{"pagination":{"total":126325,"limit":15,"offset":0,"total_pages":8422,"current_page":1,"next_url":"https:\/\/api.artic.edu\/api\/v1\/artworks?page=2&limit=15"},"data":[{"id":189294,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/189294","is_boosted":false,"title":"Black-and-White Storage Jar with Abstract Geometric Motifs","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBwAFAPUAAE5DOFJHO1xSU2NURGxkaG9pb3BrbnJrb35sanRrcHx0cH53eox+Zot\/a4B4cod8e4V9g4Z\/hI6ChI+Ih4yFiY6FjY6KjJWOipGKkJONk5eUl5mQmJ2XnrChj7KjkLOnk6KYoaehqMOznwAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAHAAUAAAYhwAVFgnhEEpaLR9SZQDQOxqehwGQMgEHgUAlxCgLCBhQEADs=","width":3000,"height":2250,"alt_text":"A work made of ceramic (earthenware) and pigment."},"main_reference_number":"2006.750","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1890,"date_end":1899,"date_display":"1890s","date_qualifier_title":"Made","date_qualifier_id":4,"artist_display":"Acoma\nAcoma Pueblo, New Mexico, United States","place_of_origin":"New Mexico","description":"

In the American Southwest, there is an Indian ceramic tradition that began to take form in the early centuries A.D. and has continued unbroken to the present time. Characterized by its many superbly varied styles, the art has been sustained by diverse Pueblo peoples and some of their neighbors, whose ancient and more recent settlements have long been established in the arid regions of Arizona and New Mexico. Ceramic artist of the \u00c1coma Pueblo, west of Albuquerque, produced an especially distinguished series of vessels during the late nineteenth and early twentieth centuries.<\/p>\n

This large olla is shaped with a truncated neck that slopes in a gentle curve to the high, rounded shoulder; the full, swelling body tapers smoothly down to the rounded bottom. A finely painted pattern of black-and white abstract designs covers the surface. The dominant decorative features are three medallions, each rimmed by black petals. Within each medallion, and divided by a central vertical strip adorned with zigzag triangles, are twin semicircular, double-ended bands filled with fine hatch marks; these, in turn, enclose inner designs of curving, triangular elements. The medallions themselves are separated by diamonds that frame hatched checkerboards, while complex triangular elements step down from the rim and up from the red-painted bottom. The austere color and multiple abstract motifs stem from past centuries of Anasazi (Ancestral Pueblo) ceramic styles. As is often seen in early works, the artist presents playful visual ambiguities between positive and negative space.<\/p>\n","short_description":null,"dimensions":"46.4 \u00d7 48.9 cm (18 1\/4 \u00d7 19 1\/4 in.)","dimensions_detail":[{"depth":null,"width":48,"height":46,"diameter":null,"clarification":null}],"medium_display":"Ceramic (earthenware) and pigment","inscriptions":null,"credit_line":"Robert Allerton Fund; Gladys N. Anderson Endowment; Mary and Leigh Block Endowment Fund","catalogue_display":null,"publication_history":null,"exhibition_history":null,"provenance_text":null,"edition":null,"publishing_verification_level":"Web Basic","internal_department_id":21,"fiscal_year":2007,"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":16.8781,"color":{"h":341,"l":51,"s":3,"percentage":0.4074883252999384,"population":2171},"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":"Vessel","artwork_type_id":23,"department_title":"Arts of the Americas","department_id":"PC-3","artist_id":29960,"artist_title":"Pueblo of Acoma","alt_artist_ids":[],"artist_ids":[29960],"artist_titles":["Pueblo of Acoma"],"category_ids":["PC-3"],"category_titles":["Arts of the Americas"],"term_titles":["vessel","ceramic","acoma","modeling (forming)","geometric","ceramics","art of the americas","southwest","pueblo","americas","native american","native north american","painting (image making)","Arts of the Americas","water","storage","servingware","patterns","floral","plant-derived motif"],"style_id":"TM-7459","style_title":"acoma","alt_style_ids":["TM-12152","TM-7412","TM-6515","TM-6983","TM-12986","TM-13488"],"style_ids":["TM-7459","TM-12152","TM-7412","TM-6515","TM-6983","TM-12986","TM-13488"],"style_titles":["acoma","southwest","pueblo","americas","native american","native north american","Arts of the Americas"],"classification_id":"TM-27","classification_title":"vessel","alt_classification_ids":["TM-46","TM-13487"],"classification_ids":["TM-27","TM-46","TM-13487"],"classification_titles":["vessel","ceramics","art of the americas"],"subject_id":"TM-9124","alt_subject_ids":["TM-8681","TM-12393","TM-12527","TM-12793","TM-12217","TM-11839"],"subject_ids":["TM-9124","TM-8681","TM-12393","TM-12527","TM-12793","TM-12217","TM-11839"],"subject_titles":["geometric","water","storage","servingware","patterns","floral","plant-derived motif"],"material_id":"TM-2432","alt_material_ids":[],"material_ids":["TM-2432"],"material_titles":["ceramic"],"technique_id":"TM-3912","alt_technique_ids":["TM-3891"],"technique_ids":["TM-3912","TM-3891"],"technique_titles":["modeling (forming)","painting (image making)"],"theme_titles":[],"image_id":"33102f83-7408-ae99-63f3-09a331d186e0","alt_image_ids":["ee4657db-4bcd-68de-8713-e1aa1ff3fbbf","a21457d5-1051-7dca-c2f8-13ecd5ce8484"],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["2006.750"],"contexts":{"groupings":["accession"]}},{"input":["Black-and-White Storage Jar with Abstract Geometric Motifs"],"weight":1815,"contexts":{"groupings":["title"]}}],"source_updated_at":"2024-07-25T16:41:10-05:00","updated_at":"2024-11-24T23:26:29-06:00","timestamp":"2024-11-24T23:27:39-06:00"},{"id":152836,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/152836","is_boosted":false,"title":"A Goddess, possibly Uma","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhAwAFAPMAAIWSgJadjJuhlLa4sbq5t769vMLBwMXEw8nMxsrMx8zMyczOyc3NyuXk5OXl5QAAACH5BAAAAAAALAAAAAADAAUAAAQLsCGXwGJBHWHKIBEAOw==","width":4731,"height":8411,"alt_text":"A work made of bronze."},"main_reference_number":"1999.248","has_not_been_viewed_much":false,"boost_rank":null,"date_start":850,"date_end":950,"date_display":"Champa period, 9th\/10th century","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Vietnam","place_of_origin":"Vietnam","description":null,"short_description":null,"dimensions":"74.7 \u00d7 23.5 \u00d7 23.5 cm (29 3\/8 \u00d7 9 1\/4 \u00d7 9 1\/4 in.)","dimensions_detail":[{"depth":23,"width":23,"height":74,"diameter":null,"clarification":null}],"medium_display":"Bronze","inscriptions":null,"credit_line":"Kate S. Buckingham Fund","catalogue_display":null,"publication_history":null,"exhibition_history":null,"provenance_text":null,"edition":null,"publishing_verification_level":"Web Basic","internal_department_id":8,"fiscal_year":1999,"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":12.1792,"color":{"h":129,"l":51,"s":12,"percentage":0.02423159705229749,"population":306},"latitude":41.8795435539979,"longitude":-87.6224714890122,"latlon":"41.879543553998,41.879543553998","is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 142","gallery_id":24651,"nomisma_id":null,"artwork_type_title":"Sculpture","artwork_type_id":3,"department_title":"Arts of Asia","department_id":"PC-7","artist_id":null,"artist_title":null,"alt_artist_ids":[],"artist_ids":[],"artist_titles":[],"category_ids":["PC-7","PC-837"],"category_titles":["Arts of Asia","Arts of Asia 100"],"term_titles":["bronze","bronze","Southeast Asian","goddesses","cham (vietnamese)","vietnamese","asian","metal","sculpture","asian art"],"style_id":"TM-5345","style_title":"Southeast Asian","alt_style_ids":["TM-5673","TM-5550","TM-4694"],"style_ids":["TM-5345","TM-5673","TM-5550","TM-4694"],"style_titles":["Southeast Asian","cham (vietnamese)","vietnamese","asian"],"classification_id":"TM-28","classification_title":"bronze","alt_classification_ids":["TM-33","TM-13","TM-26"],"classification_ids":["TM-28","TM-33","TM-13","TM-26"],"classification_titles":["bronze","metal","sculpture","asian art"],"subject_id":"TM-12067","alt_subject_ids":[],"subject_ids":["TM-12067"],"subject_titles":["goddesses"],"material_id":"TM-2430","alt_material_ids":[],"material_ids":["TM-2430"],"material_titles":["bronze"],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":["Arts of Asia 100"],"image_id":"bc4012ab-b53a-4832-3bff-c23a838ffd43","alt_image_ids":["f77338ac-8d3f-1dac-3300-1a2132374ef8"],"document_ids":["0b695e68-80e2-f1f6-4256-e554d4585b78"],"sound_ids":["0b695e68-80e2-f1f6-4256-e554d4585b78"],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1999.248"],"contexts":{"groupings":["accession"]}},{"input":["A Goddess, possibly Uma"],"weight":761,"contexts":{"groupings":["title"]}}],"source_updated_at":"2024-09-17T16:39:53-05:00","updated_at":"2024-11-24T23:26:29-06:00","timestamp":"2024-11-24T23:27:39-06:00"},{"id":133456,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/133456","is_boosted":false,"title":"Tarragona Terrace and Garden","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhCAAFAPUAAFpsU3FgQXtmS3prTXlqUWtwWXJyWWt5ZGN+aYNtUYNuUYJxV4Z1Xo55XIx6ZI1+aHOEbHmCboGCbY2CbZWCap+Jap2IbpyLb4iJdZWMd4OafaCMa6GLcamWd6WWf6qUea2Xe5icgqqahqqdh6Kfi7eoiaukkb+vkAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAIAAUAAAYlQAQEUyCBKiXAQWIwfTYnTSgTGVk4HUpDkVg8HILA4OKZEBiiIAA7","width":6653,"height":4471,"alt_text":"A work made of watercolor and opaque watercolor with printed paper fragments over traces of graphite on ivory wove paper."},"main_reference_number":"11.9.1989","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1903,"date_end":1913,"date_display":"c. 1908","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"John Singer Sargent\nAmerican, 1856-1925","place_of_origin":"United States","description":null,"short_description":null,"dimensions":"30.5 \u00d7 45.9 cm (12 1\/4 \u00d7 18 in.)","dimensions_detail":[{"depth":null,"width":45,"height":30,"diameter":null,"clarification":null}],"medium_display":"Watercolor and opaque watercolor with printed paper fragments over traces of graphite on ivory wove paper","inscriptions":null,"credit_line":"Anonymous loan","catalogue_display":null,"publication_history":null,"exhibition_history":null,"provenance_text":null,"edition":null,"publishing_verification_level":"Web Basic","internal_department_id":3,"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":25.052,"color":{"h":157,"l":34,"s":46,"percentage":0.030808696854997927,"population":147},"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":36540,"artist_title":"John Singer Sargent","alt_artist_ids":[],"artist_ids":[36540],"artist_titles":["John Singer Sargent"],"category_ids":["PC-13"],"category_titles":["Prints and Drawings"],"term_titles":["watercolor","paper (fiber product)","gardens","drawings (visual works)","prints and drawing"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-39","classification_title":"watercolor","alt_classification_ids":["TM-5","TM-4"],"classification_ids":["TM-39","TM-5","TM-4"],"classification_titles":["watercolor","drawings (visual works)","prints and drawing"],"subject_id":"TM-12274","alt_subject_ids":[],"subject_ids":["TM-12274"],"subject_titles":["gardens"],"material_id":"TM-2982","alt_material_ids":[],"material_ids":["TM-2982"],"material_titles":["paper (fiber product)"],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"931edccd-9a37-bfa7-d9a5-13d644956b40","alt_image_ids":["9c66ffe6-91f9-3b6f-931c-d9d0141dcfa2"],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["11.9.1989"],"contexts":{"groupings":["accession"]}},{"input":["Tarragona Terrace and Garden"],"weight":794,"contexts":{"groupings":["title"]}}],"source_updated_at":"2024-11-19T08:58:29-06:00","updated_at":"2024-11-24T23:26:29-06:00","timestamp":"2024-11-24T23:27:39-06:00"},{"id":129323,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/129323","is_boosted":false,"title":"The Martyrdom of Saint Simon of Trent from Schedel Weltchronik (Schedel\u2019s World History), Plate 23 from Woodcuts from Books of the 15th Century","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAAJiMcZqOdKKXfqOZf6iegrKpjrask7mvlr2zmb60mcK5n8m7nsi7n8O6ocS7osa7osnAp8zCqM\/DqNjMsgAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAURYHQYD1QQTjMECiIAicQsUwgAOw==","width":2125,"height":3000,"alt_text":"A work made of woodcut and letterpress in black (recto and verso) on buff laid paper, tipped onto cream wove paper mat."},"main_reference_number":"1938.86.23","has_not_been_viewed_much":true,"boost_rank":null,"date_start":1493,"date_end":1493,"date_display":"1493, portfolio assembled 1929","date_qualifier_title":"Original","date_qualifier_id":5,"artist_display":"Michel Wolgemut (German, 1434\/37\u20131519) and Wilhelm Pleydenwurff (German, c. 1460\u20131494)\nprinted and published by Anton Koberger (German, c. 1440\/45\u20131513)\noriginal text by Hartmann Schedel (German, 1440\u20131514)\nportfolio text by Wilhelm Ludwig Schreiber (German, 1855\u20131932)","place_of_origin":"Germany","description":null,"short_description":null,"dimensions":"Image: 19.4 \u00d7 22.6 cm (7 11\/16 \u00d7 8 15\/16 in.); Sheet: 42.4 \u00d7 29.5 cm (16 3\/4 \u00d7 11 5\/8 in.)","dimensions_detail":[{"depth":null,"width":22,"height":19,"diameter":null,"clarification":"Image"},{"depth":null,"width":29,"height":42,"diameter":null,"clarification":"Sheet"}],"medium_display":"Woodcut and letterpress in black (recto and verso) on buff laid paper, tipped onto cream wove paper mat","inscriptions":null,"credit_line":"Print Sales Miscellaneous Fund","catalogue_display":"

