{"pagination":{"total":130850,"limit":15,"offset":0,"total_pages":8724,"current_page":1,"next_url":"https:\/\/api.artic.edu\/api\/v1\/artworks?page=2&limit=15"},"data":[{"id":97910,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/97910","is_boosted":true,"title":"The Advance-Guard, or The Military Sacrifice (The Ambush)","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBwAFAPUAAFZHQnxpXXlqYnl6fIpvYJaFeZaKfKGLe6yUc7KVcbWffnV9goSNj4yMjISPmYiQk4iTm6+ch6OYjqKZj6eZjaaajaibibmdgLOejKOck7qhjKWgl7Glk7ilkZ2lqpGispSqvpipuZWswgAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAHAAUAAAYhwAfkAxKFPIzBwtHgWCoBgMCgQGgOhMImksBUMpNJ5xIEADs=","width":13192,"height":9306,"alt_text":"Three cavalry scouts\u2014light-skinned men mounted on gleaming brown horses\u2014among light-beige, arid mountains. The figure in the foreground has begun to to slump and seems poised to fall, his rifle on the ground, his horse agitated and alarmed. The others ride off in pursuit."},"main_reference_number":"1982.802","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1890,"date_end":1890,"date_display":"1890","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Frederic Remington (American, 1861\u20131909)","place_of_origin":"New York","description":"

Frederic Remington crafted this scene of bloody confrontation for white audiences east of the Mississippi River, who imagined the West as a place of both danger and opportunity. An unseen Sioux warrior has shot a cavalry scout, who slumps over his horse while the troops behind him flee the ambush. A sculptor and illustrator as well as a painter, Remington was famous for his dynamic compositions of frontier life, which presented mythologized views of encounters between Native and settler-colonial communities in tantalizing color and detail. Although he traveled to western locations to sketch or gather material on assignment, he executed most of his work in his New York studio, including The Advance-Guard<\/em>, which was later reproduced in Harper\u2019s Weekly<\/em> alongside an article by the artist.<\/p>\n","short_description":"Frederic Remington, famous for his dynamic compositions of frontier life, presented mythic, romanticized views of the American West. Here, a cavalry scout, shot by an unseen Souix warrior, slumps over his horse while the troops behind him flee the ambush. Like most of his work, it was created for a white audience who understood the West as a place of both danger and opportunity.","dimensions":"87.3 \u00d7 123.1 cm (34 3\/8 \u00d7 48 1\/2 in.)","dimensions_detail":[{"depth":null,"width":123,"height":87,"diameter":null,"clarification":null}],"medium_display":"Oil on canvas","inscriptions":"Signed recto, bottom-left, on ground, in red paint: \"Frederic Remington- \/ 1890\u2022\".","credit_line":"George F. Harding Collection","catalogue_display":null,"publication_history":"New York Times<\/em> (January 9, 1893).\n\nNew York Daily Tribune<\/em> (January 14, 1893), 7, col. 5.\n\nNew York Sun<\/em> (January 14, 1893), 2, col. 7.\n\nNew York Times<\/em> (January 14, 1893), 8, col. 4.\n\nFrederic Remington, \u201cThe Advance Guard, or The Military Sacrifice,\u201d Harper\u2019s Weekly<\/em> (September 16, 1893), 886, ill., 888\u2013889.\n\nRemington, 1895, 55 (ill.).\n\nEarle 1924, 265.\n\nDowney, 1941, ill. opp. p. 234 as The Ambush<\/em>.\n\nFrederic Remington, Pony Tracks<\/em> (Norman, OK: University of Oklahoma Press, 1961), ill.\n\nHarold McCracken, The Frederic Remington Book: A Pictorial History of the West<\/em> (Garden City, NY: Doubleday & Company, Inc., 1966), no. 212.\n\nPeggy and Harold Samuels, ed. The Collected Writings of Frederic Remington<\/em> (Doubleday, 1979), 110, ill.\n\nArt Institute of Chicago, Annual Report, 1982\u201383<\/em> (Chicago, 1983), fig. 20, 26, ill.\n\nArt Institute of Chicago, A Record of Sharing with Chicago\u2019s Masterpiece<\/em> (Chicago, 1983), 8, ill.\n\nArt Institute of Chicago, Master Paintings in the Art Institute of Chicago<\/em> (Boston and Toronto: Little, Brown, 1988), 97, ill.\n\nArt Institute of Chicago, Annual Report 1987\u201388 (Chicago, 1988), fig. 18, 39, ill.\n\nAllen P. and Marilyn D. Splete, Frederic Remington: Selected Letters<\/em> (Abbeville Press, 1988), 119, 121.\n\nPeter H. Hassrick and Melissa J. Webster, Frederic Remington: A Catalogue Raisonne of Paintings, Watercolors and Drawings, Volume I<\/em> (Buffalo Bill Historical Center \/ University of Washington Press, 1996), 369, no. 1207.\n\nJudith A. Barter, Window on the West: Chicago and the Art of the New Frontier 1890-1940<\/em>, exh. cat. (Art Institute of Chicago; New York and Manchester, VT: Hudson Hills Press, 2003), 82, 168, cat. 73, fig. 2 (ill.).\n\nYang Zhigang, ed., Pathways to Modernism: American Art, 1865\u20131945<\/em>, exh. cat. (Shanghai Book and Painting Press, 2018), cat. 8.\n\nPeter H. Hassrick, et al., Frederick Remington Catalogue Raisonn\u00e9<\/em>, accessed May 5, 2020, http:\/\/remington.centerofthewest.org<\/a>, cat. 01207, as The Advance\u2013Guard, or the Military Sacrifice<\/em>.\n\nPaintings at the Art Institute of Chicago, Highlights of the Collection<\/em>, (Art Institute of Chicago\/Yale University Press, 2017), 93.\n\nYang Zhigang, ed., Pathways to Modernism: American Art, 1865\u20131945<\/em>, exh. cat. (Shanghai Book and Painting Press, 2018), cat. 8.","exhibition_history":"St. Louis, 1892.\n\nNew York, American Art Galleries, 1893.\n\nArt Institute of Chicago, Paintings and Bronzes by Frederic Remington Lent by the George F. Harding Museum<\/em>, June 21\u2013Oct. 10, 1969.