Paintings from the Metropolitan Pinturas Del Metropolitano

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PAINTINGS FROM THE METROPOLITAN PINTURAS DEL METROPOLITANO

Presented by The Metropolitan Museum of Art Presentado por el Museo Metropolitano de Arte in cooperation with the Bronx Council on the Arts en cooperation con el Concilio del Bronx Sobre las Artes

May 12 - June 13, 1971 mayo 12 a junio 13, 1971

In the Rotunda of the Bronx County Courthouse En la Rotunda del Bronx County Court House cr

1.0 THE METROPOLITAN MUSEUM OF ART NEW YORK, N.Y. 10028

April 29, 1971

Mrs. Irma L. Fleck Executive Director, The Bronx Council on the Arts, Inc. 57 East l8Uth Street Bronx, New York 10^68 , Dear Irma,

Congratulations to you and the other members of The Bronx Council on the Arts upon the realization of your hard-fought quest for a permanent museum facility in the Bronx!

Needless to say, I am delighted that the Metropolitan Museum'of Art, in presenting this exhibition of important paintings from its collections, has the opportunity to initiate the Bronx Museum of the Arts. It is indeed the fitting culmination of a long and close working relationship. For us too, it is a first - a major loan to a community organization. Coming shortly after our 101st birthday, "Paintings From The Metropolitan" is a significant embodiment of the Museum's commitment to community service.

I would like to take this opportunity also to extend my thanks to Borough President Robert Abrams, the Department of Public Works and the LLth Precinct of the New York Police Department for the enthusiasm displayed in assisting the staff of the Museum in assembling this exhibition. Such borough-wide cooperation makes "Paintings From The Metropolitan" an appropriate contribution to Bronx Day.

Best wishes and continued success.

Sincerely,

179231 PRESIDENT OF THE BOROUGH OF THE BRONX BRONX COUNTY BUILDING BRONX, N. Y. 10451

ROBERT ABRAMS PRESIDENT

April 26, 1971

Mr. Thomas P. Hoving, Director Metropolitan Museum of Art 5th Avenue and 82nd Street New York, N.Y. 10028

Dear Mr. Hoving:

I am delighted that the Metropolitan Museum of Art will be sponsoring a loan exhibition from its world renowned art collection in the Bronx County Building from May 12th - June 12, 1971.

This event marks the first time such an exhibition has taken place in the Borough of The Bronx. I am certain that thousands of Bronxites will take advantage of this unique opportunity.

As usual our own Bronx Council on the Arts was instrumental in organizing this important exhibition. I hope that the Metropolitan Museum of Art in conjunction with the BCA and other civic organizations will continue this important role of bringing cultural events and activities directly to citizens of all the Boroughs of New York City.

For too long the Bronx has been neglected by the major cultural institutions of New York City. Perhaps this exhibit will usher in a new cultural era for The Bronx.

Ververy sincerely,

4oBERT ABRAMS

RA:ep The Bronx Council on the Arts, Inc. 57 East 184th Street Bronx, New York 10468 (212) 733-2100-01

HONORARY CHAIRMAN Hon. Robert Abrams President, Borough of the Bronx HONORARY VICE-CHAIRMEN Dr. James A. Colston The Rev. William G. Kalaidjian 25 April 1971 Or. Morris Meister Rt. Rev. Msgr. Gustav J. Schultheiss Mr. Thomas P.F. Hoving Rabbi Shulem Rubin Director, CHAIRMAN Metropolitan Museum of Art Mr. Gerald Klot Fifth Avenue at 82nd Street VICE-CHAIRMAN New York, New York 10028 Prof. William C. Woolfson

SECRETARY TO THE BOARD Dear Tom: Mrs. August F. Hanzlik

RECORDING SECRETARY It is with great pride and pleasure that we welcome Mrs. Manuel Ramos to The Bronx this major exhibition from The Metro TREASURER politan Museum of Art presented especially to the Mr. John Youle people of the Bronx. It is a realization of our mutual LEGAL COUNSEL goal of bringing great works of art to "where the Mortimer M. Rothstein, Esq. people are."

EXECUTIVE BOARD Mr. Melvin Blauvelt We are grateful to The Metropolitan Museum of Art Mrs. Edward Bramson for its vision in presenting this magnificent show Mrs. Arthur Casher in The Bronx, and to the Department of Public Works Mrs. Oscar Comras for providing the facility for it at the Rotunda of Mr. W. Roy Cowan Mr. Donald Darcy the Bronx County Building. Mr. Monserrat Flores Mrs. Ernestine Hill This exhibition is a forerunner of a series of shows Mr. William Hopkins to be held in the Rotunda under the auspices of the Dr. Elizabeth Jacobs newly established Bronx Museum of the Arts. We hope Mrs. Viola Rosenheck New Yorkers will applaud this encouraging development Dr. Sol Shaviro Miss Jane Shipton in the improvement of the quality of life in this Mr. Walfredo Toscanlni city. Prof. William Vorenberg Mr. Gerard J. Weber Sincerely yours Prof. Vhrfenne T. Wechtor Mr. Jack L Walker Mr. Ronald Zuccaro Irma L. Fleck Executive Director

EXECUTIVE DIRECTOR Mrs. Henry Fleck ACKNOWLEDGMENTS

This exhibition could not possibly have been put on without the extra ordinary cooperation of many individuals throughout the Museum. Of that significant number, I would like to thank specifically James Pilgrim, Asso ciate Curator of American Paintings and Sculpture and Irvine MacManus, Assistant for Community Programs, for coordinating the exhibition; Linda Lovell and Melanie Yaggy of the Department of Public Education for their assistance in preparing the catalogue; Everett Fahy, Curator in Charge of European Paintings, Henry Geldzahler, Curator of Twentieth Century Art, John K. Howat, Curator of American Paintings and Sculpture, and their departments for their cooperation in selecting the paintings and making catalogue information available; Stuart Silver, Manager of Exhibition Design and his staff for the design and installation of the exhibition; Richard R. Morsches, Operating Administrator, Joseph P. McMahon, Assistant Superin tendent, and George McKenna, Manager of the Security Department for overcoming the challenges of construction and security.

Harry S. Parker III Vice-Director for Education The Metropolitan Museum of Art PAINTINGS FROM THE METROPOLITAN PINTURAS DEL METROPOLITANO