Schreiber 5205<\/p>

Hain 14 510<\/p>","publication_history":null,"exhibition_history":null,"provenance_text":null,"edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":3,"fiscal_year":1938,"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":20.1205,"color":{"h":37,"l":69,"s":43,"percentage":0.04296380473897744,"population":431},"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":"Print","artwork_type_id":18,"department_title":"Prints and Drawings","department_id":"PC-13","artist_id":28949,"artist_title":"Michel Wolgemut","alt_artist_ids":[],"artist_ids":[28949],"artist_titles":["Michel Wolgemut"],"category_ids":["PC-13"],"category_titles":["Prints and Drawings"],"term_titles":["woodcut","paper (fiber product)","woodcut (process)","print","prints and drawing"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-148","classification_title":"woodcut","alt_classification_ids":["TM-17","TM-4"],"classification_ids":["TM-148","TM-17","TM-4"],"classification_titles":["woodcut","print","prints and drawing"],"subject_id":null,"alt_subject_ids":[],"subject_ids":[],"subject_titles":[],"material_id":"TM-2982","alt_material_ids":[],"material_ids":["TM-2982"],"material_titles":["paper (fiber product)"],"technique_id":"TM-3862","alt_technique_ids":[],"technique_ids":["TM-3862"],"technique_titles":["woodcut (process)"],"theme_titles":[],"image_id":"ec4dfd48-eb66-a646-87ad-e40b7691cf5c","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1938.86.23"],"contexts":{"groupings":["accession"]}},{"input":["The Martyrdom of Saint Simon of Trent from Schedel Weltchronik (Schedel\u2019s World History), Plate 23 from Woodcuts from Books of the 15th Century"],"weight":74,"contexts":{"groupings":["title"]}}],"source_updated_at":"2022-09-21T19:19:12-05:00","updated_at":"2024-11-24T23:26:29-06:00","timestamp":"2024-11-24T23:27:39-06:00"},{"id":61724,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/61724","is_boosted":false,"title":"The Elements (Furnishing Fabric)","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhCQAFAPUAAFdXV2VlZW1tbXh4eIODg4WFhYqKiouLi42NjY6Ojo+Pj5CQkJGRkZKSkpOTk5WVlZaWlpiYmJmZmZqamp+fn6CgoKOjo6ioqKurq62trbCwsLGxsbS0tLW1tbq6uru7u729vcPDw8TExMnJyQAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAAIf8LSW1hZ2VNYWdpY2sOZ2FtbWE9MC40NTQ1NDUALAAAAAAJAAUAAAYqwEQn4iggII3BIyQCZTacz8GA2VwmkoZFUBl5LhSMphIgSBaMw4OhAAQBADs=","width":2436,"height":1415,"alt_text":"A work made of cotton, plain weave; copperplate printed."},"main_reference_number":"1981.55","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1810,"date_end":1820,"date_display":"1810\/20","date_qualifier_title":"Made","date_qualifier_id":4,"artist_display":"Designed by Bonaventure M. Lebert (French, 1759-1836) \nManufactured by Hartmann et Fils (French, founded 1776)\nFrance, Nantes","place_of_origin":"Nantes","description":null,"short_description":null,"dimensions":"58.1 \u00d7 94.4 cm (22 7\/8 \u00d7 37 1\/8 in.)","dimensions_detail":[{"depth_cm":0,"depth_in":0,"width_cm":94.4,"width_in":37.125,"height_cm":58.1,"height_in":22.875,"diameter_cm":0,"diameter_in":0,"clarification":null}],"medium_display":"Cotton, plain weave; copperplate printed","inscriptions":null,"credit_line":"Purchased with funds provided by Martha Borland Willis in memory of Mrs. Chauncey B. Borland","catalogue_display":null,"publication_history":null,"exhibition_history":null,"provenance_text":null,"edition":null,"publishing_verification_level":"Web Basic","internal_department_id":4,"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":0,"color":{"h":0,"l":53,"s":0,"percentage":0.14361019535353095,"population":592},"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":"Textile","artwork_type_id":5,"department_title":"Textiles","department_id":"PC-14","artist_id":55808,"artist_title":"Bonaventure M. Lebert","alt_artist_ids":[],"artist_ids":[55808],"artist_titles":["Bonaventure M. Lebert"],"category_ids":["PC-14"],"category_titles":["Textiles"],"term_titles":["copperplate printing","textile","weaving - printed","mythology","furnishing textile"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-69","classification_title":"textile","alt_classification_ids":["TM-353","TM-14729"],"classification_ids":["TM-69","TM-353","TM-14729"],"classification_titles":["textile","weaving - printed","furnishing textile"],"subject_id":null,"alt_subject_ids":["TM-8766"],"subject_ids":["TM-8766"],"subject_titles":["mythology"],"material_id":null,"alt_material_ids":[],"material_ids":[],"material_titles":[],"technique_id":"TM-10517","alt_technique_ids":[],"technique_ids":["TM-10517"],"technique_titles":["copperplate printing"],"theme_titles":[],"image_id":"dd4eeba5-1e61-870e-fb19-dd260ec9c91c","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1981.55"],"contexts":{"groupings":["accession"]}},{"input":["The Elements (Furnishing Fabric)"],"weight":305,"contexts":{"groupings":["title"]}}],"source_updated_at":"2023-05-17T10:34:05-05:00","updated_at":"2024-11-24T23:26:29-06:00","timestamp":"2024-11-24T23:27:39-06:00"},{"id":11387,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/11387","is_boosted":false,"title":"Alley, Chicago","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAAB4bGzMxLzUzMTY0Mzg2NUVCQkxLSk5LS1xaWWZiYWZjYm9tbJaUlKKfnqShoKilpaqnprWxsNnU0+zm5QAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAURYDQ5CiQ1ygIZhMEMQIEIQQgAOw==","width":7005,"height":9589,"alt_text":"A work made of gelatin silver print."},"main_reference_number":"1959.885","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1948,"date_end":1948,"date_display":"1948","date_qualifier_title":"Made","date_qualifier_id":4,"artist_display":"Harry Callahan\nAmerican, 1912\u20131999","place_of_origin":"United States","description":null,"short_description":null,"dimensions":"Image\/paper: 34.4 \u00d7 25.2 cm (13 9\/16 \u00d7 9 15\/16 in.); Mount: 50.6 \u00d7 40.6 cm (19 15\/16 \u00d7 16 in.)","dimensions_detail":[{"depth":null,"width":25,"height":34,"diameter":null,"clarification":"Image\/paper"},{"depth":null,"width":40,"height":50,"diameter":null,"clarification":"Mount"}],"medium_display":"Gelatin silver print","inscriptions":"No markings recto or verso","credit_line":"The Art Institute of Chicago","catalogue_display":null,"publication_history":"Travis, David and Elizabeth Siegel. 2002. \u201cTaken by Design: Photographs from the Institute of Design, 1937\u20131971,\u201d Exh. cat. Art Institute of Chicago\/University of Chicago Press. p. 96, cat. 24, pl. 61.","exhibition_history":"Art Institute of Chicago, \"Distant Relations,\" May 8\u2013July 18, 1993. (David Travis)\n\nArt Institute of Chicago, \"Taken by Design: Photographs from The Institute of Design, 1937\u20131971,\" March 2\u2013May 12, 2002; traveled to San Francisco Museum of Modern Art, July 20\u2013October 20, 2002; and Philadelphia Museum of Art, December 7, 2002\u2013March 2, 2003. (David Travis and Elizabeth Siegel)","provenance_text":null,"edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":20,"fiscal_year":null,"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":0,"color":{"h":4,"l":47,"s":0,"percentage":0.000360274818226839,"population":242},"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":"Photograph","artwork_type_id":2,"department_title":"Photography and Media","department_id":"PC-12","artist_id":33841,"artist_title":"Harry Callahan","alt_artist_ids":[],"artist_ids":[33841],"artist_titles":["Harry Callahan"],"category_ids":["PC-12","PC-154","PC-800"],"category_titles":["Photography and Media","Chicago Artists","Collected by Hugh Edwards"],"term_titles":["photography","photographic paper","Collected by Hugh Edwards","black-and-white photography","gelatin silver (developing-out-paper) pr","photographic process","Chicago","photograph","photographic processes","photographic techniques","photography"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-67","classification_title":"photography","alt_classification_ids":["TM-213","TM-68","TM-240"],"classification_ids":["TM-67","TM-213","TM-68","TM-240"],"classification_titles":["photography","gelatin silver (developing-out-paper) pr","photographic process","photograph"],"subject_id":"TM-13177","alt_subject_ids":["TM-12075"],"subject_ids":["TM-13177","TM-12075"],"subject_titles":["Collected by Hugh Edwards","Chicago"],"material_id":"TM-3046","alt_material_ids":[],"material_ids":["TM-3046"],"material_titles":["photographic paper"],"technique_id":"TM-12089","alt_technique_ids":["TM-3937","TM-3977","TM-3978"],"technique_ids":["TM-12089","TM-3937","TM-3977","TM-3978"],"technique_titles":["black-and-white photography","photographic processes","photographic techniques","photography"],"theme_titles":["Chicago Artists"],"image_id":"0dc530d5-17b7-c887-21e6-c98c5785b3a3","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1959.885"],"contexts":{"groupings":["accession"]}},{"input":["Alley, Chicago"],"weight":817,"contexts":{"groupings":["title"]}}],"source_updated_at":"2024-11-21T13:05:41-06:00","updated_at":"2024-11-24T23:26:29-06:00","timestamp":"2024-11-24T23:27:39-06:00"},{"id":238749,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/238749","is_boosted":true,"title":"Bottle Rack (Porte-Bouteilles)","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBQAFAPQAAH98d4yKhJqYk769u8C\/vcHAvtTT0tXV1NjY1tva2dva2t3c2+Dg3+fn5+np6Onp6enp6urq6urq6+vr6+zs7O3t7e3u7u7u7wAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAFAAUAAAUV4OQYzVMxQgJdS4BQ1gAUUqUQRxQCADs=","width":5792,"height":6438,"alt_text":"A work made of galvanized iron."},"main_reference_number":"2017.422","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1958,"date_end":1959,"date_display":"1914\/1959","date_qualifier_title":"Made","date_qualifier_id":4,"artist_display":"Marcel Duchamp\nAmerican, born France, 1887\u20131968","place_of_origin":null,"description":"

Marcel Duchamp began his career as a painter of conventional portraits and nudes. By 1912, however, he set out to prove the end of \u201cretinal art\u201d\u2014pictures created to delight the eye\u2014in order to \u201cput painting once again at the service of the mind.\u201d His answer was the \u201creadymade,\u201d an ordinary object transformed into a work of art by virtue of the artist selecting it. Taken out of context, repositioned, and signed by the artist, the readymade upended tradition and artistic convention by revolutionizing the way we think about what an artwork is, how it is produced, and the ways in which it is exhibited.<\/p>\n