\n\nMt. Vernon, Ill., Mitchell Museum, Harding Foundation, Medieval and Renaissance Armor and Weapons, Remington Paintings, Bronzes and Drawings<\/em>, Dec. 5, 1981\u2013Jan. 31, 1982, cat. 405.\n\nArt Institute of Chicago, Frederic Remington<\/em>, Sept. 1\u2013Oct. 11, 1982, no cat.\n\nArt Institute of Chicago, Window on the West: Chicago and the Art of the New Frontier, 1890-1940<\/em><\/a>, June 10\u2013Oct. 16, 2003, cat. 73.\n\nShanghai Museum, Pathways to Modernism: American Art, 1865\u20131945<\/em>, Sept. 28, 2018\u2013Jan. 6, 2019, cat. 8.","provenance_text":"Frederic Remington, 1890; E.H. Wales, 1893. George F. Harding Museum, Chicago, by 1982; given to the Art Institute of Chicago, 1982.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":21,"fiscal_year":1982,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":true,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":0,"color":{"h":208,"l":52,"s":5,"percentage":0.001025538666017099,"population":1259},"latitude":41.879246937606,"longitude":-87.6222233298512,"latlon":"41.879246937606,41.879246937606","is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 171","gallery_id":2147471010,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Arts of the Americas","department_id":"PC-3","artist_id":21570,"artist_title":"Frederic Remington","alt_artist_ids":[],"artist_ids":[21570],"artist_titles":["Frederic Remington"],"category_ids":["PC-3"],"category_titles":["Arts of the Americas"],"term_titles":["painting","oil painting","oil paint (paint)","fashion","organic material","painting (image making)","american arts","animals","people","portraits"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-9","classification_title":"painting","alt_classification_ids":["TM-2191"],"classification_ids":["TM-9","TM-2191"],"classification_titles":["painting","american arts"],"subject_id":"TM-8663","alt_subject_ids":["TM-12218","TM-8810","TM-8658"],"subject_ids":["TM-8663","TM-12218","TM-8810","TM-8658"],"subject_titles":["fashion","animals","people","portraits"],"material_id":"TM-2451","alt_material_ids":["TM-2601"],"material_ids":["TM-2451","TM-2601"],"material_titles":["oil paint (paint)","organic material"],"technique_id":"TM-4273","alt_technique_ids":["TM-3891"],"technique_ids":["TM-4273","TM-3891"],"technique_titles":["oil painting","painting (image making)"],"theme_titles":[],"image_id":"f1e03813-f9c7-f4f8-fbe8-a5eeae84fda4","alt_image_ids":["9ceda08e-6efd-c73f-3ab7-961a80e46d43"],"document_ids":["3f30d0f8-f77c-06af-4adc-14078b397e1f"],"sound_ids":["3f30d0f8-f77c-06af-4adc-14078b397e1f"],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_boosted":"The Advance-Guard, or The Military Sacrifice (The Ambush)","suggest_autocomplete_all":[{"input":["1982.802"],"contexts":{"groupings":["accession"]}},{"input":["The Advance-Guard, or The Military Sacrifice (The Ambush)"],"weight":14427,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-02-03T17:45:30-06:00","updated_at":"2026-02-03T17:50:23-06:00","timestamp":"2026-02-03T22:37:01-06:00"},{"id":81564,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/81564","is_boosted":true,"title":"Husking Bee, Island of Nantucket","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhCgAFAPUAAEEwHkM1Jkc0Jkk\/JkY3KlVBKlJFKlhDLllHLV9GLlpHMVtKN1xNO2VLLmJOM2NPNmVRM2JQNmlQM2tSNWlTN2tZN25ZN2lTOGpYOG1ZQGpZR3xhQnBgSnRjTXVkT3hlS3pqUnxsVHtwXHtxX3xwXIttSIBxWYB0Xod4XoF1YYd7Zoh7ZIp9ZYt9ZYh8Z4l8Z4x\/Z4l+agAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAKAAUAAAYuwJBIRDqpYLFUC9VqrVomEGfB0Hg6n4wi0RAEAAXJhHApbQ6IgcExeUQwFQskCAA7","width":16047,"height":7906,"alt_text":"Dozens of figures in a brown field filled with discarded corn silks form two rows and sit across from each other husking corn, a farm in the background."},"main_reference_number":"1922.444","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1876,"date_end":1876,"date_display":"1876","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Eastman Johnson (American, 1824\u20131906)","place_of_origin":"Nantucket Island","description":"

Eastman Johnson painted this composition in 1876, 100 years after the founding of the United States. The centennial fostered a sense of nostalgia among some residents as industrialization and urban growth rapidly transformed the nation. Husking Bee, Island of Nantucket<\/em> depicts a seasonal gathering on the rural Massachusetts island. Community members work together to shuck corn and ready the harvest, a traditional activity that was far removed from daily life for many in the late 19th century. Johnson employed a warm palette and loose brushwork to describe this agrarian subject, presenting an uncomplicated vision of cooperation and closeness to the land.<\/p>\n","short_description":"This painting by Eastman Johnson takes its nostalgic theme from rural Nantucket. A timeless evocation of agrarian peace and cooperation, it includes a woman discovering a red ear of corn, which, according to folk tradition, would allow her to kiss the person of her choice. This use of local subject matter combined with an international style was typical of American art around the time of the centennial.","dimensions":"69.6 \u00d7 138.2 cm (27 3\/8 \u00d7 54 3\/8 in.)","dimensions_detail":[{"depth":null,"width":138,"height":69,"diameter":null,"clarification":null}],"medium_display":"Oil on canvas","inscriptions":"Signed recto, bottom-left, in brown paint: \"E. Johnson \/ 1876\".","credit_line":"Gift of Honor\u00e9 and Potter Palmer","catalogue_display":"