The twenty-eight paintings in this exhibition are by Las veintiocho pinturas en esta exhibicii'n son por dis- distinguished European and American artists who tinguidos artistas europeos y americanos que han pin have painted during the past three centuries. All of tado durante los ultimos tres siglos. Todos los impor- the major subjects or themes which have concerned tantes temas que han preocupado a los artistas desde la epoca del Renacimiento estan representadas aquf— artists since the Renaissance are represented here— pinturas historicas y religiosas, retratos, desnudos, history and religious painting, portraiture, the nude, paisajes, paisajes marinos, naturalezas muertas y es- landscape, seascape, still life, and scenes of everyday cenas de la vida diaria llamadas pinturas "genre" (de activity called genre painting. The paintings have been genero). Los cuadros han sido agrupados por tema grouped by these subjects to emphasize the great vari para dar entasis a la gran variacion del estilo, sentido ation of style, mood, and technique that different y tecnica que han usado sus autores en la representa artists bring to similar themes. For example, the gen tion de temas parecidos. Por ejemplo: el tierno mun- tle, private world of Edward Hicks' Peaceable King do privado de la obra Peaceable Kingdom (Reino de dom is juxtaposed with Benjamin West's grand, public Paz) esta yuxtapuesta al gran espectaculo publico de spectacle The Battle of La Hogue. Vincent Van Benjamin West, The Battle of La Hogue (La Batalla Gogh's intensely expressive vision of Cypresses con de La Hogue). La intensa expresion en The Cypresses (Los Cipreses) de Vincent Van Gogh hace contraste trasts with Albert Bierstadt's descriptive realism in con el realismo descriptivo de la obra Sunrise on the Sunrise on the Matterhorn. The viewer is encouraged Matterhorn (Amancer en el Matterhorn). Se aconseja to make these comparisons. al espectador que haga esta y otras comparaciones James F. Pilgrim semejantes de las obras en esta exhibition. Associate Curator James F. Pilgrim American Paintings Curador Asociado and Sculpture Departamento de Pinturas y Esculturas Americanas

HISTORY PAINTING PINTURAS HISTORICAS

THE BATTLE OF LA HOGUE, 1778 THE BATTLE OF LA HOGUE, 1778 (La Batalla de La Hogue), 1778

by Benjamin West, American, 1738-1820 por Benjamin West, americano, 1738-1820

Oil on canvas, 6472 x 96 inches oleo, 64'/2 x 96 pulgadas Harris Brisbane Dick Fund, 64.57 Fondo de Harris Brisbane Dick, 64.57

Benjamin West was born in Philadelphia, studied art Benjamin West nacio en Filadelfia, estudio arte en in Europe, and in 1772 became historical painter to Europa, y en 1772 se convertio en pintor historico King George III of England. Supported by this royal del Rey Jorge III de Inglaterra. Apoyado por el pa- patronage. West chose great moments in British his tronaje real. West escogio pintar a manera grandiosa grandes momentos en la historia britanica. tory and painted them in a grand manner. La batalla de La Hogue se peleo en 1692 y termino en The battle of La Hogue was fought in 1692 and was un encuentro naval entre las flotas combinadas de climaxed by a naval encounter between the combined Inglaterra y Holanda contra la marina francesa en la English and Dutch fleets and the French fleet in the Bahi'a de La Hogue, cerca de Cherbourg, Francia. Las Bay of La Hogue near Cherbourg, France. The victor victoriosas marinas de los ingleses y los holandeses ious English and Dutch navies were commanded by fueron comandadas por el almirante George Rooke, Admiral George Rooke, pictured holding a sword on quien se ve empunando una espada al lado izquierdo de la pintura. the left. West se preocupo mas en capturar el espi'ritu del acto West was more concerned with capturing the spirit of que en reflejar precisamente el momento historico. an event than in being strictly accurate historically. Por ejemplo, el barco que aparece en el centro al fon For instance, the large ship in the center distance was do de la pintura, actualmente fue quemado poco actually burned shortly before this particular battle, antes de la batalla y es dudable que el Almirante and it is doubtful that Admiral Rooke would have Rooke se hubiese parado en una position tan vulner stood in such a vulnerable position. Nevertheless, it able. Sin embargo, esta obra se considero como una de las mas exitosas pinturas historicas de su epoca. was considered one of the most successful history paintings of the time.

PEACEABLE KINGDOM, c. 1830 PEACEABLE KINGDOM, c. 1830 (ReinodePaz),c. 1830 by Edward Hicks, American, 1780-1849 Oil on canvas, 17 7/8 x 28 7/8 inches por Edward Hicks, americano, 1780-1849 Gift of Edgar William and Bernice Chrysler Garbisch, oleo, 17 7/8 x 28 7/8 pulgadas 1970.283.1 Donation de Edgar William y Bernice Chrysler Garhisch, 70.283.1 Pennsylvania-born Edward Hicks was a sign and car Edward Hicks nacio en Pennsilvania y era pintor pro- riage painter by trade, but he also used his artistic fesional de avisos y de coches, pero tambien uso su talents to express his intense and mystic Quaker faith. talento arti'stico para expresar su intensa y mfstica fe In Peaceable Kingdom he pictured the coming of that cuaquera. age described in the Bible, Isaiah XI—"the wolf also En Peaceable Kingdom (Reino de Paz) capta la Mega- shall dwell with the lamb, and the leopard shall lie da de esa epoca descrita en La Biblia: down with the kid, and the calf and the young lion "Seran vecinos el lobo y el cordero, y el and the fattling together; and a little child shall lead leopardo se echara con el cabrito, el them . . . They shall not hurt or destroy in my holy novillo y el cachorro paceran juntos, y un mountain; for the earth shall be full of the knowledge nino pequeno los conducira. of the Lord." Nadie hara dano, nadie hara mal en todo mi santo Monte, porque la tierra estara Hicks painted over 100 versions of Peaceable King llena del conocimiento de Dios, como dom and gave them to his friends to hang in their llenan las aguas el mar." farmhouses. Isaias, 11:6-9 Hicks pinto mas de 100 versiones del Peaceable King dom (Reino de Paz) y las regalo a sus amigos para que las corgaran en sus casas de campo. 3.

JOHN BROWN, 1939 JOHN BROWN, 1939 by John Steuart Curry, American, 1897-1946 por John Steuart Curry, americano, 1897-1946 Oil on canvas, 69 x 45 inches oleo, 69 x 45 pulgadas Arthur H. Hearn Fund Fondo de Arthur H. Hearn, 50.94.1 50.94.1 John Brown (1800-1859) el hombre que aparece en la John Brown (1800-1859), the man in this picture, pintura fue el jefe de una banda de Kansas que estaba was a leader of an anti-slavery band in Kansas. Feeling en contra de la esclavitud. El crei'a que el era "un in- that he was an "instrument in the hand of God", he strumento en las manos de Dios" y preparo un plan devised a plan to liberate slaves through armed inter para liberar a los esclavos a fuerza de armas. En vention, and in October, 1859, he and his followers octubre de 1859, el y sus companeros capturaron un seized the U.S. arsenal at Harper's Ferry, Virginia arsenal de los Estados Unidos en Harper's Ferry, Vir (now West Virginia). A company of U.S. marines, led ginia (ahora West Virginia). Una tropa de la infanten'a de la Marina de los Estados Unidos dirigidos por el by Colonel Robert E. Lee, captured Brown and his Coronel Robert E. Lee, capturo a Brown y a sus com men, and after a trial Brown was hanged. He thus paneros, y despues del juicio. Brown fue ahorcado. became a martyr to the anti-slavery forces in Asi' es que Brown vino a ser un martir de la causa con America. tra la esclavitud en los Estados Unidos.

John Steuart Curry, a Kansas artist, was commis John Steuart Curry, un pintor de Kansas fue comi- sioned to paint a mural for the state capitol at To- sionado para pintar un mural en el Capitolio del estado en Topeka. Este retrato fue el estudio prelimi- peka. This portrait was a preliminary study for the nar para la figura de John Brown quien aparece en el figure of John Brown, who appeared in the mural mural sosteniendo una biblia en la mano izquierda y holding a Bible in his left hand and a rifle in his right un rifle en la derecha. hand.