In 1914 Duchamp purchased this mass-produced bottle rack at a department store. He felt free to acquire new versions for exhibitions and display after his sister accidentally discarded the \u201coriginal.\u201d He selected the present version for the 1959 exhibition Art and the Found Object in New York<\/em>. Artist Robert Rauschenberg acquired Bottle Rack<\/em> and asked Duchamp to sign it. He obliged, writing in French, \u201cImpossible for me to recall the original phrase M.D. \/ Marcel Duchamp \/1960.\u201d<\/p>\n","short_description":"Although Marcel Duchamp began his career as a painter, he is best known for his attempts to prove the end of \u201cretinal art,\u201d or artworks created to please the eye. His answer was the \u201creadymade,\u201d an ordinary object transformed into an artwork simply by means of its selection and designation as such by an artist. Bottle Rack<\/em> is the earliest work of this type.","dimensions":"Diameter at base: 59.1 \u00d7 36.8 cm (23 5\/16 \u00d7 14 1\/2 in.); 59.1 \u00d7 36.2 cm (23 1\/4 \u00d7 14 1\/4 in.)","dimensions_detail":[{"depth":null,"width":36,"height":59,"diameter":null,"clarification":"Diameter at base"},{"depth":null,"width":36,"height":59,"diameter":null,"clarification":null}],"medium_display":"Galvanized iron","inscriptions":"Inscribed on inner side of bottom ring: \u201cImpossible de me rappeler la phrase originale M.D.\/ Marcel Duchamp\/1960\u201d","credit_line":"Through prior gifts of Mary and Leigh Block, Mr. and Mrs. Maurice E. Culberg, and Mr. and Mrs. James W. Alsdorf; Charles H. and Mary F. S. Worcester Collection Fund; through prior gift of Mary and Earle Ludgin Collection; Sheila Anne Morgenstern in memory of Dorothy O. Morgenstern and William V. Morgenstern; through prior bequests of Joseph Winterbotham and Mima de Manziarly Porter; Ada Turnbull Hertle and Modern Discretionary funds","catalogue_display":null,"publication_history":"Ermanno Migliorini and Roberto Paolo Malaspin, Lo scolabottiglie di Duchamp, (Milan:\u00a0Johan & Levi Editore, 2023), cover (color ill.), 9-13.","exhibition_history":"New York, American Federation of the Arts, Art and the Found Object, Jan. 12\u2013Feb. 6, 1959, no. cat.; Williamstown, Williams College, Feb. 22\u2013Mar. 15; Bloomfield Hills, Cranbrook Academy of Art, Apr. 8\u201328; Arts Club of Chicago, May 22\u2013June 17; University of Notre Dame, July 1\u201321; Montreal Museum of Fine Arts, Sept. 18\u2013Oct. 18; Poughkeepsie, Vassar College, Nov. 4\u201324; Waltham, MA., Brandeis University, Goldfarb Library, Dec. 15, 1959\u2013Jan. 15, 1960.\n\nNew York, Museum of Modern Art, The Art of Assemblage, Oct. 4\u2013Nov. 12, 1961, cat. 75; Dallas Museum of Contemporary Arts, Jan. 9\u2013Feb. 11, 1962; San Francisco Museum of Art, Mar. 5\u2013Apr. 15, 1962.\n\nPasadena Art Museum, Marcel Duchamp: A Retrospective Exhibition, Oct. 8\u2013Nov. 3, 1963, cat. no. 54.\n\nMiami, Art Museum, Florida International University, The Marcel Duchamp Exhibition, Sept. 20\u2013Oct. 16, 1985. \n\nHouston, Menil Collection, Surrealism: Selections from the Menil Collection, June 7, 1987\u2013Oct. 24, 1988, no cat.\n\nCologne, Ludwig Museum, Besides, It\u2019s Always Other People Who Die: Marcel Duchamp and the Avant\u2013Garde Since 1950, Jan. 15\u2013Mar. 6, 1988, no cat. no.\n\nBasel, Museum Jean Tinguely, Marcel Duchamp, Mar. 20\u2013June 30, 2002, cat. no. 38.\n\nDallas Museum of Art, Dialogues: Duchamp, Cornell, Johns, Rauschenberg, Sept. 4\u20132005\u2013Jan. 8, 2006, cat. 7.\n\nLondon, Victoria and Albert Museum, Surreal Things: Surrealism and Design, Mar. 29\u2013Jul. 22, 2007, cat 2.15; Rotterdam, Museum Boijmans Van Beuningen, Sept. 29, 2007\u2013Jan. 6, 2008; Bilbao, Guggenheim Museum, Mar. 3\u2013Sept. 7, 2008; Toronto, Art Gallery of Ontario, May 9\u2013Aug. Aug 30, 2009.\n\nMadrid, Museo Nacional Centro de Arte Reina Sofia, New Realisms: 1957\u20131962: Object Strategies between Readymade and Spectacle, Jun. 16\u2013Oct. 4, 2010, no cat. no.\n\nNew York, Gagosian Gallery, The Private Collection of Robert Rauschenberg, Nov. 3\u2013Dec. 23, 2011, no cat. no.\n\nPhiladelphia Museum of Art, Dancing around the Bride: Cage, Cunningham, Johns, Rauschenberg and Duchamp, Oct. 30, 2012\u2013Jan. 21, 2013; London, Barbican Art Gallery, Feb. 14\u2013June 9, 2013, no cat. no.\n\nNew York, Gagosian Gallery, Marcel Duchamp, June 26\u2013Aug. 29, 2014, no cat. no.\n\nWashington D.C., Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Marvelous Objects: Surrealist Sculpture from Paris to New York, Oct. 29, 2015\u2013Feb. 15, 2016, cat. 2. \n\nParis, Galerie Thaddaeus Ropac, Marcel Duchamp: Porte-bouteilles, Oct. 19, 2016\u2013Jan. 14, 2017, no cat. no.\n\nNew York, The Museum of Modern Art, Robert Rauschenberg: Among Friends, May 21\u2013Sept. 17, 2017, no cat. no.","provenance_text":"The artist; sold to Robert Rauschenberg through the American Federation of the Arts, c. 1959-60; bequeathed to the Robert Rauschenberg Foundation; sold through Galerie Thaddaeus Ropac to the Art Institute of Chicago, 2017.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":246,"fiscal_year":2018,"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":4.6227,"color":{"h":42,"l":48,"s":6,"percentage":0.00227879542873637,"population":18},"latitude":41.880648849799,"longitude":-87.621543389866,"latlon":"41.880648849799,41.880648849799","is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 395","gallery_id":25476,"nomisma_id":null,"artwork_type_title":"Sculpture","artwork_type_id":3,"department_title":"Modern Art","department_id":"PC-11","artist_id":34316,"artist_title":"Marcel Duchamp","alt_artist_ids":[],"artist_ids":[34316],"artist_titles":["Marcel Duchamp"],"category_ids":["PC-831","PC-11"],"category_titles":["Essentials","Modern Art"],"term_titles":["metalworking","ready-mades","iron (metal)","Surrealism Highlights","Modern Art Highlights","rack","found objects","galvanized iron","sculpture","Joseph Winterbotham Collection"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-13013","classification_title":"ready-mades","alt_classification_ids":["TM-14412","TM-14404","TM-1383","TM-13012","TM-13"],"classification_ids":["TM-13013","TM-14412","TM-14404","TM-1383","TM-13012","TM-13"],"classification_titles":["ready-mades","Surrealism Highlights","Modern Art Highlights","rack","found objects","sculpture"],"subject_id":null,"alt_subject_ids":["TM-14413"],"subject_ids":["TM-14413"],"subject_titles":["Joseph Winterbotham Collection"],"material_id":"TM-2526","alt_material_ids":["TM-13014"],"material_ids":["TM-2526","TM-13014"],"material_titles":["iron (metal)","galvanized iron"],"technique_id":"TM-4152","alt_technique_ids":[],"technique_ids":["TM-4152"],"technique_titles":["metalworking"],"theme_titles":["Essentials"],"image_id":"aaf32d95-6c4f-9024-b536-f22a801f2f51","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_boosted":"Bottle Rack (Porte-Bouteilles)","suggest_autocomplete_all":[{"input":["2017.422"],"contexts":{"groupings":["accession"]}},{"input":["Bottle Rack (Porte-Bouteilles)"],"weight":885,"contexts":{"groupings":["title"]}}],"source_updated_at":"2024-11-18T10:46:04-06:00","updated_at":"2024-11-24T23:26:27-06:00","timestamp":"2024-11-24T23:27:39-06:00"},{"id":133369,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/133369","is_boosted":false,"title":"Doctor Syntax Returned from His Tour, from The Tour of Doctor Syntax","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBgAFAPQAAHlsQ3htSquif6Oeg8u\/n8vFl8\/HndPHotnQr9nQsd3VtePWr+XauOreuuvgu+7jvu7kv+3jwfDkwPHmwvTpxvLpyPXqyvXsy\/ftzvrvzfnv0Pnw0frw0f\/10wAAAAAAACH5BAAAAAAALAAAAAAGAAUAAAUYYLVp2BVxjFEgVjcEgJBRykEkUjNBj7OEADs=","width":3000,"height":2461,"alt_text":"A work made of hand-colored etching and acquaint on ivory wove paper."},"main_reference_number":"1940.231.3","has_not_been_viewed_much":true,"boost_rank":null,"date_start":1808,"date_end":1813,"date_display":"c. 1812","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Thomas Rowlandson (English, 1756-1827)\npublished by Rudolph Ackermann (English, 1764-1834)","place_of_origin":"England","description":null,"short_description":null,"dimensions":"Image: 10.9 \u00d7 19 cm (4 5\/16 \u00d7 7 1\/2 in.); Plate: 15.5 \u00d7 25.1 cm (6 1\/8 \u00d7 9 15\/16 in.); Sheet: 29.5 \u00d7 35.8 cm (11 5\/8 \u00d7 14 1\/8 in.)","dimensions_detail":[{"depth":null,"width":19,"height":10,"diameter":null,"clarification":"Image"},{"depth":null,"width":25,"height":15,"diameter":null,"clarification":"Plate"},{"depth":null,"width":35,"height":29,"diameter":null,"clarification":"Sheet"}],"medium_display":"Hand-colored etching and acquaint on ivory wove paper","inscriptions":null,"credit_line":"Gift of Mrs. James Ward Thorne","catalogue_display":"

BM Satires 11688<\/p>","publication_history":null,"exhibition_history":null,"provenance_text":null,"edition":null,"publishing_verification_level":"Web Basic","internal_department_id":3,"fiscal_year":1940,"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":25.7842,"color":{"h":50,"l":45,"s":39,"percentage":0.00909850938949002,"population":53},"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":"Print","artwork_type_id":18,"department_title":"Prints and Drawings","department_id":"PC-13","artist_id":36480,"artist_title":"Thomas Rowlandson","alt_artist_ids":[],"artist_ids":[36480],"artist_titles":["Thomas Rowlandson"],"category_ids":["PC-13"],"category_titles":["Prints and Drawings"],"term_titles":["etching","paper (fiber product)","print","prints and drawing"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-18","classification_title":"etching","alt_classification_ids":["TM-17","TM-4"],"classification_ids":["TM-18","TM-17","TM-4"],"classification_titles":["etching","print","prints and drawing"],"subject_id":null,"alt_subject_ids":[],"subject_ids":[],"subject_titles":[],"material_id":"TM-2982","alt_material_ids":[],"material_ids":["TM-2982"],"material_titles":["paper (fiber product)"],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"80db975d-1799-9714-a7d0-aff184b5be15","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1940.231.3"],"contexts":{"groupings":["accession"]}},{"input":["Doctor Syntax Returned from His Tour, from The Tour of Doctor Syntax"],"weight":1,"contexts":{"groupings":["title"]}}],"source_updated_at":"2022-09-21T19:19:13-05:00","updated_at":"2024-11-24T23:26:27-06:00","timestamp":"2024-11-24T23:27:39-06:00"},{"id":93789,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/93789","is_boosted":false,"title":"Western Industrial","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBgAFAPQAABoRFxUWHyMYGyAZHRsbIh8eJCQdICEfJiQgJSggJC8mJSIkLzQqLEw\/L0g8N2ZWPCQ\/Tz5ceURKSkdNTl9USltbXm9iRHdpQnRpVHRuZHN2eJaMdqOXga6mmwAAAAAAACH5BAAAAAAALAAAAAAGAAUAAAUYoNZFkHVl3CQ9mEIhTrMZByEw1VAEQLKEADs=","width":0,"height":0,"alt_text":"A work made of oil on canvas."},"main_reference_number":"1977.12","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1955,"date_end":1955,"date_display":"1955","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Charles Sheeler\nAmerican, 1883\u20131965","place_of_origin":"United States","description":"

Often associated with the American artistic group known as the Precisionists, Charles Sheeler was both a painter and a photographer. This late work, Western Industrial<\/em>, depicts the Inland Steel plant in East Chicago, Indiana. Evident here is the artist\u2019s interest in line and overlapping shapes, his restrained painting style, and his use of subdued color. The many diagonals leading the eye to various points in the composition give the impression of an active industry; however, the plant is devoid of humans. Indeed, a critic once referred to one of Sheeler\u2019s works as a \u201cdepopulated landscape.\u201d<\/p>\n","short_description":null,"dimensions":"58 \u00d7 73.5 cm (22 7\/8 \u00d7 29 in.)","dimensions_detail":[{"depth_cm":0,"depth_in":0,"width_cm":73.5,"width_in":29,"height_cm":58,"height_in":22.875,"diameter_cm":0,"diameter_in":0,"clarification":null}],"medium_display":"Oil on canvas","inscriptions":null,"credit_line":"Gift of Mary and Leigh Block","catalogue_display":null,"publication_history":"Lillian Dochterman, \"Charles Sheeler,\" in The Quest of Charles Sheeler, exh. cat (University of Iowa, 1963), 29, 32, fig. 22.","exhibition_history":"Iowa City, University of Iowa, The Quest of Charles Sheeler, Mar. 17\u2013Apr. 14, 1963, cat. 69, fig. 22.\n\nTransparence 1920\u20131980 Musee des Baeux Arts,LeHavre France 9\/14\/95\u201311\/26\/95.","provenance_text":null,"edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":21,"fiscal_year":1977,"fiscal_year_deaccession":null,"is_public_domain":false,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":29.9519,"color":{"h":47,"l":45,"s":24,"percentage":0.0322079896934433,"population":183},"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":36631,"artist_title":"Charles Sheeler","alt_artist_ids":[],"artist_ids":[36631],"artist_titles":["Charles Sheeler"],"category_ids":["PC-3"],"category_titles":["Arts of the Americas"],"term_titles":["oil paint (paint)","painting","Modernism","Chicago","canvas","modern and contemporary art","architecture"],"style_id":"TM-5981","style_title":"Modernism","alt_style_ids":[],"style_ids":["TM-5981"],"style_titles":["Modernism"],"classification_id":"TM-9","classification_title":"painting","alt_classification_ids":["TM-155"],"classification_ids":["TM-9","TM-155"],"classification_titles":["painting","modern and contemporary art"],"subject_id":"TM-12075","alt_subject_ids":["TM-12085"],"subject_ids":["TM-12075","TM-12085"],"subject_titles":["Chicago","architecture"],"material_id":"TM-2451","alt_material_ids":["TM-3124"],"material_ids":["TM-2451","TM-3124"],"material_titles":["oil paint (paint)","canvas"],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"8b80ad4c-3e99-5f2f-c799-89432b5ff954","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1977.12"],"contexts":{"groupings":["accession"]}},{"input":["Western Industrial"],"weight":3804,"contexts":{"groupings":["title"]}}],"source_updated_at":"2023-01-31T10:08:46-06:00","updated_at":"2024-11-24T23:26:27-06:00","timestamp":"2024-11-24T23:27:39-06:00"},{"id":77855,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/77855","is_boosted":false,"title":"Map of North America (Handkerchief)","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBgAFAPQAAI9wWpl4YZV7aJl9aZ+FcJ+EcZ+FcaCBZ6SEaKWFa6aJcaeMcqaNd6mLcamPd7CSd7CXf7OYf6+ZgLaagbqegLyihLmhib+qkMGqjcWuj8CrkMGrkMOqkcOukgAAAAAAACH5BAAAAAAALAAAAAAGAAUAAAUYYPA0yAEoGVZRidNd0bRA3GZpklAYBDOEADs=","width":2638,"height":2250,"alt_text":"A work made of cotton, plain weave; copperplate printed; glazed."