Hills 26.3.3<\/p>","publication_history":"Eugene Benson, \u201cEastman Johnson,\u201d The Galaxy<\/em> VI (1868): 111.\n\nNational Academy of Design, Catalogue of the Fifty-First Annual Exhibition<\/em>, exh. cat. (National Academy of Design, 1876) cat. 285.\n\n\u201cRepresentative Pictures at the Academy,\u201d Appleton\u2019s<\/em> XV, no. 269 (April 15, 1876): 508\u2013510.\n\n\u201cThe National Academy of Design,\u201d The Art Journal<\/em> 2 (1876): 159. \n\nExposition Universelle Internationale, Catalogue Officiel. Tome I: Groupe I, Oeuvres d\u2019Art<\/em>, 3rd ed. (Imprimerie Nationale, 1878), 204, cat. 69, as Epis de bl\u00e9s<\/em>.\n\nS. N. Carter, \u201cPaintings at the Centennial Exhibition,\u201d The Art Journal<\/em> 2 (1876): 284, as Husking Bee<\/em>, https:\/\/www.jstor.org\/stable\/20568958<\/a>.\n\nS. N. Carter, \u201cThe Academy Exhibition,\u201d The Art Journal<\/em> 4 (1878): 157\u201359, as Corn Husking<\/em>, https:\/\/www.jstor.org\/stable\/20569225<\/a>.\n\nLucy H. Hooper, \u201cThe Pictures at the Paris Exhibition. IV. The American Pictures,\u201d The Art Journal<\/em> 4 (1878): 348\u2013350, as Corn Husking<\/em>, https:\/\/www.jstor.org\/stable\/20569288<\/a>.\n\n\u201cAmerican Genre Painters: Eastman Johnson, Winslow Homer and the Rest,\u201d New York Times<\/em> (Aug. 25, 1878): 10, as Corn Husking<\/em>.\n\nS.G.W. Benjamin, \u201cA Representative American,\u201d The Magazine of Art<\/em> 5 (Nov., 1882): 485\u2013490.\n\nIllustrated Catalogue of the Art Hall of the Inter-State Industrial Exposition of Chicago<\/em>, exh. cat. (Rand, McNally, & Co., 1882), 78, cat. 612, as Corn Husking<\/em>\n\nClarence Cook, Art and Artists of Our Time<\/em>, vol. 3 (Selmar Hess, 1888), 263.\n\n\u201cWashington Art Notes,\u201d American Art News<\/em> 4, no. 26 (Apr. 7, 1906): [4], as The Husking Bee<\/em>, https:\/\/www.jstor.org\/stable\/25590186<\/a>.\n\n\u201cWeekly Calendar,\u201d The Collector and Art Critic<\/em> 4, no. 6 (Apr., 1906): n.p., as The Husking Bee<\/em>, https:\/\/www.jstor.org\/stable\/25435680<\/a>.\n\nSadakichi Hartman, \u201cEastman Johnson: American Genre Painter,\u201d The International Studio<\/em> 34 (Apr., 1908): 111, as Corn Huskers<\/em>.\n\n\u201cThe Loan Exhibitions,\u201d Bulletin of the Art Institute of Chicago<\/em> 4, no. 1 (July, 1910): 6, as Corn Husking<\/em>, https:\/\/www.jstor.org\/stable\/4116816<\/a>.\n\nJohn Denison Champlin, Jr. and Charles C. Perkins, Cyclopedia of Painters and Paintings<\/em>, vol. 2 (Charles Scribner\u2019s Sons, 1913), 351, as .\n\n\u201cAccessions and Loans,\u201d Bulletin of the Art Institute of Chicago<\/em> 16, no. 3 (May, 1922): 47, as Corn Husking<\/em>, https:\/\/www.jstor.org\/stable\/4116423<\/a>.\n\nArt Institute of Chicago, A Guide to the Paintings in the Permanent Collection<\/em> (Art Institute of Chicago, 1932), 111, 159 (ill.).\n\nFogg Art Museum, Art in New England: New England Genre<\/em>, exh. cat. (Harvard University Press, 1939), cat. 17 (ill.).\n\nJohn I. H. Baur, An American Genre Painter: Eastman Johnson, 1824\u20131906<\/em> exh. cat. (Brooklyn Museum, 1940), 3, 23, 50, 62, cat. 55, pl. 32 (ill.), as Corn Husking Bee<\/em>, https:\/\/hdl.handle.net\/2027\/wu.89050667617<\/a>.\n\nEverett U. Crosby, Eastman Johnson at Nantucket: His Paintings and Sketches of Nantucket People and Scenes<\/em> (Nantucket, 1944), 12, C.1, as Corn Husking Bee<\/em>.\n\nHenry-Russell Hitchcock, \u201cAmerican Painting at the Art Institute,\u201d The Art Institute of Chicago Quarterly<\/em> 45, no. 3 (Sept. 15, 1951): 41\u201350, as Corn Husking<\/em>, https:\/\/www.jstor.org\/stable\/4112599<\/a>.\n\nArt Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection<\/em> (Art Institute of Chicago, 1961), 248, as Cornhusking Bee<\/em>.\n\nPatricia Hills, Eastman Johnson: Retrospective Exhibition<\/em>, exh. cat. (Whitney Museum of Art, 1972), 89, cat. 79 (ill.).\n\nPatricia Hills, The Painters\u2019 America: Rural and Urban Life, 1810\u20131910<\/em>, exh. cat. (Whitney Museum of American Art, 1974), 79, fig. 97 (ill.), as .\n\nPatricia Hills, The Genre Painting of Eastman Johnson: The Sources and Development of His Style and Themes<\/em> (Garland Press, 1977).\n\nRoss E. Taggart, Kaleidoscope of American Painting: Eighteenth and Nineteenth Centuries<\/em>, exh. cat. (William Rockhill Nelson Gallery of Art, 1977), cat. 77 (ill.).\n\nSarah Burns, Pastoral Inventions: Rural Life in Nineteenth-Century American Art and Culture<\/em> (Temple University Press, 1989).\n\nMarc Simpson, Sally Mills, and Patricia Hills, Eastman Johnson, The Cranberry Harvest, Island of Nantucket: 25th Anniversary Exhibition<\/em> (Timken Art Gallery, 1990).\n\nSarah Burns, \u201cRevitalizing the \u2018Painted-Out\u2019 North: Winslow Homer, Manly Health, and New England Regionalism in Turn-of-the-Century America,\u201d American Art<\/em> 9, no. 2 (Summer, 1995): 23, https:\/\/www.jstor.org\/stable\/3109183<\/a>.\n\nJudith A. Barter, et al., American Arts at the Art Institute of Chicago: From Colonial Times to World War I<\/em> (Art Institute of Chicago, 1998), 227\u201329, cat. 106 (ill.).\n\nTeresa A. Carbone and Patricia Hills, Eastman Johnson: Painting America<\/em>, exh. cat. (Brooklyn Museum of Art, 1999), 85, 262\u201364, , cat. 44 (ill.).\n\nLacey Baradel, \u201cGeographic Mobility and Domesticity in Eastman Johnson\u2019s The Tramp<\/em>,\u201d American Art<\/em> 28, no. 2 (Summer, 2014): 30\u201340, fig. 9 (ill.), https:\/\/www.jstor.org\/stable\/10.1086\/677964<\/a>.\n\nPatricia Hills, \"Husking Bee, Island of Nantucket<\/em>, 1876 (Hills no. 26.3.3),\" Eastman Johnson Catalogue Raisonn\u00e9<\/em>, accessed Aug. 5, 2021, https:\/\/www.eastmanjohnson.org\/catalogue\/entry.php?id=412<\/a>, (ill.).","exhibition_history":"New York, National Academy of Design, Fifty-First Annual Exhibition<\/em>, Mar. 28\u2013May 31, 1876, cat. 285.