lucrative commissions as a society portraitist. His work combines elements of contemporary Impressionism with more conventional painting techniques. The artist’s use of quick, loose brushwork owes at least as much, however, to Spanish old masters such as Diego Velásquez, whose work Carolus-Duran greatly admired, as to contemporaries such as Edouard Manet. The model for <SPAN STYLE="font-style:italic">Artist in her Studi</SPAN>o is believed to be the artist’s wife, Pauline Croizette, who declared her profession as an artist on their marriage certificate and continued to exhibit works in the Salon after their marriage.<BR/><BR/><BR/><BR/></SPAN>", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/71-P-84.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71-P-84.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71-P-84.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71-P-84.jpg", "IsPrimary" : "1", "_SurrogateID" : "102", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3012, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3012", "Disp_Access_No" : "90-P-374", "_AccNumSort1" : "", "Disp_Create_DT" : "Early 19th Century", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1832", "Disp_Title" : "Ann Emily Rush", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "James Peale", "Sort_Artist" : "Peale, James", "Disp_Dimen" : "29 x 24 5/8 in. (73.7 x 62.5 cm)", "Disp_Height" : "29 in.", "Disp_Width" : "24 5/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas, laid down on panel", "Disp_Medium" : "Oil on canvas, laid down on panel", "Info_Page_Comm" : "Gallery Label: James Peale’s early career was interrupted when he was commissioned to serve in the Maryland Regiment during the Revolutionary War. Afterwards, he moved to Philadelphia and worked together with his brother, Charles Willson, creating miniatures while his brother painted large-scale oil portraits. After 1810, failing eyesight forced Peale to abandon miniatures for larger formats. The sitter in this oil portrait is Ann Emily Rush, whose father was Benjamin Rush, a signer of the Declaration of Independence. Peale conveys Ann Emily’s intelligence and self-confidence with her direct gaze and upright posture. ", "Dedication" : "Purchased with funds provided by Philip Reiff, Mansfield W. Williams, and Alexis C. Manice", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/90-P-374.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/90-P-374.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/90-P-374.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/90-P-374.jpg", "IsPrimary" : "1", "_SurrogateID" : "241", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3051, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3051", "Disp_Access_No" : "91-P-389", "_AccNumSort1" : "", "Disp_Create_DT" : "1838", "_Disp_Start_Dat" : "1838", "_Disp_End_Date" : "1838", "Disp_Title" : "Self-Portrait", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rembrandt Peale", "Sort_Artist" : "Peale, Rembrandt", "Disp_Dimen" : "17 1/2 x 14 1/2 in. (44.5 x 36.8 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "14 1/2 in.", "Dimen_Extent" : "window opening-oval", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Gallery Label: Rembrandt was the second son of Charles Willson Peale. He was born in Bucks County and spent much of his career in Philadelphia. He is best known for the portrait of George Washington he painted as a teenager working alongside his father who was completing a commissioned portrait of the first President. In 1814, Rembrandt opened the first museum in North America designed specifically to exhibit art, known as "Peale's Baltimore Museum and Gallery of Fine Arts.” He painted this relatively informal, intimate self-portrait for his niece and art pupil, Mary, daughter of his brother and fellow-painter Rubens Peale. ", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91-P-389.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91-P-389.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91-P-389.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91-P-389.jpg", "IsPrimary" : "1", "_SurrogateID" : "254", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4041, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4041", "Disp_Access_No" : "14-P-565", "_AccNumSort1" : "", "Disp_Create_DT" : "19th Century", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1899", "Disp_Title" : "Miniature Portrait of a Lady with Necklace", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown", "Sort_Artist" : "Unknown", "Disp_Dimen" : "3 1/4 x 2 3/8 in. (8.3 x 6 cm)", "Disp_Height" : "3 1/4 in.", "Disp_Width" : "2 3/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Watercolor on Ivory", "Support" : "", "Disp_Medium" : "Watercolor on Ivory", "Info_Page_Comm" : "Gallery Label: Portraits are artistic renderings which capture the face and personality of the sitters. The practice of