},"main_reference_number":"1952.657","has_not_been_viewed_much":true,"boost_rank":null,"date_start":1811,"date_end":1811,"date_display":"1811","date_qualifier_title":"Made","date_qualifier_id":4,"artist_display":"Engraved by R. Gray (Scottish, 1811) after Robert Wilkinson (1804)\nScotland, Glasgow","place_of_origin":"Glasgow","description":null,"short_description":null,"dimensions":"52.5 \u00d7 63.5 cm (20 5\/8 \u00d7 25 in.)","dimensions_detail":[{"depth":null,"width":63,"height":52,"diameter":null,"clarification":null}],"medium_display":"Cotton, plain weave; copperplate printed; glazed","inscriptions":"Inscription: R. Gray Sculpt. Glasgow, 1811","credit_line":"Gift of Emily Crane Chadbourne","catalogue_display":null,"publication_history":null,"exhibition_history":"Art Institute of Chicago, Masterpieces of Western Textiles, Jan. 25\u2013Mar. 2, 1969.\n\nChicago, Continental BankTextiles of Western Cultures from The Art Institute of Chicago, January 17\u2013February 18, 1977\n\nThe Art Institute of Chicago, Gallery 141, \u201cCommemorative Events on Cloth,\u201d May 6\u2013July 16, 2006","provenance_text":null,"edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":4,"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":28.7167,"color":{"h":357,"l":55,"s":61,"percentage":0.001979815778141844,"population":12},"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":"Textile","artwork_type_id":5,"department_title":"Textiles","department_id":"PC-14","artist_id":107228,"artist_title":"R. Gray","alt_artist_ids":[],"artist_ids":[107228],"artist_titles":["R. Gray"],"category_ids":["PC-14"],"category_titles":["Textiles"],"term_titles":["copperplate printing","textile","propaganda","weaving - printed","weaving","map"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-69","classification_title":"textile","alt_classification_ids":["TM-353","TM-159","TM-10438"],"classification_ids":["TM-69","TM-353","TM-159","TM-10438"],"classification_titles":["textile","weaving - printed","weaving","map"],"subject_id":"TM-8731","alt_subject_ids":[],"subject_ids":["TM-8731"],"subject_titles":["propaganda"],"material_id":null,"alt_material_ids":[],"material_ids":[],"material_titles":[],"technique_id":"TM-10517","alt_technique_ids":[],"technique_ids":["TM-10517"],"technique_titles":["copperplate printing"],"theme_titles":[],"image_id":"64bbfef9-22b3-b339-77de-ec0de0b1b672","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1952.657"],"contexts":{"groupings":["accession"]}},{"input":["Map of North America (Handkerchief)"],"weight":144,"contexts":{"groupings":["title"]}}],"source_updated_at":"2022-09-21T19:19:01-05:00","updated_at":"2024-11-24T23:26:27-06:00","timestamp":"2024-11-24T23:27:39-06:00"},{"id":28067,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/28067","is_boosted":true,"title":"The Old Guitarist","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhAwAFAPMAAD1APzM8QzZARTJASzhFTTBFYEFRVUtWVkFTW0NUXURVYlVkZFFqelFrfF56iAAAACH5BAAAAAAALAAAAAADAAUAAAQL0LHRlCgLpBMMIhEAOw==","width":10020,"height":15000,"alt_text":"Painting, mostly in shades of blue, of a thin, bent, older man wearing ragged clothes and sitting cross-legged playing a guitar positioned upright in his lap."},"main_reference_number":"1926.253","has_not_been_viewed_much":false,"boost_rank":85,"date_start":1903,"date_end":1904,"date_display":"late 1903\u2013early 1904","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Pablo Picasso\nSpanish, active France, 1881\u20131973","place_of_origin":"Spain","description":"

Pablo Picasso made The Old Guitarist<\/em> while working in Barcelona. In the paintings of his Blue Period (1901-04), the artist restricted himself to a cold, monochromatic blue palette, flattened forms, and emotional, psychological themes of human misery and alienation related to the work of such artists as Edvard Munch and Paul Gauguin. The elongated, angular figure of the blind musician also relates to Picasso's interest in Spanish art and, in particular, the great 16th-century artist El Greco. The image re\ufb02ects the twenty-two-year-old Picasso's personal struggle and sympathy for the plight of the downtrodden; he knew what it was like to be poor, having been nearly penniless during all of 1902.<\/p>\n","short_description":"This famous work is from Picasso\u2019s Blue Period (1901\u201304), a time the artist restricted himself to a cold, monochromatic blue palette and flattened forms to convey the themes of misery and alienation. The elongated figure also reflects his interest in the great 16th-century Spanish artist El Greco. The 22-year-old Picasso had sympathy for the downtrodden; at the time, knew what it meant to be penniless.","dimensions":"122.9 \u00d7 82.6 cm (48 3\/8 \u00d7 32 1\/2 in.)","dimensions_detail":[{"depth":null,"width":82,"height":122,"diameter":null,"clarification":null}],"medium_display":"Oil on panel","inscriptions":"signed, l.r.: \"Picasso\"","credit_line":"Helen Birch Bartlett Memorial Collection","catalogue_display":null,"publication_history":"Henri Guilbeaux, \u201cExposition Pablo Picasso (Vollard, rue Laffitte),\u201d Les Hommes du Jour 3, 155 (Jan. 7, 1911), n.pag., as \u201cvieux musicien.\u201d\n\nHarriett C. Bryant, Third Exhibition of Contemporary French Art (Carroll Galleries, 1915), n.pag., cat. 3, as The Guitarrist [sic].\n\n\u201cWhat is Happening in the World of Art,\u201d Sun, Mar. 14, 1915, sec. 3, p. 2 (ill.), as The Guitarist.\n\nArt Institute of Chicago, Annual Report 48 (1926), p. 56 (ill.), as The Guitarist.\n\nArt Institute of Chicago, Modern Paintings in the Helen Birch Bartlett Memorial from the Birch-Bartlett Collection (Art Institute of Chicago, 1926), pp. 36\u201337 (ill.), 57, as Le Guitariste.\n\nJohn Quinn, John Quinn, 1870\u20131925: Collection of Paintings, Watercolors, Drawings, and Sculpture (Pidgeon Hill Press, 1926), pp. 12, 96 (ill.), as The Guitarist\u2014Blue Period.\n\nR. M. F., \u201cC\u00e9zanne, Rousseau, Picasso,\u201d Bulletin of the Art Institute of Chicago 20, 5 (May 1926), p. 64 (ill.), as \u201cThe Guitarist.\u201d\n\nR. M. F., \u201cHelen Birch-Bartlett Memorial Collection Now Installed,\u201d Art News 24, 31 (May 8, 1926), p. 2, as \u201cThe Guitarist.\u201d\n\nForbes Watson, \u201cA Note on the Birch-Bartlett Collection,\u201d Arts 9 (June 1926), pp. 307 (ill.), 312, as The Guitarist.\n\nChristian Zervos, \u201cPicasso: \u0152uvres In\u00e9dites Anciennes,\u201d Cahiers d\u2019Art 3, 5\u20136 (1928), p. 213 (ill.).\n\nMorton Dauwen Zabel, \u201cAn American Gallery of Modern Painting,\u201d Art and Archaeology 26, 6 (Dec. 1928), pp. 233 (ill.), 235, as Le Guitariste.\n\nArts Club of Chicago, Paintings by Pablo Picasso, exh. cat. (Arts Club of Chicago, 1930), n.pag., cat. 6, as Le Guitariste, about 1910.\n\nDaniel Catton Rich, \u201cConsider Picasso,\u201d Bulletin of the Art Institute of Chicago 25, 5 (May 1931), pp. 68, 69 (ill.), as Guitar Player, about 1905.\n\nArt Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1932), p. 167, as The Guitarist.\n\nChristian Zervos, Pablo Picasso, vol. I, \u0152uvres de 1895 a 1906 (Cahiers d\u2019Art, 1932), p. XXXIV; pl. 90, no. 202; n.pag., no. 202, as Le Vieux Guitariste, Barcelone, 1903.\n\nChristian Zervos, \u201cPicasso,\u201d Cahiers d\u2019Art 7, 3\u20135 (1932), p. 91 (ill.), as Le vieux guitariste, 1903.\n\nJames Johnson Sweeney, \u201cLa Peinture Fran\u00e7aise Moderne a l\u2019Institut des Beaux-Arts de Chicago,\u201d Cahiers d\u2019Art 7, 8\u201310 (1932), pp. 335 (ill.), 336, as le Guitariste.\n\nWalter J. Sherwood, \u201cThe Famous Birch Bartlett Collection,\u201d Chicago Visitor (Oct. 1932), pp. 17, 40, as \u201cThe Guitarist.\u201d\n\nArt Institute of Chicago, Catalogue of a Century of Progress Exhibition of Paintings and Sculpture Lent from American Collections, exh. cat. (Art Institute of Chicago, 1933), p. 56, cat. 402, as The Guitarist, 1903.\n\nArt Institute of Chicago, Catalogue of a Century of Progress Exhibition of Paintings and Sculpture, exh. cat. (Art Institute of Chicago, 1934), p. 53, cat. 358, as The Guitarist, 1903.\n\nWadsworth Atheneum, Pablo Picasso, exh. cat. (Wadsworth Atheneum, 1934), n.pag., cat. 11 (ill.), as Vieux Guitariste, 1903.\n\nFrancis Henry Taylor, \u201cAfrican Baroque in Hartford,\u201d Parnassus 6, 3 (Mar. 1934), p. 11 (ill.), as The Guitarist.\n\nArt Institute of Chicago, A Brief Illustrated Guide to the Collections (Art Institute of Chicago, 1935), p. 30, as The Guitarist.\n\nJacques Seligmann and Company, Picasso: \u201cBlue\u201d and \u201cRose\u201d Periods, 1901\u20131906, exh. cat. (Jacques Seligmann and Company, 1936), pp. 9; 17, cat. 15; pl. 15, as The Old Guitar Player (The Guitarist), Barcelona, 1903.\n\nJames W. Lane, \u201cPicasso: The Spanish Charivari,\u201d Parnassus 8, 6 (Nov. 1936), p. 17, as The Blind Guitarist.\n\nAlfred H. Barr, Jr., ed., Picasso: Forty Years of His Art, exh. cat. (Museum of Modern Art, 1939), pp. 34\u201335, cat. 20 (ill.); 194, as The Old Guitarist, Barcelona, 1903.\n\nAlfred M. Frankfurter, \u201cPicasso in Retrospect: 1939\u20131900, The Comprehensive Exhibition in New York and Chicago,\u201d Art News 38, 7 (Nov. 18, 1939), pp. 12 (ill.), 26.\n\nJames Thrall Soby, \u201cPicasso: A Critical Estimate,\u201d Parnassus 11, 8 (Dec. 1939), p. 9.\n\nHelen F. Mackenzie, Understanding Picasso: A Study of His Styles and Development (University of Chicago Press, 1940), pl. II, as \u201cThe Old Guitarist,\u201d 1903.\n\nReginald Howard Wilenski, Modern French Painters (Reynal and Hitchcock, 1940), pl. 47; pp. 138; 168; 199; 202, as Le vieux guitariste, 1903.\n\nHelen F. Mackenzie, \u201cUnderstanding Picasso\u2014A Study of His Styles and Development,\u201d Bulletin of the Art Institute of Chicago 34, 2 (Feb. 1940), p. 26, as The Guitarist.\n\nFrederick A. Sweet, \u201cPicasso\u2014Forty Years of His Art,\u201d Bulletin of the Art Institute of Chicago 34, 2 (Feb. 1940), p. 22, as The Guitarist.\n\nRegina Schoolman and Charles E. Slatkin, The Enjoyment of Art in America (J. B. Lippincott Company, 1942), p. 565; pl. 579, as Guitar Player.\n\nCeferino Palencia, Picasso (Editorial Leyenda, 1945), fig. 7; pp. 118\u201319; 131, as El ciego guitarrista and El Guitarrista ciego, Barcelona, 1903. \n\nArt Institute of Chicago, Modern Paintings in the Helen Birch Bartlett Memorial from the Birch Bartlett Collection (Art Institute of Chicago, 1946), pp. 38, 39 (ill.), 59, 63, as The Guitarist, 1903.\n\nAlfred H. Barr, Jr., Picasso: Fifty Years of His Art (Museum of Modern Art, 1946), pp. 28 (ill.), 29, 254, 280, as The Old Guitarist, Barcelona, 1903.\n\nAlexandre Cirici Pellicer, Picasso antes de Picasso (Iberia-Joaquin Gil, 1946), pp. 183\u201385; fig. 170, as Viejo guitarrista, 1903.\n\nJoan Merli, Picasso: el artista y la obra de nuestro tiempo, 2nd ed. (Editorial Poseidon, 1948), pp. 29; fig. 83; 598, as Guitarrista ciego, and El viejo guitarrista, Barcelona, 1903.\n\nDenys Sutton, Picasso: Blue and Pink Periods (Lindsay Drummond\/\u00c9ditions du Ch\u00eane, 1948), n.pag., as Old Guitarist, 1903.\n\nPer-Olav Zennstr\u00f6m, Pablo Picasso (P. A. Norstedt and S\u00f6ners F\u00f6rlag, 1948), fig. 4; pp. 28; 259, as Den gamle gitarrspelaren, 1903.\n\nJuan Antonio Gaya Nu\u00f1o, Picasso (Ediciones Omega, 1950), pp. 12; 33, no. 9; pl. 9, as El viejo guitarrista, 1903.\n\nAnthony Bertram, Picasso, The World\u2019s Masters\u2014New Series (Studio Publications, 1951), pl. 4, as The Old Guitarist, 1903.\n\nWilliam S. Lieberman, Pablo Picasso (Harry N. Abrams, 1952), pp. 10\u201311 (ill.), as The Old Guitarist, Barcelona, 1903.\n\nWilliam S. Lieberman, Pablo Picasso: Blue and Rose Periods (Harry N. Abrams, 1954), pl. 18, as The Old Guitarist, 1903. \n\nDenys Sutton, Picasso: peintures \u00e9poques bleue et rose (Les \u00c9ditions du Ch\u00eane, 1955), n.pag., as Vieux Guitariste, 1903.\n\nAntonina Vallentin, Pablo Picasso (\u00c9ditions Albin Michel, 1957), p. 88, 93, as le Vieux Guitariste.\n\nRoland Penrose, Picasso: His Life and Work (Victor Gollancz, 1958), pp. 10; 90; 92; 106\u201307; pl. III, no. 6, as The Old Guitarist, 1903.