\n\nPhiladelphia, Memorial Hall and Art Annex, Centennial International Exhibition<\/em>, May 10\u2013Nov. 10, 1876, cat. 249e, as The Husking Bee<\/em> (organized by United States Centennial Commission, Philadelphia).\n\nParis, France, Exposition Universelle International, Exhibition des Oeuvres d\u2019Art<\/em>, May 1\u2013Oct. 10, 1878, cat. 69 as Epis de Bl\u00e9s<\/em>.\n\nChicago, Inter\u2013State Industrial Exposition of Chicago<\/em>, Sept. 1\u2013Oct. 21, 1882, cat. 612, as Corn Husking<\/em>.\n\nUnion League Club of New York, Loan Collection<\/em>, Nov. 14\u201316, 1889, cat. 19, as Corn Husking<\/em>.\n\nArt Institute of Chicago, Paintings Exhibited at the Opening of the New Galleries<\/em><\/a>, Feb. 24\u2013[?], 1890, cat. 245, as Corn Husking<\/em>.\n\nArt Institute of Chicago, Paintings from the Collection of Mrs. Potter Palmer<\/em><\/a>, Aug. 1910, cat. 27, as Corn Husking<\/em>.\n\nArt Institute of Chicago, A Survey of American Painting from the Permanent Collection of the Art Institute<\/em><\/a>, July 21\u2013Oct. 9, 1932, no cat. [downloadable checklist available].\n\nCambridge, MA, William Hayes Fogg Art Museum, Harvard University, Art in New England: New England Genre<\/em>, May 15\u2013Sept. 1, 1939, cat. 17.\n\nNY, Brooklyn Museum, An American Genre Painter, Eastman Johnson, 1824\u20131906<\/em>, Jan. 18\u2013Feb 26, 1940, cat. 55, as Corn Husking Bee<\/em>.\n\nPittsburgh, PA, Carnegie Institute, Survey of American Painting<\/em>, Oct. 24\u2013Dec. 15, 1940, cat. 121.\n\nDenver Art Museum, Chappell House Galleries, Our American Heritage<\/em>, Mar. 7\u2013Apr. 11, 1948, cat. 38.\n\nColumbus Gallery of Fine Arts, Romantic America<\/em> Oct. 9\u2013Nov. 28, 1948.\n\nArt Institute of Chicago, Two Centuries of American Art, 1750-1950<\/em><\/a>, Oct. 1, 1959\u2013Jan. 10, 1960, no cat. [downloadable checklist available].\n\nNew York, Whitney Museum of American Art, The Painters\u2019 America: Rural and Urban Life, 1810\u20131910<\/em>, Sept. 20\u2013Nov. 10, 1974, cat. 97; Museum of Fine Arts, Houston, Dec. 5, 1974\u2013Jan. 19, 1975; CA, Oakland Museum, Feb. 10\u2013Mar. 30, 1975.\n\nArt Institute of Chicago, Art at The Time of the Centennial<\/em><\/a>, June 19\u2013Aug. 8, 1976, no cat.\n\nKansas City, MO, William Rockhill Nelson Gallery of Art, Mary Atkins Museum of Fine Arts, Kaleidoscope of American Painting: Eighteenth and Nineteenth Centuries<\/em>, Dec. 2, 1977\u2013Jan. 22, 1978, cat. 77.\n\nSanta Barbara Museum of Art, New Work\u2013New Visions<\/em>, June 6\u2013Aug. 11, 1991.\n\nBrooklyn Museum of Art, Eastman Johnson: Painting America<\/em>, Oct. 29, 1999\u2013Feb. 6, 2000, cat. 44; San Diego Museum of Fine Arts, Feb. 25\u2013May 21, 2000; Seattle Museum of Art, June 8\u2013Sept. 10, 2000.","provenance_text":"Eastman Johnson, New York, Jan-Feb. 1876 [lent to National Academy of Design 1876]. Napoleon Sarony (1821\u20131896), New York, by May 1878 [lent to Paris Exposition Universelle International 1878 and Chicago Inter\u2013State Industrial Exposition 1882]. Potter (1826\u20131902) and Bertha Palmer (1849\u20131918; born Bertha Honor\u00e9, also Mrs. Potter Palmer), Chicago, 1889; by descent to his wife, Bertha Palmer, 1902 [lent to Art Institute of Chicago 1910]; by descent to her sons, Honor\u00e9 Palmer (1874\u20131964) and Potter Palmer II (1875\u20131943), 1918; given to the Art Institute of Chicago, 1922.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":21,"fiscal_year":1922,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":0,"color":{"h":39,"l":45,"s":37,"percentage":4.3352288372612005e-5,"population":55},"latitude":null,"longitude":null,"latlon":null,"is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 161","gallery_id":2147477236,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Arts of the Americas","department_id":"PC-3","artist_id":35142,"artist_title":"Eastman Johnson","alt_artist_ids":[],"artist_ids":[35142],"artist_titles":["Eastman Johnson"],"category_ids":["PC-3"],"category_titles":["Arts of the Americas"],"term_titles":["painting","oil paint (paint)","Realism","landscapes","organic material","american arts","animals"],"style_id":"TM-7548","style_title":"Realism","alt_style_ids":[],"style_ids":["TM-7548"],"style_titles":["Realism"],"classification_id":"TM-9","classification_title":"painting","alt_classification_ids":["TM-2191"],"classification_ids":["TM-9","TM-2191"],"classification_titles":["painting","american arts"],"subject_id":"TM-8657","alt_subject_ids":["TM-12218"],"subject_ids":["TM-8657","TM-12218"],"subject_titles":["landscapes","animals"],"material_id":"TM-2451","alt_material_ids":["TM-2601"],"material_ids":["TM-2451","TM-2601"],"material_titles":["oil paint (paint)","organic material"],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"8a647e1c-d778-db71-6ba4-6456b800d6b9","alt_image_ids":["5ed172c3-b25e-23a7-7c26-85337a6120dd"],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_boosted":"Husking Bee, Island of Nantucket","suggest_autocomplete_all":[{"input":["1922.444"],"contexts":{"groupings":["accession"]}},{"input":["Husking Bee, Island of Nantucket"],"weight":5063,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-02-03T17:46:39-06:00","updated_at":"2026-02-03T17:50:23-06:00","timestamp":"2026-02-03T22:37:01-06:00"},{"id":64724,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/64724","is_boosted":true,"title":"The Home of the Heron","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhCAAFAPUAAD0rDUQsCkIwDkMwDkszC0kzD1I4Dlk6DF87DFw9D0k1EUs2EUg1E0k1E004EFA5EVI6EVA4E18+EWE\/EV1AE1tAFV1BFl9FGWBBD2FBEGJBE2dCEGZGEWVHE2ZHE2hEEW1NEm9NEmxJF21OF2lLGHFOEnBJFndSGAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAIAAUAAAYlwIqFpBA8HKMI49JYQAaAAuUkMmkkAQMBMflgEodOZuMBlUKcIAA7","width":9100,"height":5957,"alt_text":"A heron\u01f3 silhouette sits amongst the brush in a golden hued forest."},"main_reference_number":"1911.31","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1893,"date_end":1893,"date_display":"1893","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"George Inness (American, 1825\u20131894)","place_of_origin":"Florida","description":"