PORTRAITURE RETRATOS

MRS. JOHN WINTHROP, 1773 MRS. JOHN WINTHROP, 1773 by John Singleton Coply, American, 1738-1815 por John Singleton Copley, americano, 1738-1815 1 1 Oil on canvas, 35 /2 x 28% inches oleo, 35 /2 x 28% pulgadas Morris K. Jesup Fund, 31.109 Fondo de Morris K. Jessup, 31.109

John Singleton Copley was America's foremost John Singleton Copley fue el pintor mas impotante painter of the 18th century. Working in Boston and del Siglo 18 en los Estados Unidos. Trabajo en Boston New York prior to the Revolutionary War, he painted y Nueva York antes del comienzo de la guerra revo- lucionaria, pinto los retratos de muchos de los promi- the portraits of many prominent colonists including nentes colonizadores incluyendo a Paul Revere, Sam Paul Revere, Samuel Adams, and John Hancock. uel Adams y John Hancock. Poco antes de empezar la Shortly before the War broke out, he left for London guerra se marcho a Londres donde se establecio para where he remained for the rest of his life. el resto de su vida. Hannah Fayerweather Winthrop was the wife of John Hannah Fayerweather Winthrop fue la esposa de John Winthrop, a professor of mathematics at Harvard and Winthrop quien era un profesor de matematicas en la America's first prominent astronomer. This splendid Universidad de Harvard y tambien el primer astron- portrait of her exhibits the intensive realism that was omo prominente de los Estados Unidos. characteristic of Copley. Notice particularly the way Este esplendido retrato de ella exhibe el intenso the artist rendered the varying textures of the muslin realismo que fue tan caracten'stico de las pinturas de cap, silk dress, and lace cuffs, and the reflection of Copley. Noten en particular las diferentes texturas, la the sitter's hands on the table top. muselina del sombrero, el traje de seda, los punos de encajes y el reflejo de las manos de la modelo sobre la mesa.

MASTER STEPHEN CROSSFIELD, c. 1775 MASTER STEPHEN CROSSFIELD, c. 1775 (El Joven Stephen Crossfield), c. 1775 by William Williams, American, 1727-1791 por William Williams, americano, 1727-1791 1 oleo, 521/2 x 35% pulgadas Oil on canvas, 52 /2 x 35% inches Victor Wilbour Memorial Fund, 65.34 Fondo de Victor Wilbour, 65.34

The English-born William Williams spent 30 years tra William Williams, nacido en Inglaterra, paso 30 anos viajando en las colonias buscando comisiones para veling in the colonies seeking portrait commissions. pintar retratos. Fue el primer instructor de pintura The first painting instructor of Benjamin West, Wil del famoso Benjamin West. Williams, no solo era pin liams was also an author, teacher, musician, stage de tor, sino tambien autor, maestro, musico, disenador signer and sailor. de escenarios y marinero.

One of Williams' sitters was Stephen Crossfield of Uno de los modelos que poso para Williams fue New York who was probably about 10 years when Stephen Crossfield de Nueva York, quien probablemente teni'a 10 anos cuando este retrato fue pintado. this portrait was done. Stephen appears to be a minia Stephen aparece como un adulto en miniatura, con ture adult, dressed in a wig and formal clothes. (Note una peluca y ropa de etiqueta de la epoca. (Noten en particularly his shoes—in those days shoes were iden particular sus zapatos—en esos di'as estos eran iden- tical to each other, there was no right or left shoe.) ticos para los dos pies, no habi'an hormas para el Stephen holds a shuttlecock and racket as though pre izquierdo o el derecho.) Stephen sostiene en sus paring to play a game. The buildings in the back manos un volante y una raqueta, como si estuviera ground might have been part of the Crossfield family preparado para jugar. Los edificios en el fondo de la estate. pintura podn'an haber sido propiedades de la familia Crossfield.

THE LADY WITH THE ROSE, THE LADY WITH A ROSE, CHARLOTTE CHARLOTTE LOUISE BURCKHARDT, 1882 LOUISE BURCKHARDT, 1882 (La Dama con la rosa, Charlotte Louise Burckhardt), 1882 by John Singer Sargent, American, 1856-1925 por John Singer Sargent, americano, 1856-1925 Oil on canvas, 88 x 44% inches oleo 88 x 44% pulgadas Bequest of Mrs. Valerie B. Hadden, 32.154 Legado de Sra. Valerie B. Hadden, 32. 154 John Singer Sargent was born in Italy of American John Singer Sargent nacio en Italia, de padres norte- parents, studied art in Florence and Paris, and became americanos. Estudio arte en Florencia y Pan's y llego a very fashionable portrait painter of the aristocracy a ser un elegante pintor de retratos de la aristocracia in Europe and America. Sargent's clients were europea y de los Estados Unidos. Los clientes de Sar worldly and sophisticated, and his portraits of them gent eran mundanos y sofisticados y sus retratos parecen haber sido pintados con poco esfuerzo. seem to have been painted with almost effortless ease. Este retrato de Charlotte Louise Burckhardt, cuya This portrait of Charlotte Louise Burckhardt, whose familia se contaba entre los primeros clientes de Sar family was among Sargent's earliest patrons, is one of gent es una de sus primeras obras importantes. La his most important early works. The popularity of popularidad de esta pintura ayudo a establecer a Sar this painting helped establish Sargent as one of the gent como uno de los retratistas mas importantes de foremost portrait painters of the time. su tiempo.

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BY THE SEASHORE, 1883 BY THE SEASHORE, 1883 (Al ladodel Mar), 1883 by Pierre Auguste Renoir, French, 1841-1919 por Pierre Auguste Renoir, frances, 1841-1919 1 Oil on canvas, 36% x 28%. inches oleo, 36% x 28 /2 pulgadas The H.O. Havemeyer Collection, Bequest of Mrs. H.O. La Coleccion de H.O. Havemeyer, Legado de la Sra. Havemeyer, 1929, 29.000.125 H.O. Havemeyer, 1929, 29.100.125

More than any other Impressionist painter, Renoir Mas que ningun otro pintor impresionista, Renoir se concentrated on the human form rather than on land concentro mas en pintar la figura humana que pai scapes. The serenely beautiful young girl in By the sajes. La linda y serena figura de la joven en la pintura "By the Seashore" (Al ladodel Mar) aparece en otras Seashore appears in other paintings by Renoir and pinturas de Renoir y representa el tipo de mujer que represents the type of woman which Renoir delighted este artista se deleitaba en pintar. Hasta la escena en in portraying. Even the setting of the painting, which el cuadro que parece ser la isla de Guernsey en el may be the Channel island of Guernsey, where Canal de La Mancha, donde Renoir estuvo en sep- Renoir stayed in September 1883, reflects the artist's tiembre de 1883, refleja el sentido de paz y vida virtu- sense of the peace and goodness of life. osa que el artista teni'a.