\n\nPierre de Champris, Picasso ombre et soleil (Librairie Gallimard, 1960), pp. 267\u201368, no. 311 (ill.); 294, as Le guitariste aveugle, 1903.\n\nArt Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 356, as The Old Guitarist, 1903.\n\nAnthony Blunt and Phoebe Pool, Picasso, the Formative Years: A Study of His Sources (New York Graphic Society, 1962), p. 31, no. 111; fig. 111, as Blind Guitar-Player, 1903.\n\nH. W. Janson, History of Art: A Survey of the Major Visual Arts from the Dawn of History to the Present Day (Harry N. Abrams, 1962), pp. 509, fig. 765; 510, as The Old Guitarist, 1903.\n\nJohn Ferguson, \u201cPicasso and the Classics,\u201d Greece and Rome, 2nd series, 9, 2 (Oct. 1962), p. 184.\n\nGeorges Boudaille, Picasso: Premi\u00e8re \u00e9poque 1881\u20131906, p\u00e9riodes bleue et rose (Mus\u00e9e Personnel, 1964), pp. 13; 14; 16; pl. IV, as Le Vieux Guitariste, 1903.\n\nJacques Damase, Pablo Picasso, trans. Haydn Barnes (Barnes and Noble, 1965), pp. 6, 23 (ill.), 86, as The Old Guitarist, 1903.\n\nPierre Daix and Georges Boudaille, Picasso 1900\u20131906: Catalogue raisonn\u00e9 de l'\u0153uvre peint (Editions Ides et Calendes, 1966), pp. 62; 63 (ill.); 64\u201366; 229, cat. IX. 34 (ill.), as Le Vieux Guitariste, Barcelone, 1903.\n\nJosep Palau i Fabre, Picasso en Catalu\u00f1a (Ediciones Pol\u00edgrafa, 1966), pp. 104\u201305, fig. 92; 106; 109; 113; 116; 125; 242\u201343, as El viejo guitarrista; The old guitarrist [sic.]; Le vieux guitariste; Der alte Gitarrenspieler; Gitarrenspielers, Barcelona, 1903.\n\nFrederick A. Sweet, \u201cGreat Chicago Collectors,\u201d Apollo 84, 55 (Sept. 1966), pp. 194, fig. 13; 195; 197, as The Old Guitarist, 1903.\n\nArt Institute of Chicago, Instituto de arte de Chicago: Presentaci\u00f3n de Charles C. Cunningham, El Mundo de los museos (Editorial Codex, S. A., 1967), pp. 14, ill. 62; 25; 72\u201373 (ill.), as El viejo guitarrista.\n\nGeorge Heard Hamilton, Painting and Sculpture in Europe, 1880 to 1940 (Penguin Books, 1967), p. 88, as The Blind Guitarist, 1903.\n\nRoland Penrose, The Eye of Picasso (New American Library, 1967), p. 8; pl. 4, as The Old Guitarist, 1903.\n\nLael Wertenbaker, The World of Picasso, 1881\u2013 (Time-Life Books, 1967), pp. 34, 44 (ill.), as The Old Guitarist, 1903.\n\nArt Institute of Chicago, Picasso in Chicago: Paintings, Drawings, and Prints from Chicago Collections, exh. cat. (Art Institute of Chicago, 1968), pp. 14\u201315, cat. 7 (ill.); 112, as The Old Guitarist, Barcelona, 1903.\n\nThomas Greer, A Brief History of Western Man (Harcourt, Brace and World, 1968), pp. 556; 557, fig. 13-2, as The Old Guitarist, 1903.\n\nB. L. Reid, The Man from New York: John Quinn and His Friends (Oxford University Press, 1968), pp. 207\u201308, as Old Man.\n\nDenys Sutton and Paolo Lecaldano, The Complete Paintings of Picasso: Blue and Rose Periods, Classics of the World\u2019s Great Art, ed. Paolo Lecaldano (Harry N. Abrams, 1968), pp. 16; pl. XV; 94 (ill.); 95, cat. 92; 114; 119, as The Old Blind Guitar Player and Le vieux guitariste.\n\nMahonri Sharp Young, \u201cLetter from U.S.A.: Let\u2019s Talk Turkey,\u201d Apollo 87, 75 (May 1968), p. 390, fig. 8, as The Old Guitarist, 1903.\n\nDenys Chevalier, Picasso, \u00e9poques bleue et rose (Flammarion, 1969), pp. 17 (ill.), 62, 96, as Le Vieux guitariste, 1903.\n\nPicasso, Sekai no meiga [Famous Paintings in the World], 7 (Holp Shuppan, 1970), n.pag. (ill.), as Git\u0101-hiki no r\u014djin [The Old Guitarist].\n\nJohn Maxon, The Art Institute of Chicago (Harry N. Abrams, 1970), pp. 12, 109 (ill.), 284, as The Old Guitarist, 1903.\n\nHoward Greenfeld, Pablo Picasso: An Introduction (Follett Publishing Company, 1971), pp. 33 (ill.), 61, as The Old Guitarist, 1903.\n\nSandra Grung, Supplement to Paintings in the Art Institute of Chicago (Art Institute of Chicago, 1971), p. 86.\n\nOtsur\u014d Sakazaki, Pikaso, Gendai sekai bijutsu zensh\u016b [Picasso, Modern Art of the World], 14\/Picasso, L\u2019art moderne du monde, 14, eds. Ry\u016bzabur\u014d Umehara, Tetsuz\u014d, and S\u014dichi Tominaga (Shueisha, 1972), pl. 9; pp. 85; 114 (ill.); n.pag. as Toshi oita git\u0101-hiki [Old Guitarist]\/Le vieux guitariste, 1903.\n\nIleana \u0218oldea, Picasso (Editura Meridiane, 1972), p. 59; fig. 7 as B\u0103tr\u00eenul ghitarist, 1903.\n\nDiane Monk, \u201c\u2018Meet me at the Picasso\u2019: Artistic Landmark for All Chicagoans,\u201d Chicago Daily News (Apr. 9, 1973), p. 4.\n\nToshio Nishimura, ed., Picasso, Les Grands ma\u00eetres de la peinture moderne 17\/Pikaso, Sekai no meiga 17 [Picasso, Masterpieces of the World 17] (Japan Art Center, 1973), pl. 22; p. 115, no. 22 (ill.), as Oita git\u0101-hiki [Old Guitarist]\/Le vieux guitariste, 1903.\n\nY\u016bsuke Nakahara, ed., Pikaso to Machisu: rittaiha to yaj\u016bha, Gurando sekai bijutsu [Picasso and Matisse: Cubism and Fauvism, Grand Collection of World Art], 23 (K\u014ddansha, 1974), pl. 3, as Git\u0101-hiki no r\u014djin [The Old Guitarist], 1903.\n\nDomenico Porzio and Marco Valsecchi, Understanding Picasso (Newsweek Books, 1974), pl. 12, as The Old Guitarist, 1903.\n\nRonald W. Johnson, \u201cPicasso\u2019s \u2018Old Guitarist\u2019 and the Symbolist Sensibility,\u201d Artforum 13, 4 (Dec. 1974), pp. 56, fig. 1; 57\u201362, as Old Guitarist, 1903.\n\nTimothy Hilton, Picasso (Thames and Hudson, 1975), pp. 35, fig. 19; 277, as The Blind Guitarist and The Blind Guitarist (The Old Guitarist), Barcelona, 1903.\n\nEunice Lipton, Picasso Criticism, 1901\u20131939: The Making of an Artist-Hero, Ph.D. diss., New York University, 1975, p. 191, as The Old Guitarist, 1903.\n\nFelix Andreas Baumann, Pablo Picasso: Leben und Werk (Gerd Hatje, 1976), p. 22, fig. 29, as Der alte Gitarrist, 1903.\n\nRon Johnson, The Early Sculpture of Picasso, 1901\u20131914 (Garland Publishing, 1976), pp. 21\u201322; 201, fig. 25, as The Old Guitarist, 1903.\n\nVivian Endicott Barnett, The Guggenheim Museum: Justin K. Thannhauser Collection (Solomon R. Guggenheim Foundation, 1978), p. 132, as Old Guitarist, 1903.\n\nJanice J. Feldstein and Maureen Smith, eds., The Art Institute of Chicago: 100 Masterpieces (Art Institute of Chicago, 1978), pp. 20; 131, fig. 82, as The Old Guitarist, 1903.\n\nJudith Zilczer, \u201cThe Noble Buyer:\u201d John Quinn, Patron of the Avant-Garde, exh. cat. (Hirschhorn Museum and Sculpture Garden, 1978), pp. 32; 33, fig. 10; 176, as The Old Guitarist and Blind Guitarist, 1903.\n\nDavid A. Lauer, Design Basics (Holt, Rinehart and Winston, 1979), pp. 80\u201381, fig. c, as The Old Guitarist, 1903.\n\nMary Matthews Gedo, Picasso: Art as Autobiography (University of Chicago Press, 1980), p. 54 (ill.), as The Old Guitarist, 1903.\n\nJosep Palau i Fabre, Picasso vivent (1881\u20131907) (Ediciones Pol\u00edgrafa, 1980), pp. 358, fig. 932; 361; 377; 542, cat. 932, as El vell guitarrista, Barcelona, 1903 and Vell guitarrista.\n\nJane Fluegel, \u201cChronology,\u201d Pablo Picasso: A Retrospective, exh. cat. ed. William Rubin (Museum of Modern Art, 1980), p. 47 (ill.), as The Old Guitarist, Barcelona, Autumn 1903.\n\nA. James Speyer and Courtney Graham Donnell, Twentieth-Century European Paintings (University of Chicago Press, 1980), pp. 15; 62, no. 3C10; microfiche 3, no. C10 (ill.), as The Old Guitarist, 1903.\n\nRonald Christ, \u201cPicasso\u2019s Hands: The Mutability of Human Form,\u201d Artscanada, 236\/237 (Sept.\/Oct. 1980), pp. 21, 25, as The Old Guitarist, 1903.\n\nMark Rosenthal, \u201cThe Nietzschean Character of Picasso\u2019s Early Development,\u201d Arts Magazine 55, 2 (October 1980), pp. 87, fig. 1; 91, n. 9, as The Old Guitarist, 1903.\n\nLydia Gasman, Mystery, Magic, and Love in Picasso, 1925\u20131938: Picasso and the Surrealist Poets, Ph.D. diss., Columbia University, 1981, p. 1335.\n\nFederico Sope\u00f1a Iba\u00f1ez, Picasso y la m\u00fasica (Ministerio de Cultura, 1982), pp. 22; 27, n. 9; 29 (ill.); 43; 132; 164, no. 26, as El ciego guitarrista and El viejo guitarrista, Barcelona, 1903.\n\nFrancisco Ugarte and Michael Ugarte, Espa\u00f1a y su Civilizaci\u00f3n, 3rd ed. (Random House, 1983), pp. 186, 187 (ill.), as El guitarrista viejo.\n\nArt Institute of Chicago, \u201cFront Matter\u201d and \u201cThe Helen Birch Bartlett Memorial Collection,\u201d Art Institute of Chicago Museum Studies 12, 2 (1986), n.pag. (ill.); p. 223, no. 19, as The Old Guitarist, 1903.\n\nRichard R. Brettell, \u201cThe Bartletts and the Grande Jatte: Collecting Modern Painting in the 1920s,\u201d Art Institute of Chicago Museum Studies 12, 2 (1986), pp. 105, 111, as Old Guitarist and The Old Guitarist.\n\nCourtney Graham Donnell, \u201cFrederic Clay and Helen Birch Bartlett: The Collectors,\u201d Art Institute of Chicago Museum Studies 12, 2 (1986), p. 95, fig. 11, as Old Guitarist.\n\nMary Mathews Gedo, \u201cA Youthful Genius Confronts His Destiny: Picasso\u2019s Old Guitarist in \nthe Art Institute of Chicago,\u201d Art Institute of Chicago Museum Studies 12, 2 (1986), pp. 152, fig. 1; 153; 155\u201356; 158\u201359, figs. 7\u20138; 161\u201365, as Old Guitarist and The Old Guitarist, 1903\/04.\n\nLois Fichner-Rathus, Understanding Art (Prentice-Hall, 1986), p. 356, fig. 13-5, as The Old Guitarist, 1903.\n\nPierre Daix, Picasso cr\u00e9ateur: La vie intime et l\u2019\u0153uvre (\u00c9ditions du Seuil, 1987), p. 48, as le Vieux Guitariste.\n\nPaul Zelanski and Mary Pat Fisher, The Art of Seeing (Prentice-Hall, 1988), pp. 142\u201343; 144\u201345, fig. 2.109; 413, as The Old Guitarist, 1903.\n\nDidier Imbert Fine Art, Picasso: La C\u00e9lestine, exh. cat. (Didier Imbert Fine Art, 1988), pp. 36 (ill.), 67, as Le Vieux guitariste\/The Old Guitarist, 1903.\n\nJames N. Wood and Katherine C. Lee, Master Paintings in the Art Institute of Chicago (Art Institute of Chicago, 1988), p. 108 (ill.), as The Old Guitarist, 1903\/04.\n\nAuckland City Art Gallery, Pablo Picasso: The Artist Before Nature, exh. cat. (Auckland City Art Gallery, 1989), p. 41.\n\nPatricia Leighten, Re-Ordering the Universe: Picasso and Anarchism, 1897\u20131914 (Princeton University Press, 1989), pp. 34; fig. 21, as The Old Guitarist, 1903.\n\nAnatoli\u012d Podoksik, Pikasso, vechnyi poisk: proizvedeniia khudozhnika iz muzeev Sovetskofo Soiuza [Picasso: The Artist's Works in Soviet Museums] (Avrora, 1989), pp. 36; 39 (ill.); 153; 154, fig. 83, as Staryi Gitarist and Starym Gitaristom [The Old Guitarist], 1903.\n\nPrentice Hall Literature: World Masterpieces (Prentice Hall, 1991), p. 1142 (ill.).\n\nJohn Beardsley, Pablo Picasso, First Impressions (Harry N. Abrams, 1991), pp. 23 (ill.), 90, as The Old Guitarist, 1903.\n\nGiorgio Cortenova, Picasso: la vita e l\u2019opera (Idealibri, 1991), p. 74 (ill.), as Il vecchio chitarrista, Barcellona, 1903. \n\nJack Hobbs and Richard Salome, The Visual Experience (Davis, 1991), pp. 69, fig. 6-30; 292, as The Old Guitarist, 1903.\n\nJohn Richardson, A Life of Picasso, vol. I, 1881\u20131906 (Random House, 1991), pp. 277, 278 (ill.), 292, 541, as The Old Guitarist, Barcelona, 1903.\n\nMarie-Laure Bernadac, Brigitte L\u00e9al, and H\u00e9l\u00e8ne Seckel, Picasso (ODA, Laser Edition, 1992), p. 15, no. 6432; [laser disc] n.pag. (ills.), as The Old Guitarist, Barcelona, 1903.\n\nLaura H. Chapman, A World of Images (Davis Publications, 1992), p. 48 (ill.), as The Old Guitarist, 1903.\n\nCarsten-Peter Warncke, Pablo Picasso, 1881\u20131973, Tome I, Les \u0153uvres de 1890 \u00e0 1936 (Benedikt Taschen, 1992), p. 94 (ill.), as Le Vieux Guitariste aveugle, Barcelone, automne 1903.\n\nSimon Miller, \u201cInstruments of Desire: Musical Morphology in the Early Work of Picasso,\u201d The Musical Quarterly 76, 4 (Winter 1992), pp. 447; 448, fig. 1, as The Old Guitarist, 1903.\n\nHiro Clark, ed., Picasso: In His Words (Collins Publishers, 1993), pp. 45 (ill.), 94, as The Old Guitarist, 1903.\n\nChristian Geelhaar, Picasso: Wegbereiter und F\u00f6rderer seines Aufstiegs 1899\u20131939 (Palladion, 1993), pp. 205\u201306, fig. 230, as Le vieux guitariste, 1903. \n\nGlen MacLeod, Wallace Stevens and Modern Art: From the Armory Show to Abstract Expressionism (Yale University Press, 1993), p. 64, as The Old Guitarist, 1903.\n\nMarilyn McCully, Picasso: A Private Collection (Cacklegoose Press, 1993), p. 30 (ill.), as The Old Guitarist, 1903.\n\nRichard J. Wattenmaker and Anne Distel, Great French Paintings from the Barnes Foundation: Impressionist, Post-Impressionist, and Early Modern (Alfred A. Knopf, 1993), pp. 192; 304, n. 7, as The Old Guitar Player.\n\nJames N. Wood, Treasures of 19th- and 20th-Century Painting: The Art Institute of Chicago (Abbeville Press, 1993), pp. 15, 178, 186 (ill.), as The Old Guitarist, 1903.