The landscape painter George Inness once explained, \u201cThe true purpose of the painter is simply to reproduce in other minds the impression which a scene has made upon him . . . to awaken an emotion.\u201d Inness sought, particularly in his later years, to record not so much the appearance of nature as its poetry. To achieve this, he limited his subject matter to, in his words, \u201crivers, streams, the rippling brook, the hillside, the sky, the clouds.\u201d For half a century, the artist captured these moisture-laden subjects in all seasons, during all hours of the day and night. First he made small, quick sketches in the field or wood, and then, in the seclusion of his studio, he used them to create the more than one thousand oils credited to him.<\/p>\n

Inness completed The Home of the Heron<\/em> near the end of his career, after he had finally achieved a degree of comfort and success. The painting is characteristic of his late work, with loosely rendered detail and dim objects that seem bathed in an almost incandescent glow. The picture\u2019s blurred outlines, broad handling, and delicate, subtle tonalities, as well as the solitary presence of the heron, masterfully evoke nature\u2019s stillness and mystery. With more than two dozen canvases by Inness, the Art Institute has one of the most comprehensive collections of the painter\u2019s work.<\/p>\n","short_description":null,"dimensions":"76.2 \u00d7 115.2 cm (30 \u00d7 45 in.)","dimensions_detail":[{"depth":null,"width":115,"height":76,"diameter":null,"clarification":null}],"medium_display":"Oil on canvas","inscriptions":"Signed, lower right: \"G. Inness 1893\"","credit_line":"Edward B. Butler Collection","catalogue_display":"

Quick 1097<\/p>","publication_history":"Bland Simpson, \u201cCanalbank Life,\u201d Virginia Calvalcade (Spring 1990), 172\u2013181, ill. p. 177. \n\nJudith A. Barter, et al., American Arts at The Art Institute of Chicago: From Colonial Times to World War I (Art Institute of Chicago, 1998).\n\nMichael Quick, George Inness, a Catalogue Raisonne, vol. 2 (Rutgers University Press, 2007), no. 1097, pl. 238, as The Sun's Last Reflection.","exhibition_history":"New York, American Fine Arts Society, Exhibition of the Paintings Left by the Late George Inness, Dec. 27, 1894, no. 34.\n\nNew York, Lotos Club, Exposition of Paintings from the Collection of Mr. Emerson McMillin, Mar. 29\u201331, 1902, no. 13.\n\nChicago, Henry Reinhardt Galleries, An Exhibition of Eighteen Pictures by the American Master of Landscape Painting, the late George Inness, N.A., 1911, no. 3.\n\nAustin, Texas, University Art Museum, University of Texas, The Paintings of George Inness (1844\u20131894), 1965\u20131966, no. 122, ill.\n\nSpringfield, Illinois State Museum, Nineteenth\u2013Century American Paintings: a Collection of the Art Institute of Chicago, Mar. 5\u2013Apr. 24, 1966; Iowa, Davenport Municipal Art Gallery, May 19\u2013June 5, 1966; Muscatine, Iowa, Laura Musser Art Gallery and Museum, July 24\u2013Oct. 2, 1966; Peoria, Illinois, Lakeview Center for the Arts and Sciences, Nov. 30, 1966\u2013Jan. 8, 1967.\n\nChampaign, Illinois, Krannert Art Museum, 250 Years of American Art, Art Resources Traveler exhibition, May 1968\u2013July 1969, cat. np.\n\nSpokane, Washington, International Exposition Our Land, Our Sky, Our Water: An Exhibition of Amerian and Canadian Art, 1974, no. 20.\n\nNew York, Museum of Modern Art, The Natural Paradise: Painting in America, 1800\u20131950<\/em>, Sept. 29\u2013Nov. 30, 1976, cat.\n\nOakland Museum Art Department, George Inness Landscapes: His Signature Years, 1884\u20131894, 1978\u201379.\n\nJacksonville, Fla., Cummer Gallery of Art, George Inness in Florida, 1890\u20131894, and the South, 1884\u20131894, Apr. 11\u2013May 25, 1980, no. 21.\n\nNew York, Metropolitan Museum of Art, George Inness, Apr. 1\u2013June 9, 1985, Nicolai Chikovsky and Michael Quick, cat. no. 59, p. 195, ill. ; The Minneapolis Institute of Arts, Nov. 10, 1985\u2013Jan. 12, 1986; Los Angeles County Museum of Art, Feb. 20\u2013May 11, 1986. (Picture did not go to the final condensed exhibition at the National Gallery in Washington, June 22\u2013Sept. 7, 1986, no. 59.\n\nNational Academy of Design, New York, The Art of George Inness: A Visionary Perspective, Sept. 17\u2013Dec. 28, 2003, San Diego Museum of Art, Jan. 24\u2013Apr. 18, 2004, no. 36.\n\nWilliamstown, Massachusetts, Sterling and Francine Clark Art Institute, Like Breath on Glass: Whistler, Inness, and the Art of Painting Softly, June 22\u2013Oct. 19, 2008.","provenance_text":"Estate of the artist (sale, Fifth Avenue Galleries, New York, February 12-14, 1895, no. 69, as \"The Sun's Last Reflection\"); E.W. Bass, 1895; Emerson McMillin, New York, to 1911; Knoedler & Co., New York, 1911; Reinhardt Galleries, Chicago, 1911; sold to Edward B. Butler, Chicago, 1911; given to the Art Institute of Chicago, 1911.