Notice how differently the background and the figure Notese la diferencia entre el fondo y la figura al ser pintados. Matices de colores puros y brillantes sin are painted. Dashes of pure, bright, unmixed colors mezclar dan la "impresion" de las aguas del mar, las give an "impression" of the sea, the rocks and the rocas, y una atmosfera nublada de un atardecer de hazy atmosphere of a late summer day at a seaside verano al lado de la playa veraniega. La figura de la resort. The figure of the girl, except for the folds of joven con exception de los pliegues de su falda, esta her skirt, is painted less impressionistically; Renoir pintada en forma menos impresionista. Renoir uso has used darker and broader areas of color and areas de color obscuras y amplias con pinceladas smoother brushstrokes to create a solid and motion suaves a fin de crear una forma solida y sin movi- less form. miento. PADRE, 1917 PADRE, 1917 by George Bellows, American, 1882-1925 por George Bellows, americano, 1882-1925 Oil on wood, 40 x 32 inches oleo en madera, 40 x 32 pulgadas Rogers Fund, 41.81 Fondo de Rogers, 41.81

As a young man George Bellows seriously considered En su juventud, George Bellows seriamente considero becoming a professional baseball player, and his best- ser un jugador profesional de baseball, y sus mas known paintings are big, violent scenes of boxing conocidas obras son las de grandes y violentes escenas matches. This vigorous New York realist also painted de boxeo. Este vigoroso realista de Nueva York tambien pintaba escenas de las calles, paisajes y re- street scenes, landscapes and portraits such as this, tratos como este que fue pintado durante una visita a done on a visit to Carmel, California. Carmel, en California.

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ABSTRACT PORTRAIT OF A LADY, 1951 ABSTRACT PORTRAIT OF A LADY, 1951 (Retrato Abstracto de una Dama), 1951 by Wilfredo Lam, Cuban, 1902- por Wilfredo Lam, Cubano, 1902 - Oil on canvas, 56 x 41 inches oleo, 56 x 41 pulgadas Anonymous loan, L66.22.45 Prfistamo an6mmo, L.66.22.45

Wilfredo Lam left his native Cuba in 1924 to study Wilfredo Lam partio de su pais natal, Cuba, en 1924 and paint in Europe. Influenced by the Abstract para estudiar y pintar en Europa. Influenciado por el paintings of Picasso and other modern artists. Lam estilo abstracto de Picasso y de otros pintores mod- experimented with the more radical styles. In this ernos. Lam experimento con estilos mas radicales. En portrait certain features of the woman are easily iden este retrato ciertas partes de la figura de una mujer tifiable and others have been disjointed and reassem son facilmente identificables y las demas desmem- bradas y juntadas en una imaginativa manera sur- bled in an imaginative, surrealistic manner. realista.

GENRE CUADROSDEGENERO

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THE 9:45 A.M. ACCOMMODATION, STRATFORD, THE 9:45 A.M. ACCOMMODATION, STRATFORD, CONNECTICUT, 1867 CONNECTICUT, 1867 (La acomodacion en el Ferrocarril de las 9:45 A.M.), by Edward Lamson Henry, American, 1841-1919 1867 Oil on canvas, 16 x 30 5/8 inches Bequest of Moses Tanenbaum, 1937, 39.47.1 por Edward Lamson Henry, americano, 1841-1919 oleo, 16x30 5/8 pulgadas Henry's picture of a wood-burning locomotive Legado de Moses Tanenbaum, 39.47.1 stopped at a small station is full of activity and con fusion—horses frightened by the puffing engine, bark- En esta pintura de Henry se ve una locomotora para- ing dogs, running children, busy porters. This sort of da, quemando lena en una pequena estacion llena de scene is a valuable historical document because it re actividad y confusion—caballos asustados por el humo creates for us a view of daily life in America in the del motor, perros ladrando, ninos corriendo y porta- dores ocupados. Este tipo de escena es valiosa como mid-nineteenth century. un documento historico porque nos trae de nuevo una vista de lo que fue la vida diaria en Norteamerica a mediados del Siglo 19.

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THE BOWERY, 1930 THE BOWERY, 1930 (El Bowery, Barrio de Nueva York), 1930

by Reginald Marsh, American, 1898-1954 por Reginald Marsh, americano, 1898-1954 Tempera on canvas, 48 x 36 inches tempera en lienzo, 48 x 36 pulgadas Arthur H. Hearn Fund, 32.81.2 Fonda de Arthur H. Hearn, 32.81.2

New York City—the crowded streets of the Bowery, La ciudad de Nueva York, con sus pobladas calles del the exuberant mobs on the beaches at Coney Island, barrio Bowery, las gentes agrupadas en sus playas de Coney Island, sus teatros de burlesco, todos estos mo- the burlesque shows—obsessed Reginald Marsh, and tivos fueron una obsesion para Reginald Marsh, y sus his paintings throb with the many moods of the city pinturas demuestran los variados aspectos de la ciu that he loved and knew so well. He advised others, dad que el amaba y conoci'a tan bien. Marsh respondi'a "How to learn to draw? Go out into the street, stare a la pregunta "icomo se aprende a dibujar? " y acon- at the people. Go into the subway. Stare, stare, keep sejaba, "Vayan a la calle y f (jense en la gente. Tomen on staring. Go to your studio; stare at your pictures, el subterraneo (subway) y f fjense. F (jense, sigan fijan- yourself, everything." dose. Vayan a su estudio; fi'jense en sus pinturas, es- tudiense ustedes mismos, fi'jense en todo." Marsh painted The Bowery during the onset of the Marsh pinto The Bowery (El Bowery) a principio de Great Depression and in it he captured the mood of la gran depresion y en este pen'odo capturo la desep- despondency and hopelessness of the men who had eracion y desaliento de los hombres que no teni'an no work, no place to go, nothing to do. trabajo ni lugar a donde ir ni nada que hacer.

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JULY HAY, 1943 JULY HAY, 1943 (Siega en Julio), 1943 by Thomas Hart Benton, American, 1889- por Thomas Hart Benton, americano, 1889- Oil and egg tempera on composition board, 38 x 26% oleo y tempera en carton, 38 x 26% pulgadas inches. Fondo de George A. Hearn, 43.159.1 George A. Hearn Fund, 43.159.1 En una reaction emotional a los levantamientos en la In an emotional reaction to the upheavals in Ameri vida poli'tica y economica de America en los anos de ca's political and economic life in the 1930's and to la depresion y a las nuevas direcciones radicales en el the radical new trends in modern European art, some arte moderno de Europa, algunos artistas retro- artists retreated to the rural Midwest and painted cedieron al area rural del oeste central de los Estados Unidos para pintar escenas que celebran las activi- scenes celebrating the daily activities of American dades diarias de los campos americanos. El mas fa- farm life. The most famous of these Regionalists, as moso de estos "regionalistas," como se llaman estos these painters are called today, is Thomas Hart pintores hoy dia, es Thomas Hart Benton. De su tra- Benton. bajo Benton ha escrito, "Creo que mi deseo mas que cualquier otra cosa es hacer cuadros, cuyas imagenes Of his work Benton has written, "I believe I wanted, lleven sin duda los significados de America para los more than anything else, to make pictures, the americanos y para el mayor numero de ellos como sea imagery of which would carry unmistakably Ameri posible." can meanings for Americans and for as many of them as possible."