\n \nLaurie Schneider Adams, A History of Western Art (Harry N. Abrams, 1994), pp. 412, fig. 26.1; 422, as The Old Guitarist, 1903.\n\nJoan Jasper, Identifiable Fragments: Comparisons Between Picasso and Gertrude Stein, 1905\u20131907, Master\u2019s Thesis, School of the Art Institute of Chicago, 1994, Chapter 1, [p. 5]; fig. 6, as The Blue Guitarist and Blue Guitarist, 1903.\n\nDuane Preble and Sarah Preble, Artforms: An Introduction to the Visual Arts, 5th ed. (Harper Collins College Publishers, 1994), pp. 80, fig. 119; 82, as The Old Guitarist, 1903.\n\nDavid F. Setford, Pablo Picasso: A Vision, exh. cat. (Norton Gallery of Art, 1994), pp. 12, fig. 3; 13; 54, as The Old Guitarist, 1903.\n\nSandra Kraskin and Glen MacLeod, Painting in Poetry, Poetry in Painting: Wallace Stevens and Modern Art, exh. cat. (Sidney Mishkin Gallery, 1995), pp. 14 (ill.), 15, 18, as The Old Guitarist, 1903.\n\nRichard Lewis and Susan Lewis, The Power of Art (Harcourt Brace, 1995), p. 373, fig. 15-10, as The Old Guitarist, 1903.\n\nLaurie Schneider Adams, The Methodologies of Art: An Introduction (HarperCollins, 1996), p. 23; pl. 3, as The Old Guitarist, 1903.\n\nJosep Palau i Fabre, Pablo Picasso: Academic and Anti-Academic (1895\u20131900), exh. cat. (Yoshii Gallery, 1996), p. 144, as The Blind Guitarist, 1903.\n\nJohn Richardson, A Life of Picasso, vol. II, 1907\u20131917 (Random House, 1996), pp. 363; 472, n. 20, as Z.I. 202.\n\nJames N. Wood and Teri J. Edelstein, The Art Institute of Chicago: Twentieth-Century Painting and Sculpture (Art Institute of Chicago, 1996), p. 12 (ill.), as The Old Guitarist, 1903. \n\nArt Institute of Chicago, Pocketguide (Art Institute of Chicago, 1997), p. 38, fig. 66, as The Old Guitarist, 1903.\n\nMarilyn McCully, \u201cChronology,\u201d in Picasso: The Early Years, 1892\u20131906, exh. cat. ed. Marilyn McCully (National Gallery of Art, 1997), pp. 40, fig. 26; 41, as The Old Guitarist, Barcelona, 1903. \n\nJeffrey Weiss, \u201cBohemian Nostalgia: Picasso in Villon\u2019s Paris,\u201d in Picasso: The Early Years, 1892\u20131906, exh. cat. ed. Marilyn McCully (National Gallery of Art, 1997), p. 200, as the Old Guitarist, 1903.\n\nAndrew Wilton, \u201cSymbolism in Britain,\u201d in The Age of Rossetti, Burne-Jones, and Watts: Symbolism in Britain, 1860\u20131910, exh. cat. eds. Andrew Wilton and Robert Upstone (Flammarion, 1997), p. 33, fig. 17, as The Old Guitarist, 1903.\n\nBeverly Mayne Kienzle and Teresa M\u00e9ndez-Faith, Panoramas literarios Espa\u00f1a (Houghton Mifflin, 1998), p. 316 (ill.), as El guitarrista.\n\nIngrid Schaffner, The Essential Pablo Picasso, The Essential Series (Harry N. Abrams, 1998), pp. 34, 41 (ill.), as The Old Guitarist, 1903.\n\nMartin E. P. Seligman and David L. Rosenhan, Abnormality (W. W. Norton and Company, 1998), p. 226 (ill.).\n\nLaurie Schneider Adams, Art Across Time, vol. II (McGraw-Hill, 1999), pp. 819, fig. 25.1; 834 (ill.); 835.\n\nSilke Immenga, Picasso und Spanien: Kulturelle Identit\u00e4t als Strategie (Peter Lang, 2000), pp. 60; 306, fig. 38; 339, as Der Gitarrenspieler, 1903; Der Gitarrist.\n\nMeyer Schapiro, The Unity of Picasso\u2019s Art (George Braziller, 2000), p. 11, fig. 15, as The Old Guitarist, autumn 1903.\n\nJames N. Wood and Debra N. Mancoff, Treasures from the Art Institute of Chicago (Hudson Hills Press, 2000), p. 231 (ill.), as The Old Guitarist, 1903\/1904.\n\nBonnie Rimer, \u201cThe Art Institute of Chicago: The Old Guitarist Meets New Technology,\u201d Picasso: The Artist\u2019s Studio (Cleveland Museum of Art, 2001), http:\/\/www.clevelandart.org\/exhibcef\/picassoas\/html\/7327426.html (accessed Aug. 2012), no fig. no. (ill.), as The Old Guitarist, 1903.\n\nLilli F. Colton, The Art of Medicine (Annenberg Center for Health Sciences at Eisenhower Medical Center, 2002), pp. 13, 54 (ill.), as The Old Guitarist, 1903-1904.\n\nRobert Hughes, The Portable Picasso (Universe, 2003), pp. 54 (ill.), 425, as The Old Guitarist, 1903.\n\nSandra Benadretti Pellard, Regards complices, hommage \u00e0 Picasso\/Sharing Views, Tribute to Picasso, exh. cat. (Somogy, 2003), pp. 59 (ill.), 90, as Le Vieux Guitariste, 1903; The old guitarist, 1903.\n\nLaurie Schneider Adams, A History of Western Art, 4th ed. (McGraw Hill, 2004), pp. 467, fig. 26.1; 477 (ill.); 478 (ill.), as The Old Guitarist, 1903.\n\nMichael FitzGerald, \u201cColecciones Permanentes e historias ef\u00edmeras: una breve cr\u00f3nica de la acogida de la obra de Picasso en Norteam\u00e9rica\u201d and \u201cAmerica\u2019s Embrace of Picasso: Permanent Collections and Ephemeral Histories,\u201d in Fundaci\u00f3n Marcelino Bot\u00edn, La \u00e9poca de Picasso: donaciones a los museos americanos, exh. cat. (Fundaci\u00f3n Marcelino Bot\u00edn, 2004), pp. 41, 246, as El viejo guitarrista, 1903; The Old Guitarist, 1903.\n\nMichael FitzGerald, \u201cL\u2019abbraccio americano a Picasso: collezioni permanenti e vicende effimere\u201d and \u201cAmerica\u2019s Embrace of Picasso: Permanent Collections and Ephemeral Histories,\u201d in Pepe Karmel, Picasso e la sua epoca: Donazioni a Musei Americani, exh. cat. (Skira, 2004), pp. 31, 175, as Il vecchio chitarrista, 1903; The Old Guitarist, 1903.\n\nJeff Lyon, \u201cIn the Loop: Need to Know: Q: Is It True a Picasso Painting at the Art Institute Conceals a 2nd Work?\u201d Chicago Tribune Magazine (June 5, 2005), p. 12 (ill.).\n\nJulia May Boddewyn, \u201cSelected Chronology of Exhibitions, Auctions, and Magazine Reproductions, 1910\u20131957,\u201d in Michael FitzGerald, Picasso and American Art, exh. cat. (Whitney Museum of American Art\/Yale University Press, 2006), pp. 329, 334, 336, 339\u201340, 342, 344, 350.\n\nMichael FitzGerald, \u201cChapter Two (1914\u20131929),\u201d in Picasso and American Art, exh. cat. (Whitney Museum of American Art\/Yale University Press, 2006), pp. 69; 70, fig. 25; 104, as The Old Guitarist, 1903.\n\nAsher Ethan Miller, \u201c148. Pablo Picasso, The Old Guitarist,\u201d in C\u00e9zanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde, exh. cat. ed. Rebecca A. Rabinow (Metropolitan Museum of Art, 2006), p. 388, cat. 148 (ill.), as The Old Guitarist, 1903\/4.\n\nGary Tinterow with research by Asher Ethan Miller, \u201cVollard and Picasso,\u201d in C\u00e9zanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde, exh. cat. ed. Rebecca A. Rabinow (Metropolitan Museum of Art, 2006), pp. 107, fig. 113; 112, as The Old Guitarist, 1903\/4; Old Guitarist.\n\nAgnes Husslein-Arco and Alfred Weidinger, Kokoschka: tr\u00e4umender Knabe, enfant terrible (Bibliotek der Provinz, 2008), pp. 146, fig. 83; 148, as Der alte Gitarrenspieler, 1903; Gitarrenspieler.\n\nJ. R. Leibowitz, Hidden Harmony: The Connected Worlds of Physics and Art (Johns Hopkins University Press, 2008), pp. 55; 56, pl. 6; 61, as The Old Guitarist, 1903\u20134.\n\nP. I. Maltbie, Picasso and Minou (Charlesbridge, 2008), n.pag. (ills.), as The Old Guitarist, 1903\/04.\n\nMarilyn McCully, \u201cPicasso Symboliste,\u201d in Marilyn McCully, Picasso in Paris 1900-1907: Eating Fire, exh. cat. ed. Michael Raeburn (Van Gogh Museum\/Museu Picasso, 2011), pp. 127; 129, fig. 32, as The Old Guitarist, Barcelona, 1903\u20134.\n\nThe Picasso Project, Picasso\u2019s Paintings, Watercolors, Drawings and Sculpture: A Comprehensive Illustrated Catalogue 1885\u20131973, vol. 23, The Blue Period, 1902\u20131904, Barcelona and Paris (Alan Wofsy Fine Arts, 2011), pp. xii; xxii; 135, cat. 1903\u2013106 (ill.); 235; 243, as The Old Guitarist\/Le vieux guitariste, Autumn, 1903.\n\nJack Flam, Katy Rogers, and Tim Clifford, Robert Motherwell Paintings and Collages: A Catalogue Raisonn\u00e9, 1941\u20131991, vol. 1, Essays and References (Yale, 2012), pp. 154\u201355, fig. 151, as The Old Guitarist, 1903-4.\n\nArt Institute of Chicago, \u201cRevealing Picasso Conservation Project,\u201d n.d., http:\/\/www.artic.edu\/collections\/conservation\/revealing-picasso-conservation-project (accessed Aug. 2012), no fig. no. (ill), as The OId Guitarist, Barcelona, late 1903\u2013probably early 1904.\n\nEnrique Mallen, ed., The On-Line Picasso Project, Sam Houston State University, n.d., https:\/\/picasso.shsu.edu\/index.php?view=ArtworkInfo&OPPID=OPP.03:022 (accessed Oct. 2012), cat. 03:022 (ill.), as Le vieux guitariste aveugle, Barcelona, Fall\/1903 [~Winter]\/1903~1904.\n\nStephanie D\u2019Alessandro, Picasso and Chicago: 100 Years, 100 Works (Art Institute of Chicago\/Yale University Press, 2013), pp. 9; 17; 18 (ill.); 28; 34-35, pl. 4; 102, cat. 6.\n\nAllison Malafronte, \u201cPicasso and Chicago: A Hundred-Year Art Affair,\u201d Fine Art Connoisseur, n.d. [Feb. 2013?], http:\/\/www.fineartconnoisseur.com\/Picasso-and-Chicago-A-Hundred-Year-Art-Affair\/15593501 (accessed Feb. 27, 2013).\n\nThomas Connors, \u201cPerfectly Pablo,\u201d Michigan Avenue, Feb. 2013, pp. 86, 87 (ill.), as The Old Guitarist, 1903\u20131904.\n\nThomas Connors, \u201cAIC Opens \u2018Picasso and Chicago,\u2019\u201d Michigan Avenue, Feb. 2013, http:\/\/michiganavemag.com\/living\/articles\/aic-opens-picasso-and-chicago (accessed Feb. 26, 2013), n.pag. (ill.), as The Old Guitarist, 1903\u20131904.\n\nJavier Pes, \u201cPablo Picasso: A Man about Town,\u201d Art Newspaper, Feb. 1, 2013, p. 35 (ill.), as The Old Guitarist, 1903\u201304.\n\nLauren Weinberg, \u201cThe Picasso Effect,\u201d Time Out Chicago, Feb. 14, 2013, pp. 18\u201319, as The Old Guitarist, 1903\u201304.\n\nMark Caro, \u201cLooking at Picasso from Chicago\u2019s Angle,\u201d Chicago Tribune, Feb. 15, 2013, cover (ill.); sec. 5, p. 5, as The Old Guitarist, 1902\u201304; The Old Guitarist, 1903\u201304.\n\nAssociated Press, \u201cArt Institute of Chicago Opens Major Picasso Show,\u201d New York Times, Feb. 19, 2013, http:\/\/www.nytimes.com\/aponline\/2013\/02\/19\/arts\/ap-us-chicago-picasso.html?ref=aponline&_r=1& (accessed Feb. 26, 2013).\n\nCaryn Rousseau, \u201cPicasso and Chicago: Art Institute Opens Major Show Dedicated to the Famed Spanish Painter,\u201d Huffington Post, Feb. 19, 2013, http:\/\/www.huffingtonpost.com\/2013\/02\/19\/picasso-and-chicago-art-institute-major-show_n_2717584.html and http:\/\/www.huffingtonpost.com\/2013\/02\/19\/picasso-and-chicago-art-institute-major-show_n_2717584.html#slide=2124777 (accessed Feb. 26, 2013), n.pag. (ill.), as Old Guitarist and The Old Guitarist, 1902\u201304.\n\nChris Miller, \u201cReview: \u2018Picasso and Chicago\u2019\/Art Institute of Chicago,\u201d Newcity Art, Feb. 21, 2013, http:\/\/art.newcity.com\/2013\/02\/21\/review-picasso-in-chicagoart-institute-of-chicago\/ (accessed Feb. 27, 2013), n.pag. (ill.), as The Old Guitarist, 1902\u201304.\n\nHedy Weiss, \u201cArt Institute Exhibit \u2018Picasso and Chicago\u2019 as Enigmatic as Famous Chicago Landmark,\u201d Herald-News, Feb. 21, 2013, updated Feb. 22, 2013, http:\/\/heraldnews.suntimes.com\/entertainment\/18340917-421\/art-institute-exhibit-picasso-and-chicago-as-enigmatic-as-famous-chicago-landmark.html (accessed Feb. 26, 2013), n.pag.; \u201cGallery\u201d sec. (ill.), as The Old Guitarist, 1902\u201304.\n\nHedy Weiss, \u201cMaster Collection: Art Institute Exhibit \u2018Picasso and Chicago\u2019 as Enigmatic as Famous Sculpture,\u201d Chicago Sun-Times, Feb. 22, 2013, p. 10 (ill.), as The Old Guitarist, 1902\u201304.\n\nC\u00e9cile Godefroy, ed., Les musiques de Picasso, exh. cat. (Gallimard: Mus\u00e9e de la musique, Philharmonie de Paris, 2020), 30, fig. 8 (color ill.), as Le Vieux Guitariste.\n\nKenneth Brummel, Susan Behrends Frank, Marilyn McCully, Patricia Favero, Eduard Vall\u00e8s, Sandra Webster-Cook, Picasso: Painting the Blue Period, exh. cat. (New York: DelMonico Books; Toronto: Art Gallery of Ontario; Washington D.C.: The Phillips Collection, 2021), 308, fig. 15 (color ill.).","exhibition_history":"Probably Paris, Galerie Vollard, Exposition Picasso, Dec. 1910\u2013Feb. 1911, no cat.\n\nNew York, Carroll Galleries, Third Exhibition of Contemporary French Art, Mar. 8\u2013Apr. 3, 1915, cat. 3, as The Guitarrist [sic].\n\nChicago, Arts Club, Paintings by Pablo Picasso, Mar. 26\u2013Apr. 9, 1930, cat. 6, as Le Guitariste, about 1910.\n\nChicago, Art Institute, A Century of Progress Exhibition of Paintings and Sculpture, June 1\u2013Nov. 1, 1933, cat. 402, as The Guitarist, 1903.\n\nHartford, Conn., Wadsworth Atheneum, Pablo Picasso, Feb. 6\u2013Mar. 1, 1934, cat. 11 (ill.), as Vieux Guitariste, 1903.\n\nChicago, Art Institute, Century of Progress Exhibition of Paintings and Sculpture, June 1\u2013Nov. 1, 1934, cat. 358, as The Guitarist, 1903.