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":21,"fiscal_year":null,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":40.2645,"color":{"h":40,"l":43,"s":66,"percentage":0.005567189554239415,"population":26},"latitude":null,"longitude":null,"latlon":null,"is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 179","gallery_id":2147476037,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Arts of the Americas","department_id":"PC-3","artist_id":35061,"artist_title":"George Inness","alt_artist_ids":[],"artist_ids":[35061],"artist_titles":["George Inness"],"category_ids":["PC-831","PC-3"],"category_titles":["Essentials","Arts of the Americas"],"term_titles":["painting","Post-Impressionism","landscapes","oil paint (paint)","oil painting","organic material","american arts","birds","weather\/seasons","circles","painting (image making)","animals"],"style_id":"TM-7547","style_title":"Post-Impressionism","alt_style_ids":[],"style_ids":["TM-7547"],"style_titles":["Post-Impressionism"],"classification_id":"TM-9","classification_title":"painting","alt_classification_ids":["TM-2191"],"classification_ids":["TM-9","TM-2191"],"classification_titles":["painting","american arts"],"subject_id":"TM-8657","alt_subject_ids":["TM-11211","TM-10095","TM-8803","TM-12218"],"subject_ids":["TM-8657","TM-11211","TM-10095","TM-8803","TM-12218"],"subject_titles":["landscapes","birds","weather\/seasons","circles","animals"],"material_id":"TM-2451","alt_material_ids":["TM-2601"],"material_ids":["TM-2451","TM-2601"],"material_titles":["oil paint (paint)","organic material"],"technique_id":"TM-4273","alt_technique_ids":["TM-3891"],"technique_ids":["TM-4273","TM-3891"],"technique_titles":["oil painting","painting (image making)"],"theme_titles":["Essentials"],"image_id":"0f2d999d-0173-2935-a6d0-0175bb97b2a9","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_boosted":"The Home of the Heron","suggest_autocomplete_all":[{"input":["1911.31"],"contexts":{"groupings":["accession"]}},{"input":["The Home of the Heron"],"weight":16556,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-02-03T17:47:08-06:00","updated_at":"2026-02-03T17:50:22-06:00","timestamp":"2026-02-03T22:37:01-06:00"},{"id":97907,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/97907","is_boosted":false,"title":"A Mexican Vaquero","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhAwAFAPMAAI5gRJl+Z6KOcrKaf7GdgKeakbKhhb2qir6qkbavpbm7s7vBt77Dwr7GwsHJxAAAACH5BAAAAAAALAAAAAADAAUAAAQLcLmmChsgoWAEOREAOw==","width":1520,"height":2250,"alt_text":"A work made of oil on canvas."},"main_reference_number":"1982.799","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1890,"date_end":1890,"date_display":"1890","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Frederic Remington (American, 1861\u20131909)","place_of_origin":"New York","description":"

A trip to Mexico in 1889 provided Frederic Remington with a wealth of firsthand material for paintings and illustrations created later in his New York studio. Here Remington depicted a vaquero, a Mexican horseman similar to the cowboys of the American frontier. The figure sits astride his horse at an elevated position, his head and torso above the horizon, outlined by the pale blue sky behind him. Portraying the man with a direct gaze and his hand on the reins, Remington suggested that the vaquero was a fixture of the local terrain. The artist created a version of A Mexican Vaquero<\/em> as a wood engraving, which appeared in Harper\u2019s Monthly<\/em> in 1891.<\/p>\n","short_description":null,"dimensions":"82.6 \u00d7 58.4 cm (32 1\/2 \u00d7 23 in.)","dimensions_detail":[{"depth":null,"width":58,"height":82,"diameter":null,"clarification":null}],"medium_display":"Oil on canvas","inscriptions":"Signed, lower right: \"Copyright 1890 \/ By\/ Frederic Remington\"","credit_line":"George F. Harding Collection","catalogue_display":null,"publication_history":"Theodore Ayrault Dodge, \u201cSome American Riders,\u201d Harper\u2019s New Monthly Magazine<\/em>, 83 (July 1891), 204\u2013214, ill. p. 209.\n\nHarold McCracken, Frederic Remington, Artists of the Old West<\/em> (J.B. Lippincott Co., 1947), 130. \n\nHarold McCracken, The Frederic Remington Book: A Pictorial History of the West<\/em> (Garden City, NY: Doubleday & Company, Inc. 1966), 184, no. 261.\n\nPeter H. Hassrick and Melissa J. Webster, Frederic Remington: A Catalogue Raisonne of Paintings, Watercolors and Drawings, Volume I<\/em> (Buffalo Bill Historical Center \/ University of Washington Press, 1996), no. 1165.\n\nPeter H. Hassrick, et al., Frederick Remington Catalogue Raisonn\u00e9<\/em>, accessed May 5, 2020, http:\/\/remington.centerofthewest.org<\/a>, cat. 01165.","exhibition_history":"Art Institute of Chicago, Paintings and Bronzes by Frederic Remington Lent by the George F. Harding Museum<\/em>, June 21\u2013Oct. 10, 1969.\n\nMt. Vernon, Ill., Mitchell Museum, Harding Foundation, Medieval and Renaissance Armor and Weapons, Remington Paintings, Bronzes and Drawings<\/em>, Dec. 5, 1981\u2013Jan. 31, 1982, cat. no. 405.\n\nArt Institute of Chicago, Frederic Remington<\/em>, Sept. 1\u2013Oct. 11, 1982, no cat.\n\nCorning, NY, The Rockwell Museum, Remington\u2019s West<\/em>, Sept. 6\u2013Nov. 4, 1984, Michael Duty, p. 6, ill.\n\nPhoenix Art Museum, Frederic Remington\u2019s Southwest<\/em>, Jan. 4\u2013Mar. 15, 1992, James K. Ballinger, p. 36, ill.; Memphis Brooks Museum of Art, Apr. 19\u2013June 12, 1992; Omaha, Neb., Joslyn Art Museum, July 11\u2013Sept. 6, 1992.