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MEDICINE SHOW, 1955-56 MEDICINE SHOW, 1955-56 (Barracon de Feria), 1955-56 by Jack Levine, American, 1915- por Jack Levine, americano, 1915- Oil on canvas, 72 x 63 inches oleo, 72 x 63 pulgadas Gift of Hugo Kastor, 56.233 Donation de Hugo Kastor, 56.233

Jack Levine is outraged and amused by his fellow Jack Levine se siente ultrajado y al mismo tiempo di- Americans, and attacks the vain, hypocritical, corrupt vertido por sus compatriotas norteamericanos, y ataca and foolish aspects of their behavior in bitingly satir los aspectos vanos, hipocritas, corrompidos y tontos de su comportamientos en fuertes pinturas sati'ricas. ical paintings. En la obra Medicine Show (Barracon de Feria), un In the Medicine Show a huckster stands on a plat vendedor ambulante parado en una plataforma, se ve form, as a willing audience clusters around. The peo rodeado de un publico atento. Estas personas no son ple are not a crowd but individuals—note the sailor on una multitud, sino individuos. Notese el marinero de leave, the young woman wearing decorated sun vacaciones, la joven con decorados espejuelos oscuros glasses, the heavy-thighed assistant wearing practically y la asistente del vendedor con sus muslos gordos y nothing. Their enlarged heads and distorted bodies ropa escasa. Sus cabezas agrandadas y cuerpos distor- make a vivid impression on the viewer. cionados dan vi'vida impresion al espectador.

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THE WOODSHED, 1969 THE WOODSHED, 1969 (La Lenera), 1969 by Romare Bearden, American, 1914- por Romare Bearden, americano, 1914- Collage on board, 40 x 50 inches collage sobre madera, 40 x 50 pulgadas George A. Hearn Fund, 1970.19 Fondo de George A. Hearn, 1970.19

Suffering is a theme which Romare Bearden has so El sufrimiento es un tema que Romare Bearden ha movingly expressed in his haunting collages. In all of expresado de manera muy commovedora en sus ob- his works, which range from paintings of the "social sesionantes collages. En todas sus obras que vari'an de realist" school to photomontages (such as The Wood pinturas de la escuela "social realista," a sus fotomon- tajes—como The Woodshed (La Lenera)—el proposito shed), the artist's purpose has been to "redefine the del artista ha sido "reinterpretar la imagen del hom- image of man in terms of the Negro experience I bre en terminos de la experiencia de la raza negra, la know best." cual yo conozco mejor." THE NUDE DESNUDOS

15. 15.

THE SOURCE, 1862 THE SOURCE, 1862 (El Manantial), 1862 by Gustave Courbet, French, 1819-1877 por Gustave Courbet, frances, 1819-1877 Oil on canvas, 47% x 29% inches oleo, 47% x 29% pulgadas The H.O. Havemeyer Collection, Bequest of Mrs. Coleccion de H.O. Havemeyer, Legado de la Sr. H.O. H.O. Havemeyer, 1929, 29.100.58 Havemeyer, 1929, 129.100.58

Gustave Courbet thought of himself as the leader of Gustave Courbet se considero el h'der de una revolu an artistic revolution to promote realism in painting, tion arti'stica para promover el realismo en la pintura and indeed some of his scenes of the life of peasants y verdaderamente algunas de sus escenas de la vida de and the labors of workmen were so realistic that-he los peones y obreros en sus trabajos fueron tan reales was regarded as an apostle of ugliness, vulgarity and que se le considero como un apostol de la fealdad, social rebellion. vulgaridad y rebelion social. Sin embargo en 1862 cuando The Source (El Manan However, by the year 1862, when The Source was tial) fue pintado, Courbet ya habfa abandonado el painted, Courbet had abandoned socialist comment in tema social y se habia dedicado a pintar estudios de his pictures and was painting figure studies, land desnudos, paisajes y escenas de caza. A pasar de todo scapes and hunting scenes. Yet he still rebelled against se revelo contra la tradition establecida, como es official tradition, for the title and subject of The aparente en el titulo y tema del The Source (El Man Source ridicule an artificial studio painting of a nude antial) que ridiculiza un artificial desnudo de estudio painted by Ingres the previous year. Unlike the aca pintado por Ingres en el afio anterior. Al contrario de los pintores academicos de la epoca, Courbet capto demic painters of the period, Courbet recorded with con honradez y dignidad lo que vio en la naturaleza. honesty and dignity what he saw in nature. Courbet tomo parte activa en el gobierno revolu Courbet took an active part in the revolutionary gov tionary de 1871 y fue multado y encarcelado. Paso ernment of 1871 and was imprisoned and fined. He los ultimos cuatro anos de su vida bajo exilio en spent the last 4 years of his life in exile in Switzer Suecia. land.

16. 16.

SUMMER, 1914 SUMMER, 1914 (Verano), 1914 by Frederick Carl Frieseke, American, 1874-1939 Oil on canvas, 45 x 57% inches por Frederick Carl Frieseke, americano, 1874-1939 George A. Hearn Fund, 66.171 oleo, 47 x 57% pulgadas Fondo George A. Hearn, 66.171 Frieseke was a significant figure in the development of American Impressionism. At the age of 24 he tra Frieseke fue una figura significante en el desarrollo velled to France to study, and spent the rest of his del impresionismo americano. A los 24 anos de edad life there. The subjects of his paintings—"sunshine, viajo a estudiar en Francia, donde paso el resto de su vida. Los temas de sus cuadros—"sol, flores al sol, flowers in sunshine, girls in sunshine, the nude in sun damas al sol, desnudos al sol"—reflejan su admiration shine"—reflected his admiration for the French Im al impresionista frances Renoir. pressionist painter Renoir. The setting of this painting was probably Frieseke's La escena de esta pintura fue probablemente en la country home at Giverny where he was a neighbor of casa de campo de Frieseke en Giverny donde era another French Impressionist, the painter Monet. vecino del pintor impresionista frances Monet. Solo una pared del jardi'n los separaba. Only a garden well separated their homes. Frieseke se quedo en Francia porque alh' se senti'a Frieseke stayed in France because there he felt free libre de las restricciones puritanicas que predomin- from the Puritanical restrictions which prevailed in aban en America. En una ocasion dijo: "Aquf no solo America. He said: "Not only can I paint a nude here puedo pintar un desnudo al aire libre sino que tam out of doors, but I can have a greater choice of sub bien, tengo una mejor selection de temas . . . puedo jects. ... I can print a nude in my garden or down by pintar un desnudo en mi jardi'n o junto al estanque the fish pond and not be run out of town". sin que me expulsen del pueblo".

LANDSCAPE PAISAJES

17. 17.