\n\nNew York, Jacques Seligmann and Company, Picasso: \u201cBlue\u201d and \u201cRose\u201d Periods, 1901\u20131906, Nov. 2\u201326, 1936, cat. 15 (ill.), as The Old Guitar Player (The Guitarist), Barcelona, 1903.\n\nNew York, Museum of Modern Art, Picasso: Forty Years of His Art, Nov. 15, 1939\u2013Jan. 7, 1940, cat. 20 (ill.); traveled to Chicago, Art Institute, Feb. 1\u2013Mar. 3, 1940; St. Louis, City Art Museum, Mar. 17\u2013Apr. 14, 1940; Boston, Museum of Art, Apr. 26\u2013May 25, 1940; San Francisco Museum of Art, June 25\u2013July 22, 1940; Cincinnati Museum of Art, Sept. 28\u2013Oct. 27, 1940; Cleveland Museum of Art, Nov. 7\u2013Dec. 8, 1940; New Orleans, Isaac Delgado Museum, Dec. 20, 1940\u2013Jan. 17, 1941; Pittsburgh, Department of Fine Arts, Carnegie Institute, Mar. 17\u2013Apr. 13, 1941, as The Old Guitarist, Barcelona, 1903 (New York, Chicago, and possibly St. Louis only).\n\nChicago, Art Institute, Gallery of Art Interpretation: Presenting the Art Institute's Picassos, Sept. 12\u2013Dec. 15, 1955, no cat.\n\nChicago, Art Institute, Picasso in Chicago: Paintings, Drawings, and Prints from Chicago Collections, Feb. 3\u2013Mar. 31, 1968, cat. 7 (ill.).\n\nNew York, Metropolitan Museum of Art, C\u00e9zanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde, Sept. 13, 2006\u2013Jan. 7, 2007, cat. 148 (ill.), as The Old Guitarist, 1903\/4; traveled to Chicago, Art Institute, Feb. 17\u2013May 13, 2007 and Paris, Mus\u00e9e d\u2019Orsay, June 18\u2013Sept. 16, 2007 (New York and Chicago only).\n\nChicago, Art Institute, Picasso and Chicago, Feb. 20\u2013May 12, 2013, cat. 6 (ill.). \n\nFort Worth, Kimbell Art Museum,\u00a0The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, Oct.\u00a06, 2013\u2013Feb.\u00a016, 2014, no cat.\u00a0no.\u00a0","provenance_text":"Ambroise Vollard (1867\u20131939), Paris, c. 1906, probably acquired directly from the artist [Miller 2006, 388]; sold through Carroll Galleries, New York, to John Quinn (1870\u20131924), New York, 1915, for 5,000 fr [$1,000] [letter from John Quinn to Ambroise Vollard, Feb. 26, 1915; Memorandum of Pictures consigned to Carroll Galleries, Inc, (n.d.), 3, John Quinn Collection, New York Public Library Manuscript Division, copies in curatorial object file]; Quinn estate; sold through Felix Wildenstein, Art Centre auction, New York, to Paul Rosenberg (1881\u20131959), Paris, Jan. 9, 1926 [\u201c52 Picasso Paintings Sold,\u201d 1926, copy in curatorial object file]; sold through Joseph Stransky, The French Galleries, New York, to Frederic Clay Bartlett (1873\u20131953), Chicago, 1926, for $9,500 [letter from Alexandre Rosenberg to Courtney G. Donnell, Nov. 17, 1975; letter from Frederic Clay Bartlett to Joseph Stransky, May 21, 1927; copies in curatorial object file]; given to the Art Institute, Apr. 30, 1926.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":246,"fiscal_year":1926,"fiscal_year_deaccession":null,"is_public_domain":false,"is_zoomable":true,"max_zoom_window_size":1280,"copyright_notice":"\u00a9 2018 Estate of Pablo Picasso \/ Artists Rights Society (ARS), New York","has_multimedia_resources":true,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":19.7591,"color":{"h":195,"l":43,"s":28,"percentage":0.050006297785623384,"population":532},"latitude":41.8803363736073,"longitude":-87.6219357177614,"latlon":"41.880336373607,41.880336373607","is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 391","gallery_id":25474,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Modern Art","department_id":"PC-11","artist_id":36198,"artist_title":"Pablo Picasso","alt_artist_ids":[],"artist_ids":[36198],"artist_titles":["Pablo Picasso"],"category_ids":["PC-11","PC-612","PC-831"],"category_titles":["Modern Art","The City in Art","Essentials"],"term_titles":["oil on panel","oil painting","oil paint (paint)","Century of Progress","Blue period","painting (image making)","painting","modern and contemporary art","music","portraits","emotions","men","world's fairs","Chicago World's Fairs","guitars","musical instruments","elderly","blue (color)"],"style_id":"TM-12030","style_title":"Blue period","alt_style_ids":[],"style_ids":["TM-12030"],"style_titles":["Blue period"],"classification_id":"TM-80","classification_title":"oil on panel","alt_classification_ids":["TM-9","TM-155"],"classification_ids":["TM-80","TM-9","TM-155"],"classification_titles":["oil on panel","painting","modern and contemporary art"],"subject_id":"TM-12169","alt_subject_ids":["TM-8906","TM-8658","TM-10122","TM-10121","TM-11299","TM-12176","TM-12696","TM-8832","TM-12617","TM-11843"],"subject_ids":["TM-12169","TM-8906","TM-8658","TM-10122","TM-10121","TM-11299","TM-12176","TM-12696","TM-8832","TM-12617","TM-11843"],"subject_titles":["Century of Progress","music","portraits","emotions","men","world's fairs","Chicago World's Fairs","guitars","musical instruments","elderly","blue (color)"],"material_id":"TM-2451","alt_material_ids":[],"material_ids":["TM-2451"],"material_titles":["oil paint (paint)"],"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":"ddacae05-9279-51b5-e9ab-00024ae01e27","alt_image_ids":[],"document_ids":["ad4b851f-f04b-694b-e3c1-73166263775b"],"sound_ids":["ad4b851f-f04b-694b-e3c1-73166263775b"],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[17],"suggest_autocomplete_boosted":"The Old Guitarist","suggest_autocomplete_all":[{"input":["1926.253"],"contexts":{"groupings":["accession"]}},{"input":["The Old Guitarist"],"weight":256321,"contexts":{"groupings":["title"]}}],"source_updated_at":"2024-11-18T13:03:13-06:00","updated_at":"2024-11-24T23:26:27-06:00","timestamp":"2024-11-24T23:27:39-06:00"},{"id":27992,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/27992","is_boosted":true,"title":"A Sunday on La Grande Jatte \u2014 1884","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhCAAFAPUAAE1WUFVTU1NWUFZYVllbVlpaW1tcWF1cXVxiWl1jWl9mX2NmVWVnXF9eZlxdaGZkYmpmZWRtYGZuY2htZGpsanBsZXVwZXB5Znp+ZXJwaYSAaYiBaYqIbIeAdI2DcYqFcI+FcoiCd5iRcouJgIyKhoyNi4mMjo2RkAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAIAAUAAAYlwBLmMmEkCAHTaRTqfB4QEmgj8mgaGY6lsohIHAXKwQBQIAaCIAA7","width":9310,"height":6237,"alt_text":"Large painting of people in a crowded park, brushstrokes are dots."},"main_reference_number":"1926.224","has_not_been_viewed_much":false,"boost_rank":14,"date_start":1884,"date_end":1886,"date_display":"1884\u201386, border added 1888\u201389","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Georges Seurat (French, 1859\u20131891)","place_of_origin":"France","description":"

In his best-known and largest painting, Georges Seurat depicted people from different social classes strolling and relaxing in a park just west of Paris on La Grande Jatte, an island in the Seine River. Although he took his subject from modern life, Seurat sought to evoke the sense of timelessness associated with ancient art, especially Egyptian and Greek sculpture. He once wrote, \u201cI want to make modern people, in their essential traits, move about as they do on those friezes, and place them on canvases organized by harmonies of color.\u201d<\/p>\n

Seurat painted A Sunday on La Grande Jatte\u20141884<\/em> using pointillism, a highly systematic and scientific technique based on the hypothesis that closely positioned points of pure color mix together in the viewer\u2019s eye. He began work on the canvas in 1884 (and included this date in the title) with a layer of small, horizontal brushstrokes in complementary colors. He next added a series of dots that coalesce into solid and luminous forms when seen from a distance. Sometime before 1889 Seurat added a border of blue, orange, and red dots that provide a visual transition between the painting\u2019s interior and the specially designed white frame, which has been re-created at the Art Institute<\/a>.<\/p>\n","short_description":"For his largest and best-known painting, Georges Seurat depicted Parisians enjoying all sorts of leisurely activities\u2014strolling, lounging, sailing, and fishing\u2014in the park called La Grande Jatte on the River Seine. He used an innovative technique called Pointillism that was inspired by optical and color theory, applying tiny dabs of different colored paint that viewers would see as a single, and Seurat believed, more brilliant hue.","dimensions":"207.5 \u00d7 308.1 cm (81 3\/4 \u00d7 121 1\/4 in.)","dimensions_detail":[{"depth":null,"width":308,"height":207,"diameter":null,"clarification":null}],"medium_display":"Oil on canvas","inscriptions":"Inscribed lower right: Seurat","credit_line":"Helen Birch Bartlett Memorial Collection","catalogue_display":"

de Hauke 162<\/p>","publication_history":"Jules Christophe, Georges Seurat (Paris, 1890).\n\nGustave Kahn, \u201cSeurat,\u201d L\u2019Art Moderne 11 (April 5, 1891), pp. 107-10.\n\nHenry van de Velde, \u201cGeorges Seurat,\u201d La Wallonie 6 (March\/April 1891), pp. 167-71.\n\nEmile Verhaeren, \u201cMort de Georges Seurat,\u201d La Nation (April 1, 1891).\n\nEmile Verhaeren, \u201cGeorges Seurat,\u201d La Soci\u00e9t\u00e9 nouvelle (April 30, 1891), pp. 430-38.\n\nT\u00e9odor de Wyzewa, \u201cGeorges Seurat,\u201d L\u2019Art dans les Deux Mondes 22 (April 18, 1891), pp. 263-64.\n\nJules Christophe, \u201cSeurat,\u201d La Plume (September 1, 1891).\n\nPaul Signac, D\u2019Eug\u00e8ne Delacroix au n\u00e9o-impressionnisme (Paris, 1899).\n\nEmile Verhaeren, \u201cGeorges Seurat,\u201d L\u2019Art Moderne 15, 13 (April 1, 1900), p. 104.\n\nThad\u00e9e Natanson, \u201cUn Primitif d\u2019aujourd\u2019hui: Georges Seurat,\u201d La Revue Blanche 21 (April 1900), pp. 610-14.\n\nEmile Verhaeren, \u201cNotes: Georges Seurat,\u201d La Nouvelle Revue Fran\u00e7aise 1 (February 1, 1909), p. 92.\n\nRoger Fry, \u201cThe Post-Impressionsists,\u201d in Manet and the Post-Impressionists, exh. cat. (Grafton Galleries, London, 1910-11), pp. 8-9.\n\nLucie Cousturier, \u201cGeorges Seurat,\u201d L\u2019Art D\u00e9coratif 27 (20 June 1912), pp. 357-72.\n\nElie Faure, Les Constructeurs (Paris, 1914).\n\nF\u00e9lix F\u00e9neon, \u201cGeorges Seurat,\u201d Bulletin de la Vie Artistique 7 (14 May 1914); reprinted in F\u00e9lix F\u00e9n\u00e9on, Oeuvres plus que compl\u00e8tes, ed. Joan Halperin (Geneva, 1970), pp. 293-94.\n\nRoger Bissi\u00e8re, \u201cNotes sur l\u2019art de Seurat,\u201d L\u2019Esprit Nouveau 1 (Oct. 1920), pp. 13-28.\n\nAndr\u00e9 Salmon, \u201cGeorges Seurat,\u201d The Burlington Magazine 37 (September 1920), pp. 115-22.\n\nRoger Fry, \u201cRetrospect\u201d in Vision and Design (London, 1920), pp. 188-199.\n\nLucie Cousturier, Seurat (Paris, 1921), p. 17, pl. 11.\n\nJ. Carr\u00e9. \u201cLe Grand Art. Georges Seurat,\u201d La Vie (September 1, 1922).\n\nAndr\u00e9 Salmon, Propos d\u2019atelier (Paris, 1922).\n\nAndr\u00e9 Lhote, Georges Seurat (Rome, 1922), pl. 4.\n\nAndr\u00e9 Lhote, \u201cSeurat\u201d in Parlons peinture, 1922; reprinted in Ecrits sur la peinture (Brussels, 1946).\n\nWalter Pach, \u201cGeorges Seurat (1853-1891),\u201d The Arts 3 (March 1923), pp. 160-74.\n\nWalter Pach, Georges Seurat (New York, 1923), pl. 6.\n\nGustave Coquiot, Seurat (Paris, 1924), pp. 214-19, ill. opp. p. 216, 247.\n\nF\u00e9lix F\u00e9n\u00e9on, \u201cPr\u00e9cisions concernant Seurat,\u201d Bulletin de la Vie Artistique (15 August 1924); reprinted in F\u00e9lix F\u00e9n\u00e9on, Oeuvres plus que compl\u00e8tes, ed. Joan Halperin (Geneva, 1970), pp. 467-68.\n\nExhibition of Paintings and Drawings by Georges Seurat, foreward by Walter Pach (New York, Brummer Galleries, 1924).\n\nGuy Eglinton, \u201cThe Theory of Seurat,\u201d International Studio 81 (May 1925), pp. 113-17.\n\nF\u00e9lix F\u00e9n\u00e9on, \u201cGeorges Seurat und die oeffentliche Meinung,\u201d Der Querschnitt 6 (October 1926), pp. 767-70. \n\nRoger Fry, \u201cGeorges Seurat,\u201d The Dial 1926, reprinted in R. Fry, Transformations, Critical and Speculative Essays on Art, 1926, pp. 188-96 and Sir Anthony Blunt, Seurat (1965), pp. 9-22.\n\nAm\u00e9d\u00e9e Ozenfant, \u201cSeurat,\u201d Cahiers d\u2019Art 7 (September 1926), p. 172.\n\nFlorent Fels, \u201cLa Peinture fran\u00e7aise aux XIXe et Xxe si\u00e8cles, Seurat,\u201d A.B.C. Magazine d\u2019Art (1927), pp. 282-87.\n\nAndr\u00e9 Lhote, \u201cExpositions Seurat et Roger de la Fresnaye,\u201d (1927); reprinted in La Peinture, Le Coeur et l\u2019Esprit (Paris, 1933).\n\nClaude Roger-Marx, \u201cGeorges Seurat,\u201d Gazette des Beaux-Arts (December 1927), pp. 311-18.\n\nChristian Zervos, \u201cUn Dimanche \u00e0 la Grande Jatte et la technique de Seurat,\u201d Cahiers d\u2019Art 9 (1928), pp. 361-75.\n\nAlfred Barr, The Museum of Modern Art First Loan Exhibition New York November 1929; C\u00e9zanne, Gauguin, Seurat, Van Gogh, exh. cat. (Museum of Modern Art, New York 1929), pp. 23-27.