\n\nArt Institute of Chicago, Window on the West: Chicago and the Art of the New Frontier<\/em> 1890\u20131940, June 28\u2013Oct. 13, 2003, cat. 82, fig. 4, p. 84, 169.","provenance_text":"George F. Harding Museum, Chicago, by 1982; given to the Art Institute of Chicago, 1982.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":21,"fiscal_year":1982,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":34.8343,"color":{"h":45,"l":66,"s":11,"percentage":0.1534127201386988,"population":1614},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":null,"gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Arts of the Americas","department_id":"PC-3","artist_id":21570,"artist_title":"Frederic Remington","alt_artist_ids":[],"artist_ids":[21570],"artist_titles":["Frederic Remington"],"category_ids":["PC-3"],"category_titles":["Arts of the Americas"],"term_titles":["painting","oil paint (paint)","fashion","organic material","american arts","animals","people","portraits"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-9","classification_title":"painting","alt_classification_ids":["TM-2191"],"classification_ids":["TM-9","TM-2191"],"classification_titles":["painting","american arts"],"subject_id":"TM-8663","alt_subject_ids":["TM-12218","TM-8810","TM-8658"],"subject_ids":["TM-8663","TM-12218","TM-8810","TM-8658"],"subject_titles":["fashion","animals","people","portraits"],"material_id":"TM-2451","alt_material_ids":["TM-2601"],"material_ids":["TM-2451","TM-2601"],"material_titles":["oil paint (paint)","organic material"],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"005f82e8-fe78-0395-c03f-894a246fb922","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1982.799"],"contexts":{"groupings":["accession"]}},{"input":["A Mexican Vaquero"],"weight":8512,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-02-03T17:43:04-06:00","updated_at":"2026-02-03T17:45:23-06:00","timestamp":"2026-02-03T22:37:01-06:00"},{"id":120526,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/120526","is_boosted":false,"title":"Chest of Drawers","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBwAFAPUAAFUjGVsoHGAnGmUuH3ErGG4uIG0xIWkxJXY0I343JHc8LYk5HIg\/J4dGM5dWPqCWkqOfm6Winaqgm6ijnrChmcnCu9PBtNHIxObNweDQxObQxevSxOnTx+rWyeff0+Hc1+zl2\/Ln3vLr4gAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAHAAUAAAYhQFFnw8FoQiDHgoFQZDwNQqJwsFQMgkEAQPlIIhPI4xIEADs=","width":3000,"height":2053,"alt_text":"A work made of mahogany."},"main_reference_number":"1991.37","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1980,"date_end":1980,"date_display":"1980","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Wendell Castle (American, 1932\u20132018)\nScottsville, New York","place_of_origin":"Scottsville","description":null,"short_description":null,"dimensions":"91.5 \u00d7 149.8 \u00d7 58 cm (36 \u00d7 59 \u00d7 20 in.)","dimensions_detail":[{"depth":58,"width":149,"height":91,"diameter":null,"clarification":null}],"medium_display":"Mahogany","inscriptions":"incised signature on back, lower left, \"W. Castle 80\"","credit_line":"J. Peter McCormick Fund","catalogue_display":null,"publication_history":null,"exhibition_history":null,"provenance_text":null,"edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":21,"fiscal_year":1991,"fiscal_year_deaccession":null,"is_public_domain":false,"is_zoomable":false,"max_zoom_window_size":843,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":50.5867,"color":{"h":58,"l":81,"s":3,"percentage":0.08100145761506217,"population":394},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":null,"gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Furniture","artwork_type_id":6,"department_title":"Arts of the Americas","department_id":"PC-3","artist_id":43554,"artist_title":"Wendell Castle","alt_artist_ids":[],"artist_ids":[43554],"artist_titles":["Wendell Castle"],"category_ids":["PC-3"],"category_titles":["Arts of the Americas"],"term_titles":["case furniture","mahogany","furniture","furniture","american decorative arts","american arts"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-122","classification_title":"case furniture","alt_classification_ids":["TM-76","TM-2190","TM-2191"],"classification_ids":["TM-122","TM-76","TM-2190","TM-2191"],"classification_titles":["case furniture","furniture","american decorative arts","american arts"],"subject_id":"TM-9132","alt_subject_ids":[],"subject_ids":["TM-9132"],"subject_titles":["furniture"],"material_id":"TM-3582","alt_material_ids":[],"material_ids":["TM-3582"],"material_titles":["mahogany"],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"6e5d2b02-fe37-8102-db64-400f0fc051ad","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1991.37"],"contexts":{"groupings":["accession"]}},{"input":["Chest of Drawers"],"weight":240,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-02-03T17:38:19-06:00","updated_at":"2026-02-03T17:40:23-06:00","timestamp":"2026-02-03T22:37:01-06:00"},{"id":120527,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/120527","is_boosted":false,"title":"Magician's Birthday","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAAI6Hf5SQjJ+UiaOclailm7azrbm2rsTCvtLLu9XPwePi2eno3O3s4fTy5\/Hy7fj47fj48fr68Pn58\/n59AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAUR4IIkSiQM0AMEEkMYTlMcUwgAOw==","width":1652,"height":2250,"alt_text":"A work made of ebonized cherry, rosewood, and gold-plated brass."},"main_reference_number":"1991.38","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1984,"date_end":1984,"date_display":"1984","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Wendell Castle (American, 1932\u20132018)\nScottsville, New York","place_of_origin":"Scottsville","description":"