SUNRISE ON THE MATTERHORN, c. 1880 SUNRISE ON THE MATTERHORN, c. 1880 (Amanecer en el Matterhorn), c. 1880 by Albert Bierstadt, American, 1830-1902 por Albert Bierstadt, americano, 1830-1902 Oil on canvas, 58% x 42 5/8 inches oleo, 58V2 x 45 5/8 pulgadas Gift of Mrs. Karl W. Koeniger, 66.114 Legadode la Sra. Karl W. Koeniger, 66.114

In 1859 Albert Bierstadt joined an expedition to sur En 1859 Albert Bierstadt se unio a una expedition vey an overland wagon route into the Far West, and para estudiar una ruta de carromato al lejano oeste y of the Rocky Mountains he observed, "The moun durante este viaje, a proposito de las Montanas Roco- tains are very fine; as seen from the plains they resem sas, el comento: "Las montanas son muy bellas; vistas desde las llanuras se parecen mucho a los Alpes ble very much the Bernese Alps, one of the finest suizos, una de las mas finas cordilleras en Europa y ranges of mountains in Europe, if not the world. posiblemente del mundo entero. Su formation es de They are of a granite formation, the same as the Swiss granito, al igual que las montanas suizas, con cimas ir- mountains and their jagged summits, covered with regulares cubiertas de nieve que tocan las nubes y snow and mingling with clouds, present a scene which presentan una escena que admiran'a con agrado cual- evrry lover of landscape would gaze upon with un quier amante de los paisajes." Bierstadt hizo dibujos qualified delight." Bierstadt made sketches of the de las montanas, y cuando retorno a su estudio en mountains, and when he returned to his New York Nueva York los uso para componer grandes y drama- studio he used the drawings to compose large, dra ticas pinturas al oleo. matic oil paintings.

Sunrise on the Matterhorn was probably painted in Sunrise on the Matterhorn (Amanecer en el Matter Bierstadt's New York studio, using sketches he had horn), fue probablemente pintado, usando los dibujos made on one of his trips to the Swiss Alps. que el habi'a hecho durante sus viajes a los Alpes sui zos. 18. 18.

CYPRESSES, 1889 THE CYPRESSES, 1889 (Los Cipr'eses), 1889

by Vincent Van Gogh, Dutch, 1853-1890 por Vincent Van Gogh, holandes, 1853-1890 Oil on canvas, 36% x 29 1/8 inches oleo, 36% x 29 1/8 pulgadas Rogers Fund, 49.30 Fondo de Rogers, 49.30

Towards the end of his life, when Van Gogh was stay Hacia al final de su vida cuando Van Gogh estaba en ing at the asylum of Saint Paul in Saint Remy, he el asilo de Saint Paul en Saint Remy, pinto The painted the Cypresses. At that time Van Gogh wrote Cypresses (Los Cipreses). En este tiempo Van Gogh le to his brother Theo that he found the trees as beauti escribio a su hermano Theo, que habi'a encontrado los ful in line and proportion as an Egyptian obelisk. The arboles tan bellos en linea y proportion como un tall triangular trees do resemble the stately propor obelisco egipico. Los altos arboles triangulares se asemejan en proporciones a los gigantescos obeliscos, tions of an obelisk, but how different they are from pero ique diferentes son de su n'gida y suave geom- its rigid smooth geometry! The trees are alive with etn'a! Los cipreses resaltan con movimiento y estan movement and are painted with curving flame-like pintados con pinceiadas curvas hechas en forma de brushstrokes which are echoed in the clouds and llamas, cuyo ritmo se repite en las nubes y en la grass, so that the whole landscape seems to be caught yerba. De manera que todo el paisaje parece estar ab- up in their rhythm. sorbido en su ritmo.

19. 19.

FROM WILLIAMSBURG BRIDGE, 1928 FROM WILLIAMSBURG BRIDGE, 1928 (Desde el Puente Williamsburg), 1928

by Edward Hopper, American, 1882-1967 por Edward Hopper, americano, 1882-1967 Oil on canvas, 29 x 43 inches oleo, 29 x 43 pulgadas George A. Hearn Fund, 37.44 Fondo de George A. Hearn, 37.44

Alienation and loneliness haunt Edward Hopper's Alienation y soledad de la vida diaria en la cuidad son stark, realistic paintings of daily life in the city. Here, reflejados en las pinturas realistasde Edward Hopper. a single, melancholy figure is framed in a window of En esta obra una figura sola y melancolica esta enmar- one of the massive, impersonal houses near Williams cada en una ventana de uno de los edificios im- burg bridge in New York City. ponentes e impersonales cerca del puente Williams burg en la cuidad de Nueva York. 20. 20.

NOVEMBER EVENING, 1934 NOVEMBER EVENING, 1934 (Noche de Noviembre), 1934 by Charles Burchfield, American, 1893-1967 Oil on canvas, 32 1/8 x 52 inches por Charles Burchfield, americano, 1893-1967 George A. Hearn Fund, 34.43 oleo, 32 1/8 x 52 pulgadas Fondo de George A. Hearn, 34.43 After Charles Burchfield painted this picture, he said of it, "I have tried to express the coming of winter Despues de que Charles Burchfield termino este over the middle-west as it must have felt to the pio cuadro, el hizo las siguientes declaraciones: "He tra- neers—great black clouds sweep out of the west at tado de expresar la llegada del invierno en el medio twilight as if to overwhelm not only the pitiful at oeste, como la hubiesen sentido los pioneros—grandes nubes negras salen del oeste al anochecer, como si tempt at a town, but also the earth itself." fuera un manto negro que no solamente cubre el pe- Here the mysterious dark sky, the endless plains and queno pueblo, si no a toda la tierra." the seemingly-deserted houses suggest the isolation Aqui' el misterioso cielo obscuro, las llanuras sin fin y and loneliness of a small American community. This las casas aparentemente abandonadas sugieren la sole- familiar American theme of isolation is also evident in dad y el aislamiento de una pequena communidad Edward Hopper's From Williamsburg Bridge (no. 19). americana. Este tema familiar de aislamiento es tam bien evidente en la pintura de Edward Hopper, titu- lada From Williamsburg Bridge (Desde el Puente Wil liamsburg).

SEASCAPE PAISAJES MARINOS

21. 21.

EATON'S NECK, LONG ISLAND, 1872 EATON'S NECK, LONG ISLAND, 1872 by John Frederick Kensett, American, 1816-1872 por John Frederick Kensett, americano, 1816-1872 Oil on canvas, 18 x 36 inches oleo, 18 x 36 pulgadas Gift of Thomas Kensett, 74.29 Donation de Thomas A. Kensett, 74.29

John Kensett was a quiet, retiring man, and the hun John Kensett era un hombre callado, solitario, y en dreds of landscapes he painted were infused with his los cientos de paisajes que pinto transmitio ese senti- sense of solitude and tranquility. Kensett was trained miento de soledad y tranquilidad. Kensett tuvo pre as an engraver, and this is evident in his precise draw paration en grabado, y esto se refleja en su precision ing of the bushes, sand, and small boats on the hori al dibujar la playa, la arena y los pequenos barcos en zon. Although he lived in New York City, he traveled el horizonte. Aunque el vivio en la cuidad de Nueva extensively in the eastern United States in search of York, viajo extensamente por el este de los Estados Unidos en busca de escenas naturales para sus subjects for his scenes of nature. pinturas. 22. 22.