portraiture has existed for thousands of years but became popular during the Renaissance as the emerging middle class commissioned portraits in all kinds of media, both large and small, including painting, sculpture, and metalwork. Miniature portraits were essentially personal items that were kept close to the heart. They were often worn or displayed as intimate mementos of loved ones, particularly when individuals travelled or went to war. Such tokens of affection, especially mourning portraits, often contained braided strands of the sitters’ hair on the reverse. The earliest miniature painted portraits date from the 15th century and were originally painted on vellum. In the 17th century many portraits were made using enamel on copper; and in the 18th century watercolor on ivory became the standard artistic medium. In the 18th and 19th centuries, miniature painters in America largely followed the British tradition of painting, using thin applications of water-based pigments to let the luminosity of the ivory shine through. In contrast, French and Italian artists preferred working in opaque watercolor (gouache) pigments which lent a precise enamel-like quality to the images. In general, the styles and techniques of miniature portraits paralleled those of large-scale portraits. The production of miniature paintings peaked from about 1790 to 1840 then declined with the development of the Daguerreotype. Artists simply could not compete with the low prices and the detailed accuracy of early photographic images.", "Dedication" : "Purchased with funds from the Art Angels", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/14-P-565.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14-P-565.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14-P-565.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14-P-565.jpg", "IsPrimary" : "1", "_SurrogateID" : "1683", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/14-P-565_reverse.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14-P-565_reverse.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14-P-565_reverse.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14-P-565_reverse.jpg", "IsPrimary" : "0", "_SurrogateID" : "1684", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4042, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4042", "Disp_Access_No" : "14-P-566", "_AccNumSort1" : "", "Disp_Create_DT" : "18th Century-19th Century", "_Disp_Start_Dat" : "1700", "_Disp_End_Date" : "1899", "Disp_Title" : "Miniature Portrait Pair (Gentleman) with plaited hair on reverse", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown", "Sort_Artist" : "Unknown", "Disp_Dimen" : "2 5/16 x 2 1/8 in. (5.9 x 5.4 cm)", "Disp_Height" : "2 5/16 in.", "Disp_Width" : "2 1/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Watercolor on Ivory", "Support" : "", "Disp_Medium" : "Watercolor on Ivory", "Info_Page_Comm" : "Gallery Label: Portraits are artistic renderings which capture the face and personality of the sitters. The practice of portraiture has existed for thousands of years but became popular during the Renaissance as the emerging middle class commissioned portraits in all kinds of media, both large and small, including painting, sculpture, and metalwork. Miniature portraits were essentially personal items that were kept close to the heart. They were often worn or displayed as intimate mementos of loved ones, particularly when individuals travelled or went to war. Such tokens of affection, especially mourning portraits, often contained braided strands of the sitters’ hair on the reverse. 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(5.9 x 5.4 cm)", "Disp_Height" : "2 5/16 in.", "Disp_Width" : "2 1/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Watercolor on Ivory", "Support" : "", "Disp_Medium" : "Watercolor on Ivory", "Info_Page_Comm" : "Gallery Label: Portraits are artistic renderings which capture the face and personality of the sitters. The practice of portraiture has existed for thousands of years but became popular during the Renaissance as the emerging middle class commissioned portraits in all kinds of media, both large and small, including painting, sculpture, and metalwork. Miniature portraits were essentially personal items that were kept close to the heart. They were often worn or displayed as intimate mementos of loved ones, particularly when individuals travelled or went to war. Such tokens of affection, especially mourning portraits, often contained braided strands of the sitters’ hair on the reverse. The earliest miniature painted portraits date from the 15th century and were originally painted on vellum. In the 17th century many portraits were made using enamel on copper; and in the 18th century watercolor on ivory became the standard artistic medium. In the 18th and 19th centuries, miniature painters in America largely followed the British tradition of painting, using thin applications of water-based pigments to let the luminosity of the ivory shine through. In contrast, French and Italian artists preferred working in opaque watercolor (gouache) pigments which lent a precise enamel-like quality to the images. In general, the styles and techniques of miniature portraits paralleled those of large-scale portraits. The production of miniature paintings peaked from about 1790 to 1840 then declined with the development of the Daguerreotype. Artists simply could not compete with the low prices and the detailed accuracy of early photographic images.", "Dedication" : "Purchased with funds provided by William G. 