Wendell Castle\u2019s Magician\u2019s Birthday<\/em> is one of 13 clocks the innovative craftsman made to explore the nature and mysteries of time. He constructed this 4-faced, 12-legged clock as a hatted magician playing tricks with time, toying with the symbols and tools used to measure it. The hours are not found where one expects them\u2014encircling the hands of the clock\u2014but instead hanging on the 12 legs. \u201cBy saying the magic word,\u201d says Castle, \u201cthey\u2019ll jump back on the face.\u201d<\/p>\n","short_description":null,"dimensions":"233.7 \u00d7 54.6 \u00d7 54.6 cm (91 \u00d7 21 1\/2 \u00d7 21 1\/2 in.)","dimensions_detail":[{"depth":54,"width":54,"height":233,"diameter":null,"clarification":null}],"medium_display":"Ebonized cherry, rosewood, and gold-plated brass","inscriptions":"Incised mark in form of cypher, back of clock movement: (see file for picture)\nSticker on back: \"2 6,9\"; \"ORIGIN Kieninger MADE IN GERMANY\"\nSticker to left: \"No 10 Jewels unadjusted\"\nSticker to right: \"84K 116C\"","credit_line":"J. Peter McCormick Fund","catalogue_display":null,"publication_history":null,"exhibition_history":null,"provenance_text":"Alexander F. 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Gray","catalogue_display":null,"publication_history":null,"exhibition_history":"Bonn, Germany, Kunst-und-Ausstellungshalle der Bundesrepublick Deutschland, Sam Francis, 1993, p. 254 (ill.). \n\nChicago, Museum of Contemporary Art, Under Development: Dreaming the MCA's Collection, 1994, cat. 65. \n\nArt Institute of Chicago, Gray Collection: Seven Centuries of Art, Sept. 25, 2010\u2013Jan. 20, 2011, cat. 104 (ill.). \n\nArt Institute of Chicago, Pure Drawing: Seven Centuries of Art from the Gray Collection, Jan. 25\u2013Oct. 12, 2020; traveled to Berkeley, UC Berkeley Art Museum and Pacific Film Archive, Aug. 4\u2013Nov. 28, 2021.","provenance_text":"Private collection; sold, Kornfeld and Klipstein, Bern, Switzerland, June 18\u201321, 1980. lot 405, to Richard and Mary L. Gray, Chicago; the Gray Collection Trust, Chicago; given to the Art Institute of Chicago, 2022.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":3,"fiscal_year":2022,"fiscal_year_deaccession":null,"is_public_domain":false,"is_zoomable":false,"max_zoom_window_size":843,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":21.8539,"color":{"h":6,"l":55,"s":51,"percentage":0.002409190718420672,"population":21},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":null,"gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Drawing and Watercolor","artwork_type_id":14,"department_title":"Prints and Drawings","department_id":"PC-13","artist_id":31154,"artist_title":"Sam Francis","alt_artist_ids":[],"artist_ids":[31154],"artist_titles":["Sam Francis"],"category_ids":["PC-13"],"category_titles":["Prints and Drawings"],"term_titles":["paper (fiber product)","drawings (visual works)","paper","watercolor","gouache","watercolor","wove paper","prints and drawing"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-5","classification_title":"drawings (visual works)","alt_classification_ids":["TM-145","TM-39","TM-4"],"classification_ids":["TM-5","TM-145","TM-39","TM-4"],"classification_titles":["drawings (visual works)","paper","watercolor","prints and drawing"],"subject_id":null,"alt_subject_ids":[],"subject_ids":[],"subject_titles":[],"material_id":"TM-2982","alt_material_ids":["TM-2404","TM-2403","TM-3074"],"material_ids":["TM-2982","TM-2404","TM-2403","TM-3074"],"material_titles":["paper (fiber product)","gouache","watercolor","wove paper"],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"5a1fc3a4-7443-254f-776c-39cd461df50a","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["2022.71"],"contexts":{"groupings":["accession"]}},{"input":["Black and Green"],"weight":1,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-02-03T16:57:51-06:00","updated_at":"2026-02-03T17:00:25-06:00","timestamp":"2026-02-03T22:37:01-06:00"},{"id":267235,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/267235","is_boosted":false,"title":"Composition of Embroidered Suede with Organic Materials","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAALqdd8amdsutfsapgsuvhcuxidC5ldC7mse7p8m5oc29o829pca8rc3ArNLCpsnAss7EscnCt8bCvcfEvgAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAAIf8LSW1hZ2VNYWdpY2sOZ2FtbWE9MC40NTQ1NDUALAAAAAAEAAUAAAUR4MQgUlQMD0QAjSMEynIYSQgAOw==","width":6516,"height":8689,"alt_text":"A work made of irregularly shaped piece of leather (suede); embroidered and appliqued with padded piece of leather (suede); animal tail (resembling an ermine) attached with cord; brown roving wool partially braided; two sea shells and piece of coral; red pigment dye or marker made by a stamp, and dots."},"main_reference_number":"2022.1819","has_not_been_viewed_much":true,"boost_rank":null,"date_start":1970,"date_end":1979,"date_display":"1970s","date_qualifier_title":"Made","date_qualifier_id":4,"artist_display":"Claire Zeisler (American, 1903-1991)\nChicago, Illinois, United States","place_of_origin":"United States","description":null,"short_description":null,"dimensions":"55.9 \u00d7 40.7 \u00d7 2.6 cm (22 \u00d7 16 \u00d7 1 in.)","dimensions_detail":[{"depth":2,"width":40,"height":55,"diameter":null,"clarification":null}],"medium_display":"Irregularly shaped piece of leather (suede); embroidered and appliqued with padded piece of leather (suede); animal tail (resembling an ermine) attached with cord; brown roving wool partially braided; two sea shells and piece of coral; 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