THE MANNEPORTE, ETRETAT II, 1886 THE MANNEPORTE, ETRETAT II, 1886 (El Barranco de Manneporte, Etretat II), 1886 by Claude Monet, French, 1840-1926 por Claude Monet, frances, 1840-1926 Oil on canvas, 32 x 25% inches oleo, 32 x 25% pulgadas Bequest of Lizzie P. Bliss, 31.67.11 Legadode Lizzie P. Bliss, 31.67.11

The scene of this painting is the Normandy coast, La escena de esta pintura es la costa de Normandi'a, al north of Le Havre, where Monet lived as a youth, norte de La Havre, donde Monet vivio en su juventud where he returned in the 1880's to paint a series of y a donde volvio en los 1880 para pintar una serie de pictures depicting the huge arched rock at Etretat. cuadros de los grandes arcos de roca en Etretat. El autor Frances Guy de Maupassant escribio en The French author Guy de Maupassant wrote in 1886, ano en que este cuadro fue pintado: 1886, the year this picture was painted, "Frecuentamente segui" a Claude Monet "I often followed Claude Monet in his en su busqueda de impresiones. Ya no era search of impressions. He was no longer a un pintor de verdad sino un cazador. Se- guido por ninos que le ayudaban a cargar painter, in truth, but a hunter. He pro sus lienzos, procedi'a a trabajar en cinco o ceeded, followed by children who carried seis cuadros representando el mismo tema his canvases, five or six canvases repre a varias horas del di'a y bajo diferentes senting the same subject at different efectos. Los pintaba por turnos, siguiendo times of day and with different effects. los cambios del cielo y el pintor, ante su He took them up and put them aside in tema se sentaba en espera del sol y la turn, following the changes in the sky. sombra, capturando en unas pocas pince- And the painter, before his subject, lay in ladas el rayo que cai'a o la nube que wait for the sun and shadow, capturing in pasaba.. .." a few brushstrokes the ray that fell or the Los pintores impresionistas entre los cuales Monet fue cloud that passed . . ." uno de los li'deres, trataron de sugerir en sus obras algo de los cambios de efectos de luz y color en la The Impressionist painters, of which Monet was a naturaleza. La rapidez con que el artista trabajaba leader, tried to suggest in their pictures something of para capturar una impresion fugaz es evidente en las the changing effects of color and light in nature. The pinceladas cortas y variadas en forma, tamano y direc speed with which the artist worked in order to cap tion. El barranco que esta pintado en naranjas, am- ture a fleeting impression is evident in the brush arillos, rojos y azules puros sin mezclarse el uno con strokes which are short and varied, in shape, size and el otro, brillan en la luz reflejada por el mar. direction. The cliff, which is painted in pure, un mixed colors of oranges, yellows, reds and blues, sparkles in the light reflected by the sea. 23. 23.

NORTHEASTER, 1895 NORTHEASTER, 1895 (Tormenta del Noroeste), 1895

by Winslow Homer, American, 1836-1910 por Winslow Homer, americano, 1836-1910 Oil on canvas, 34 3/8 x 50% inches oleo, 34 3/8 x 50% pulgadas Gift of George A. Hearn, 10.64.5 Donation de George A. Hearn, 10.64.5

Winslow Homer is one of America's greatest and most Winslow Homer as un de los artistas mas grandes y popular artists. During his long career Homer made famosos de America. Durante su larga carrera hizo Civil War illustrations of the Union Army for Harper's illustraciones del ejercito de la Union en la guerra civil Weekly, recorded in a series of watercolor sketches para Harper's Weekly. Capto, en una serie de acua- his frequent hunting and fishing trips in Canada, the relas, sus frecuentes viajes de pesca y cacen'a al Can ada, las Adirondacks y el Caribe, y creo paisajes ma- Adirondacks, and the Caribbean, and created somber rinos sombn'os en sus pinturas al oleo. seascapes in oil paint. Homer se establecio en una pequena cuidad en la Homer made his home at Prout's Neck on the coast costa de Maine llamada Prout's Neck, y Northeaster of Maine, and Northeaster is one of many marine (Tormenta del Noroeste) es uno de los paisajes que el paintings he did there. Shortly before the painting hizo allf. Poco antes de que el Museo adquiriera la was acquired by the Museum, the Curator wrote, pintura, el curador observo: "En la mayon'a de opiniones Northeaster "In the opinion of many people. North (Tormenta del Noroeste) es la obra maes- easter is Homer's masterpiece. Certainly tra de Homer. Es un cuadro de una ola one can rarely find so vigorously ex espumosa que se acerca, detras de el la una pressed the dynamic energy and weight of nube de agua salpica hacia un lado. Es moving water. It is the picture of an on cierto que muy rara vez se ven esas sensa- coming wave just tipped with foam, back ciones del peso y la energi'a dinamica del of a cloud of spray that is blown to one agua expresadas con tanto vigor. Su side. In handling it is hard and uncompro manejo tecnico es difi'cil y rigido y los colores—grises aplomados, verdes esmeral- mising, and the color—slaty greys, emer da y los tonos obscuros de las rocas— ald and the brown black of the rocks-has poseen una belleza austera y de acuerdo an austere beauty in accord with the in con la intensidad de la idea." tensity of the idea."

24. 24.

GREEN SEA, 1954 GREEN SEA, 1954 (Mar Verde), 1954

by Milton Avery, American, 1893-1965 por Milton Avery, americano, 1893-1965 Oil on canvas, 42 x 60 inches oleo, 42 x 60 pulgadas Arthur H. Hearn Fund, 54.111 Fondo de Arthur H. Hearn, 54.111

The style of the American painter Milton Avery is El estilo del pintor norteamericano Milton Avery esta partially based on the work of an early 20th century parcialmente basado en el estilo de un grupo de artis group of artists who were called the "Fauves", or tas del principio del Siglo 20 llamados "Fauves" o "Wild Beasts", because of the violent colors in their bestias salvajes, nombrados asf por haber usado co- paintings. In Green Sea, Avery's color scheme issub- lores violentos en sus obras. En Green Sea (Mar dued, but, like the "Fauves", he created dramatic pat-, Verde), los colores que Avery uso son de tonos terns with large, boldly contrasting areas of color. suaves, pero como los "Fauves", creo disefios drama- The gently sloping hills, jagged rocks, sandy shore, ticos con grandes y audaces contrastes de areas de and smooth expanse of water are recognizable, but color. Las suaves colinas en descenso las rocas de- siguales, la playa arenosa y extension de aguas tran- the forms have been simplified and all shadows have quilas se ven claramente, pero las formas han sido been avoided to create an abstract surface pattern. simplificadas y todas las sombras han sido eliminadas para crear una superficie de formas abstractas. Milton Avery's Green Sea, like Winslow Homer's Northeaster, represents a scene along the coast of Green Sea (Mar Verde) de Milton Avery asi' como Maine. Winslow Homer painted many seascapes in Northeaster (Tormenta del Noroeste) de Winslow watercolor; this painting by Avery is derived from a Homer, representan una escena a lo largo de la costa watercolor which Avery painted 9 years earlier of de Maine. Winslow Homer pinto muchos paisajes marinos en acuarela. Esta pintura de Avery es derivada Pemaquid Point, Maine. de una acuarela, que el habi'a pintado nueve anos antes en Pemaquid Point, Maine.

STILL LIFE NATURALEZAMUERTA

25. 25.