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(7.6 x 5.1 x 1.3 cm)", "Disp_Height" : "3 in.", "Disp_Width" : "2 in.", "Dimen_Extent" : "", "Medium" : "Daguerreotype", "Support" : "", "Disp_Medium" : "Daguerreotype", "Info_Page_Comm" : "<SPAN>Gallery Label:<BR/><BR/>With the invention of the Daguerreotype in France in 1839, an accurate likeness could be obtained for just a few dollars. The low price made it difficult for artists to compete, and many miniature painters switched to the new medium of photography, sometimes adding color tinting to black and white images. Daguerreotype portraits quickly became very popular, and photography studios proliferated in many cities. Philadelphia led the way. By 1856 there were more than one hundred photographers operating in the city, with studios clustered east of Broad Street along Chestnut and Market, and north on 2nd Street. 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Photographers continued to experiment with processes and chemicals to improve the quality of the images, gradually making way for the kinds of photographs with which we are familiar today.<BR/><BR/>Like small painted portraits on ivory, early photographic portraits were displayed and protected in hard decorative cases lined in velvet. The portraits were unique originals with no negatives. In the 1890s George Eastman’s introduction of flexible rolled negative film and the Kodak camera led to more widespread general interest in photography.<SPAN STYLE="font-weight:bold"><BR/><BR/>Tintypes </SPAN>were popular from the 1850s through the 1890s. The image was set on a tin or iron plate, covered with a silver halide emulsion. 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(7.3 x 6 x 1.9 cm)", "Disp_Height" : "2 7/8 in.", "Disp_Width" : "2 3/8 in.", "Dimen_Extent" : "Case Closed", "Medium" : "Ambrotype, Hand-colored", "Support" : "", "Disp_Medium" : "Ambrotype, Hand-colored", "Info_Page_Comm" : "<SPAN>Gallery Label:<BR/><BR/>With the invention of the Daguerreotype in France in 1839, an accurate likeness could be obtained for just a few dollars. The low price made it difficult for artists to compete, and many miniature painters switched to the new medium of photography, sometimes adding color tinting to black and white images. Daguerreotype portraits quickly became very popular, and photography studios proliferated in many cities. Philadelphia led the way. By 1856 there were more than one hundred photographers operating in the city, with studios clustered east of Broad Street along Chestnut and Market, and north on 2nd Street. Photographers continued to experiment with processes and chemicals to improve the quality of the images, gradually making way for the kinds of photographs with which we are familiar today.<BR/><BR/>Like small painted portraits on ivory, early photographic portraits were displayed and protected in hard decorative cases lined in velvet. The portraits were unique originals with no negatives. In the 1890s George Eastman’s introduction of flexible rolled negative film and the Kodak camera led to more widespread general interest in photography.<BR/><BR/><SPAN STYLE="font-weight:bold">Ambrotypes</SPAN> were popular from the 1850s through the 1860s but continued in use through the 1890s. The image was set on glass plate, with a chemical emulsion applied to the surface. The glass was backed with a black surface, and the images appeared clearly without any reflection. <BR/></SPAN>", "Dedication" : "Purchased with funds provided by William V. Toner, class of '65", "Copyright_Type" : "", "Disp_Obj_Type" : "PHOTOGRAPHY", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-Ph-178.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-Ph-178.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-Ph-178.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-Ph-178.jpg", "IsPrimary" : "1", "_SurrogateID" : "1756", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-Ph-178_case.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-Ph-178_case.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-Ph-178_case.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-Ph-178_case.jpg", "IsPrimary" : "0", "_SurrogateID" : "1757", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-Ph-178_open.