STILL LIFE, c. 1645 STILL LIFE, c. 1645 (Naturaleza Muerta), c. 1645

by Jan Davidsz.de Heem, Dutch, 1606-1683/84 por Jan Davidsz.de Heem, holandes, 1606-1683/84 Oil on canvas, 53% x 73 inches oleo, 53% x 73 pulgadas Curtis Fund, 12.195 Fondo Curtis, 12.195

In 17th century Holland, great quantities of paint En Holanda, durante el Siglo 17, grandes cantidades ings—portraits, landscapes, still lifes—were bought by de pinturas—retratos, paisajes y naturaleza muerta— the middle class to decorate their homes. However, fueron adquiridas por la clase media para decorar sus because artists were so numerous, they were often hogares. Sin embargo, el hecho de que habi'a una gran forced to specialize in a particular subject in order to cantidad de pintores hizo que estos se especializaran en temas especi'ficos para encontrar un mercado para find a market for their works. This painting by Jan sus obras. Esta pintura de Jan Davidsz. de Heem, es Davidsz. de Heem is one of his special types of still una naturaleza muerta de un tipo especial, una mesa life, a laden dfning table which the Dutch called the de comedor llena, que los holandeses llamaron "na "sumptuous still life." turaleza muerta suntuosa". Here the painter has depicted a rich array of luxury Aquf el pintor ha representado un rico conjunto de objects, such as a tall covered cup, a ewer, wine objetos de lujo, como una alta copa cubierta, un glasses, a lute and part of a meal including a lobster. jarro, vasos de vino, un laud y parte de una cena incluyendo una langosta. Todas las formas han sido All the forms have been arranged in a harmonious compuestas de una manera armoniosa: la forma de la way: the shape of the lobster repeats the curved body langosta se repite en la curvatura del laud, y el mango of the lute, and the handle of the lute repeats the del laud se repite en la forma diagonal del orificio del diagonal spout of the ewer. The composition reflects jarro. La composition refleja los gustos y placeres del the tastes and pleasures of the 17th century and the Siglo 17 y las delicias que el artista experimento al artist's delight in painting different textures and pintar diferentes texturas y colores, como la cascara colors, such as the shiny pebbled lemon peel, the brillante y granulada del limon, la suave concha de la smooth lobster shell, and the thin delicate wine langosta, los finos y delicados vasos de vino; pero el glasses, but the artist has reminded us that all these artista tambien nos ha recordado que todos estos pleasures are temporary by including a clock in the placeres son temporales, al haber inclui'do un reloj en upper right corner of the composition! la esquina superior derecha de esta composition.

26. 26.

IVORY-BILLED WOODPECKERS, c. 1831 IVORY-BILLED WOODPECKERS, c. 1831 (Pajaros Carpinteros con Pico de Marfil), c. 1831

by John James Audubon, American, 1785-1851 por John James Audubon, americano, 1785-1851 Oil on canvas, 39% x 26% inches oleo, 39% x 26% pulgadas Rogers Fund, 41.18 Fondo de Rogers, 41.18

In 1820, John James Audubon, a French immigrant, En 1820, John James Audubon, un immigrante conceived the idea of making and publishing drawings frances, concibio la idea de hacer y publicar dibujos of all the birds of America; and, while his wife sup de todos los pajaros de America. Mientras su esposa ported herself and their sons by working as a gover trabajaba como institutriz y maestra de escuela, para mantenerse ella y a sus hijos, el se dedico totalmente ness and schoolteacher, he devoted himself entirely to a este proyecto. Hizo mas de 400 dibujos de pajaros this project. He made more than 400 drawings of dif de varias clases, y mientras esperaba la publication de ferent birds, and while waiting in Edinburgh to have ellos en Edinburgh, se mantuvo pintando copias de them published, he earned money by painting copies sus acuarelas al oleo. in oil of his watercolors. El "Ivory-billed woodpecker" es una especie que al The ivory-billed woodpecker is now an almost extinct presente casi se ha extinguido porque mucho antes de species because, long before European hunters ap que los cazadores europeos aparecieran con sus esco- petas en la escena americana, los indios habi'an estado peared on the American scene with their guns, the In matando estos pajaros para usar sus picos blancos y dians had been killing the birds to use their white bills sus crestas de plumas rojas como arti'culos de valor en and red feather crests for personal ornament and as el comercio. highly valued articles of trade.

27. 27.

MUSIC AND GOOD LUCK, 1888 MUSIC AND GOOD LUCK, 1888 (Musica y Buena Suerte), 1888

by William Harnett, American, 1848-1892 por William Harnett, americano, 1848-1892 Oil on canvas, 40 x 30 inches oleo, 40 x 30 pulgadas Catharine Lorillard Wolfe Fund, 63.85 Fondo de Wolfe, 63.85

William Harnett was one of America's most masterful William Harnett fue uno de los maestros mas grandes del grupo de pintores de "Naturalezas muertas". still life painters. Rejecting the more conventional Rechazando el tema mas conventional, de la fruta, las subject matter of fruit, flowers and silverware, Har flores y cubiertos, Harnett escogio pintar instru- nett chose to picture musical instruments, hunting mentos musicales, equipos para la caza, libros, pipas y gear, books, pipes and other familiar household ob otros objetos familiares del hogar. jects. Aqui' el artista ha pintado un violi'n colgado en una Here the artist has painted a fiddle hanging on a puerta entreabierta y rodeado por una herradura; un slightly opened door, surrounded by a horseshoe, an candado abierto, un flauti'n, un arco de violi'n y un open padlock, a piccolo, a bow and a wall holder for estuche de pared para fosferos. El efecto de realismo matches. The effect of realism is heightened by the es acentuado por los clavos y los huecos hechos por extra nails and nail holes, the cracks and rust stains los clavos, las grietas y manchas de oxido en la puerta, on the door, the shadows cast by the objects and by y por las sombras reflejadas por los objetos y la puerta misma. Notese particularmente como Harnett the door itself. Note particularly how Harnett has ha firmado esta pintura al haber reproducido su tar- signed this painting-he has painted his calling card in jeta personal en la parte inferior a la derecha de la the lower right hand corner of the door. puerta.

NON-OBJECTIVE ART ARTENO-OBJETIVO

28. 28.

'OPEN' NO. 37, IN ORANGE WITH CHARCOAL 'OPEN' NO. 37, IN ORANGE WITH CHARCOAL LINE, 1968 LINE, 1968 (Abierto numero 37 anaranjado con linea de carbonizo), 1968

by Robert Motherwell, American, 1915— Por Robert Motherwell, americano, 1915 Polymer paint and charcoal on canvas, 88 x 122 Polemero y carbonizo en lienzo, 76 x 114 pulgadas inches Donation anonimo, 69.277.3 Anonymous gift, 69.277.3 Durante el siglo 20 los artistas se han dedicado mas y During the 20th century artists have turned increas mas a la abstraction, hacia imagenes que reflejan ingly toward abstraction, toward images that bear less menos y menos los temas que los han inspirado. and less resemblance to the subjects that inspired Desde la segunda guerra mundial, la tendencia domi- them. Since World War II, the dominant trend in nante del arte americano ha sido hacia la abstraction. American art has been toward the non-objective, to Pinturas que tienen como tema una idea de las rela- ward paintings that have as their subject an idea ciones de colores 6 estructuras. about relationships of color or structure rather than En la pintura 'Open' No. 37 (Abierta No. 37), de an exact translation of an object. Robert Motherwell, uno de los li'deres del arte creado despues de la guerra, ha usado los elementos basicos In 'Open' No. 37 Robert Motherwell, one of the lead como la linea, forma y color para producir una ers of post war art, has used such basic elements as imagen personal y balanceada. line, form and color to produce a balanced and per sonal image.