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-Ph-178_open.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-Ph-178_open.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-Ph-178_open.jpg", "IsPrimary" : "0", "_SurrogateID" : "1758", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2772, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2772", "Disp_Access_No" : "85-P-323", "_AccNumSort1" : "", "Disp_Create_DT" : "1983", "_Disp_Start_Dat" : "1983", "_Disp_End_Date" : "1983", "Disp_Title" : "Greta in the Green Dress", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frank Galuszka", "Sort_Artist" : "Galuszka, Frank", "Disp_Dimen" : "53 1/2 x 35 3/4 in. (135.9 x 90.8 cm)", "Disp_Height" : "53 1/2 in.", "Disp_Width" : "35 3/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Dr. Chalmers E. Cornelius, III", "Copyright_Type" : "© the artist/and La Salle University Art Museum", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/85-P-323.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/85-P-323.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/85-P-323.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/85-P-323.jpg", "IsPrimary" : "1", "_SurrogateID" : "207", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 186, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/186", "Disp_Access_No" : "05-P-518", "_AccNumSort1" : "", "Disp_Create_DT" : "1986", "_Disp_Start_Dat" : "1986", "_Disp_End_Date" : "1986", "Disp_Title" : "Double Portrait", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Susan Moore", "Sort_Artist" : "Moore, Susan", "Disp_Dimen" : "16 x 28 in. (40.6 x 71.1 cm)", "Disp_Height" : "16 in.", "Disp_Width" : "28 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "Gallery Label: Born in Panama, Moore earned a BFA from Indiana University and an MFA from the University of California. She currently teaches at Temple University’s Tyler School of Art. Her favorite subject is the human figure, and she often focuses on certain body parts, especially faces. Although she refers to her subjects as portraits, she divulges little about her sitters’ inner thoughts or personalities. In this <i>Double Portrait</i>, she juxtaposes two mask-like female faces, encouraging the viewer to make comparisons between the two. Because the figures reveal so little about themselves, the viewer is forced to analyze the image’s formal qualities, including paint texture, color, and form. ", "Dedication" : "Gift of Robert Chamberlain", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/05-P-518.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/05-P-518.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/05-P-518.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/05-P-518.jpg", "IsPrimary" : "1", "_SurrogateID" : "43", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 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. ", "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-18.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/67-P-18.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/67-P-18.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/67-P-18.jpg", "IsPrimary" : "1", "_SurrogateID" : "89", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1837, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1837", "Disp_Access_No" : "76-P-180", "_AccNumSort1" : "", "Disp_Create_DT" : "1976", "_Disp_Start_Dat" : "1976", "_Disp_End_Date" : "1976", "Disp_Title" : "Edward Cornelius O'Leary, Bishop of Portland Maine 1976", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Neil Welliver", "Sort_Artist" : "Welliver, Neil", "Disp_Dimen" : "24 x 20 in. (61 x 50.8 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "Canvas", "Disp_Medium" : "Oil on Canvas", "Info_Page_Comm" : "Gallery Label: Welliver grew up in Millville, Pennsylvania. After graduating from the Philadelphia College of Art, he studied at Yale University under Joseph Albers, whose abstractions influenced his early work, and whose range of color he employed in his later work. Welliver began teaching at the University of Pennsylvania Graduate School of Fine Arts in 1965, and later became chairman of the department until his retirement in 1989. He is best known for his large-scale landscape paintings of rural Maine, This portrait of the Bishop of Portland, Maine, was commissioned by a committee headed by <i>Philadelphia Inquirer</i> art critic, Victoria Donohoe, and exhibited at the Exhibition of Liturgical Arts, held at the 41st International Eucharistic Congress in Philadelphia in 1976. ", "Dedication" : "Gift of Victoria Donohoe", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/76-P-180.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/76-P-180.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/76-P-180.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/76-P-180.jpg", "IsPrimary" : "1", "_SurrogateID" : "154", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 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" : 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. 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", "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" : 2773, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2773", "Disp_Access_No" : "85-P-324", "_AccNumSort1" : "", "Disp_Create_DT" : "1983", "_Disp_Start_Dat" : "1983", "_Disp_End_Date" : "1983", "Disp_Title" : "Greta and Devon", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frank Galuszka", "Sort_Artist" : "Galuszka, Frank", "Disp_Dimen" : "10 x 18 1/8 in. 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Cornelius, III", "Copyright_Type" : "© the artist/and La Salle University Art Museum", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/85-P-324.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/85-P-324.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/85-P-324.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/85-P-324.jpg", "IsPrimary" : "1", "_SurrogateID" : "208", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3044, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3044", "Disp_Access_No" : "91-P-381", "_AccNumSort1" : "", "Disp_Create_DT" : "1987", "_Disp_Start_Dat" : "1987", "_Disp_End_Date" : "1987", "Disp_Title" : "Portrait of Benjamin D. Bernstein", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John W., M.D. Bryfogle", "Sort_Artist" : "Bryfogle, John W., M.D.", "Disp_Dimen" : "35 1/2 x 29 5/8 in. (90.2 x 75.2 cm)", "Disp_Height" : "35 1/2 in.", "Disp_Width" : "29 5/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Gallery Label: A philanthropic collector of modern and contemporary art, Benjamin D. Bernstein was the founder of Quaker Moving and Storage Company. As his business grew, Bernstein traveled extensively, especially in France, Holland and Great Britain, and he developed a deep love of art and a passion for collecting. From the start, he was attracted to the work of young artists, supporting them through art purchases and developing life-long friendships. After amassing a large collection of art, he began donating works to local educational institutions. Over the years he gradually gave hundreds of paintings, prints, and sculptures to the La Salle University Art Museum. In addition, he set up the Benjamin D. Bernstein Acquisition Fund to enable the Art Museum to purchase further works. In gratitude for his generosity, the University gave him an honorary degree and the Art Museum named its 20th Century Gallery after him. In this portrait, Bernstein sits in front of the print, <i>Le Matador</i>, by Joan Miró, which he donated to the Art Museum in 2001. ", "Dedication" : "Gift of Benjamin D. Bernstein", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91-P-381.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91-P-381.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91-P-381.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91-P-381.jpg", "IsPrimary" : "1", "_SurrogateID" : "248", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3145, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3145", "Disp_Access_No" : "92-P-395", "_AccNumSort1" : "", "Disp_Create_DT" : "1992", "_Disp_Start_Dat" : "1992", "_Disp_End_Date" : "1992", "Disp_Title" : "Br. Daniel Burke, 1992", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "James Hanes", "Sort_Artist" : "Hanes, James", "Disp_Dimen" : "43 1/2 x 35 1/2 in. (110.5 x 90.2 cm)", "Disp_Height" : "43 1/2 in.", "Disp_Width" : "35 1/2 in.", "Dimen_Extent" : "Window Opening", "Medium" : "Oil", "Support" : "Canvas", "Disp_Medium" : "Oil on Canvas", "Info_Page_Comm" : "Gallery Label: This painting portrays Br. Daniel Burke first and foremost as a scholar, wearing his ceremonial academic robes. Br. Daniel joined La Salle’s English faculty in 1957. He served as President of La Salle University (then College) from 1969 to 1976, and is acknowledged as the founder of La Salle University Art Museum. Br. Daniel’s lifelong love of art was fostered during weekly visits to the Carnegie Museum in Pittsburgh when he was a young boy. With his love for art steadfast, he introduced the art history major to La Salle’s curriculum in 1963. In 1965, following an Honors Convocation where famed American painter Andrew Wyeth and art collector Lessing J. Rosenwald received honorary degrees, Br. Daniel announced the College’s intention to build a permanent art collection. Over the years, he bought carefully, accepted gifts of artwork, and traded up wisely—developing the art collection to serve the educational needs of a “teaching” museum. The artist, James Hanes, was a founding member of La Salle’s Fine Arts Department. He was also instrumental in growing La Salle’s art collection. He served as an early acquisitions advisor, and often arranged funding and donations for the collection. 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