\n\nRobert Rey, \u201cSeurat,\u201d in La Peinture fran\u00e7aise \u00e0 la fin du XIXe si\u00e8cle, La Renaissance du Sentiment Classique, Degas, Renoir, Gauguin, C\u00e9zanne, Seurat (Paris, 1931), pp. 95-134.\n\nB.E. Werner, \u201cGeorges Seurat,\u201d Die Kunst 65 (February 1932), pp. 147-52.\n\nF. Walter, \u201cDu Paysage Classique au surr\u00e9alisme: Seurat,\u201d Revue de l\u2019Art Ancien et Moderne 63 (April 1933), pp. 165-76.\n\nP. Signac, \u201cLes \u00e9tapes de la peinture contemporaine: Georges Seurat,\u201d Beaux-Arts (December 15, 1933), p. 1.\n\nL\u00e9vy-Gutmann, \u201cSeurat et ses amis,\u201d Art et D\u00e9coration 63 (Jan. 1934), pp. 36-37.\n\nPaul Signac, \u201cLe n\u00e9o-impressionisme,\u201d Gazette des Beaux-Arts 11 (January 1934), pp. 49-59.\n\nDaniel Catton Rich, Seurat and the Evolution of \u201cLa Grande Jatte\u201d (Chicago, 1935).\n\nMeyer Schapiro, \u201cSeurat and \u201cLa Grande Jatte\u201d,\" The Columbia Review 17 (November 1935), pp. 9-16.\n\nA. Watt, \u201cArt of Georges Seurat,\u201d Apollo 23 (March 1936), pp. 168-69.\n\nJ. H\u00e9lion, \u201cSeurat as a predecessor,\u201d The Burlington Magazine 69 (July 1936), pp. 4-14.\n\nPaul Signac, \u201cThe Neo-Impressionist Movement,\u201d in Seurat and his Contemporaries, exh. cat. (London, Wildenstein, 1937).\n\nGeorges Duthuit, \u201cSeurat\u2019s System,\u201d The Listener 17, 421 (February 3, 1937), pp. 210-11.\n\nD. Goldring, \u201cLondon Art News: Seurat and His Contemporaries,\u201d London Studio 13 (April 1937), p. 219.\n\n\u201cSeurat,\u201d Apollo 32 (July 1940), pp. 11-12.\n\nR. J. Goldwater, \u201cSome Aspects of the Development of Seurat\u2019s Style,\u201d Art Bulletin 23 (June 1941), pp. 117-30.\n\nLionello Venturi, \u201cThe Art of Seurat,\u201d Gazette des Beaux-Arts (July-Dec. 1944), pp. 421-30.\n\nJohn Rewald, Georges Seurat (New York, 1946).\n\nGeorges Duthuit, \u201cGeorges Seurat, Voyant et physicien,\u201d Labyrinthe [Geneva] (December 1946).\n\nGermain Seligman, The Drawings of Georges Seurat (New York, 1947).\n\nAndr\u00e9 Lhote, Seurat (Paris, 1948).\n\nAndr\u00e9 Lhote, \u201cLe classicisme de Seurat; excerpts,\u201d Arts (June 18, 1948), p. 2.\n\nThad\u00e9e Natanson, \u201cL\u2019Ecole de Seurat,\u201d in Peints \u00e0 leur tour (Paris, 1948), pp. 121-29.\n\nJohn Rewald, \u201cSeurat: the meaning of the dots,\u201d Art News 48 (April 1949), pp. 24-27, 61-63.\n\nUmbro Apollonio, \u201cDisegni di Georges Seurat,\u201d in XXV Biennale di Venezia, Catalogo (Venice, 1950), pp. 175-79.\n\n\u201cSunday at the Grande Jatte,\u201d Life 31 (July 23, 1951), pp. 60-64.\n\n\u201cPointillism with Paint and Camera,\u201d Design 53 (March 1952), p. 141.\n\n\"Chicago's Fabulous Collectors\" Art Institute Announces it will Get Treasures from their Homes,\" Life Magazine (October 27, 1952): 90.\n\nJohn Rewald, \u201cSeurat and His Friends,\u201d in Seurat and His Friends, exh. cat. (New York, Wildenstein, 1953).\n\nTerence Mullaly, \u201cPointillists,\u201d Apollo 63 (June 1956), pp. 185-89.\n\nD.C. Rich, ed., Seurat Paintings and Drawings, exh. cat. (Chicago, 1958).\n\nD. C. Rich, \u201cPlace of Seurat,\u201d Art Institute Quarterly 52 (February 1958), pp. 1-5.\n\nL. Katz, \u201cSeurat: Allegory and Image,\u201d Arts 32 (April 1958), pp. 40-47.\n\nMeyer Schapiro, \u201cNew Light on Seurat,\u201d Art News 57 (April 1958), pp. 22-24, 44-45, 52.\n\nJ. O. Kerr, \u201cSeurat: the Silent Post-Impressionist,\u201d Studio 155 (May 1958), pp. 129-33.\n\nRobert L. Herbert, \u201cSeurat in Chicago and New York,\u201d The Burlington Magazine 100 (May 1958), pp. 146-155.\n\nRobert L. Herbert, \u201cSeurat and Jules Ch\u00e9ret,\u201d Art Bulletin 40 (June 1958), pp. 156-58.\n\nWilliam I. Homer, \u201cSeurat\u2019s formative period: 1880-1884,\u201d Connoisseur 142 (September 1958), pp. 58-62.\n\nHenri Dorra and John Rewald, Seurat (Paris, 1959), no. 139 (ill.).\n\nRobert L. Herbert, \u201cSeurat and Puvis de Chavannes,\u201d Yale University Art Gallery Bulletin 25 (October 1959), pp. 22-29.\n\nRobert L. Herbert, \u201cSeurat and Emile Verhaeren: Unpublished Letters,\u201d Gazette des Beaux-Arts 54 (December 1959), pp. 315-28.\n\nC\u00e9sar M. De Hauke, Seurat et son oeuvre 2 vol. (Paris, 1961), no. 162.\n\nJohn Russell, Seurat (London, 1965).\n\nJohn House, \"Meaning in Seurat's Figure Painting,\"Art History 3, 3 (September 1980), pp. 345-56.\n\nRichard Thomson, \u201c \u2018Les Quat\u2019 Pattes\u2019: The Image of the Dog in Late Nineteenth-Century French Art,\u201d Art History 5 (September 1982), pp. 331-37.\n\nJeroen Stumpel, \"The Grande Jatte, that patient tapestry,\" Simiolus 14 (1984), pp. 209-24.\n\nRichard Thomson, Seurat (Oxford, 1985), pp. 97-126.\n\nRichard R. Brettell, \u201cThe Bartletts and the \u2018Grande Jatte:\u2019 Collecting Modern Painting in the 1920s,\u201d Art Institute of Chicago Museum Studies 12, 2 (1986), pp. 103-113 (ill.).\n\nAlan Lee, \u201cSeurat and Science,\u201d Art History 10 (June 1987), pp. 203-26.\n\nS. Hollis Clayson, \u201cThe Family and the Father: The Grande Jatte and its Absences,\u201d\nThe Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 155-72.\n\nStephen F. Eisenman, \u201cSeeing Seurat Politically,\u201d The Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 211-21.\n\nMary Mathews Gedo, \u201cThe Grande Jatte as the Icon of a New Religion: A Psycho-Iconographic Interpretation,\u201d The Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 223-37.\n\nJohn House, \u201cReading the Grande Jatte, \u201d The Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 115-31.\n\nLinda Nochlin, \u201cSeurat\u2019s Grande Jatte: An Anti-Utopian Allegory,\u201d The Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 133-53.\n\nRichard Thomson, \u201cThe Grande Jatte: Notes on Drawing and Meaning,\u201d The Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 181-97.\n\nMichael Zimmerman, \u201cSeurat, Charles Blanc, and Naturalist Art Criticism,\u201d The Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 199-209.\n\nJean Claude Lebensztejn, Chahut (Paris, 1989).\n\nNatasha Staller, \u201cBabel: Hermetic Languages, Universal Languages, and Anti-Languages in fin de si\u00e8cle Parisian Culture,\u201d Art Bulletin 76 (June 1994), pp. 331-54.\n\nFritz Novotny, Painting and Sculpture in Europe, 1780-1880 (New Haven, 1995), p. 370.\n\nPaul Smith, Seurat and the Avant-Garde (New Haven, 1997).\n\nSuzanne Folds McCullagh, \u201c\u2018A Lasting Monument\u2019: The Regenstein Collection at the Art Institute of Chicago,\u201d Art Institute of Chicago Museum Studies 26, 1 (2000), p. 13.\n\nJane Block, Le N\u00e9o-Imoressionnisme de Seurat \u00e1 Paul Klee, Exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 2005), ill.14-15, p. 16-21, p. 27-29, p. 32, p. 64, p. 74, p. 76, p. 85, p. 97, p. 108, p. 112, p. 122. \n\nMartha Tedeschi, \u201cStudy of Trees, 1884,\u201d Art Institute of Chicago Museum Studies 26, 1 (2000), pp. 82-83, cat. 36, fig. 29.\n\nRichard Shiff, Jodi Hauptman, Hubert Damisch, and Richard Thomson, \u201cSeurat Distracted,\u201d \u201cMedium and Miasma: Seurat\u2019s Drawings on the Margins of Paris,\u201d \u201cPolka Dots and Moonbeams,\u201d and \u201cThe Imperatives of Style: Seurat\u2019s Drawings,\u201d George Seurat: The Drawings, Exh. cat. (The Museum of Modern Art, New York, 2007), p.18, p. 110, ill. 111, p. 122, p. 123, p. 171. \n\nBasel, Switzerland, Kunstmuseum Basel, Vincent van Gogh- Between Earth and Heaven: The Landscapes, 2009, Fig. 45, p. 82, p. 86.\n\nMary Mathews Gedo, Monet and His Muse: Camille Monet in the Artists Life, Chicago: The University of Chicago Press, 2010. p. 39, p. 58, p. 164. \n\nRichard R. Brettell, Pissarro\u2019s People. New York: Fine Arts Museum of San Francisco, 2011. p. 202, p. 208, p. 217, fig. 154. \n\nHomburg, Cornelia. 2010. \u201cImagining City and Country.\u201d In Vincent Van Gogh: Timeless Country \u2013 Modern City. Exh. cat., pp. 29-30. Skira.\nJean-Michel Nectoux, \u201cJe veux \u00c9crire mon Songe Musical\u2026,\u201d Debussy: La Musique et les Arts. Exh. cat. (Mus\u00e9e d\u2019Orsay, 2012), p. 26. \n\nJennifer A. Thompson, \u201cVan Gogh and Close-up Techniques in 19th-century French Painting,\u201d Van Gogh: Up Close. Exh. cat. (Yale UP, 2012), p. 69. \n\nJoseph J. Rishel, \u201cArcadia 1900,\u201d Gauguin, C\u00e9zanne, Matisse: Visions of Arcadia Exh. cat (Philadelphia Museum of Art, 2012), p. 7, p. 48, p. 50, fig. 49. \n\nMarije Velekoop, Van gogh at Work, exh. cat. (Brussels:Mercatorfonds, 2013), fig. 174.\n\nH\u00e9l\u00e8ne Eisenberg and Fran\u00e7ois Lespinasse, Peintres de la Seine (Rouen : \u00c9ditions des Falaises, 2013), 202 no. 86, 203 (color ill.).\n\nRichard Kendall, Sjraar van Heugten, and Chris Stolwijk, Van Gogh and Nature exh. cat. (New Haven and London: Yale University Press, 2015), 96 fig. 67.\n\nMichelle Foa, Georges Seurat: The Art of Vision (New Haven: Yale University Press, 2015), 63\u201387.\n\nGavin Parkinson, \"Method and Poetry: Georges Seurat's Surrealist Dialectic,\" The Art Bulletin 99, no. 3 (Sept. 2017), pp. 126\u201327, 131\u201333, 145n70, 145n72, fig. 5, fig. 6 (detail).\n\nAndr\u00e8 Dombrowski, Monet's Minutes: Impressionism and the Industrialization of Time (New Haven and London: Yale University Press, 2023), 170\u201371 fig. 103.","exhibition_history":"Paris, Maison Dor\u00e9e, 1, rue Laffitte, VIII\u00e8me Exposition de peinture, May 15\u2013June 15, 1886, cat. 175.\n\nParis, Rue des Tuileries, II\u00e8me Exposition de la Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants, August 21\u2013September 21, 1886, cat. 353.\n\nBrussels, Mus\u00e9e de l\u2019Art Modern, IVe exposition annuelle de XX, February, 1887, cat. 1.\n\nParis, Pavillon de la Ville de Paris, VIII\u00e8me Exposition de la Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants, March 19\u2013April 27, 1892, cat. 1082.\n\nParis, 23 Boulevard des Italiens, Exposition de La Revue Blanche, Georges Seurat: Oeuvres peintes et dessin\u00e9es, March 19\u2013April 5, 1900, cat. 17.\n\nParis, Grandes Serres de la Ville de Paris (serre \u201cB\u201d de la Champs de la Reine, Aval-Alma), 21me Exposition de la Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants. \u00c9xposition R\u00e9trospective Georges Seurat (1859-1891), 1905, cat. 18.\n\nParis, Galeries Bernheim-Jeune et Cie, Georges Seurat (1859-1891), December 14, 1908\u2013January 9, 1909, cat. 58.\n\nParis, Galeries Bernheim-Jeune, Exposition Georges Seurat, January 15\u201331, 1920, cat. 23.\n\nMinneapolis Institute of Arts, Exhibition of Modern French Paintings from the Birch-Bartlett Collection, April\u2013September, 1925, checklist no. 9.\n\nBoston Art Club, Birch-Bartlett Collection of Modern French Paintings, December 9-16, 1925, checklist no. 26.\n\nArt Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1\u2013November 1, 1933, cat. 370.\n\nArt Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1\u2013November 1, 1934, cat. 324.\n\nArt Institute of Chicago, Art of the United Nations, November 16, 1944\u2013January 1, 1945, no cat. no.\n\nArt Institute of Chicago, Seurat: Paintings and Drawings, January 16\u2013March 7, 1958, cat. 101, traveled to New York, The Museum of Modern Art, Seurat: Paintings and Drawings, March 24\u2013May 11, 1958. \n\nArt Institute of Chicago, The Art of the Edge: European Frames 1300-1900, October 17\u2013December 14, 1986, not included in the catalogue.\n\nArt Institute of Chicago, Chicago\u2019s Dream, A World\u2019s Treasure: The Art Institute of Chicago 1893-1993, November 1\u2013January 9, 1994, no cat. no, pl. 21.\n\nArt Institute of Chicago, Seurat and the Making of \u2018La Grande Jatte,\u2019 June 16-September 19, 2004, cat. 80.","provenance_text":"By descent to Mme. Seurat, the artist\u2019s mother (died 1899), Paris, 1891; by descent to Emile Seurat, the artist\u2019s brother; sold for 800 francs to Casimir Br\u00fb, Paris, 1900; given by him to his daughter, Lucie, Paris, 1900; Lucie Br\u00fb Cousturier and Edmond Cousturier, Paris; sold for $20,000 possibly through Charles Vildrac, Paris to Frederic Clay and Helen Birch Bartlett, Chicago, 1924; given to the Art Institute, 1926.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":1926,"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":true,"has_advanced_imaging":false,"colorfulness":0,"color":{"h":59,"l":52,"s":12,"percentage":0.002095873918287094,"population":1217},"latitude":41.8795894858483,"longitude":-87.623031400144,"latlon":"41.879589485848,41.879589485848","is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 240","gallery_id":2147478672,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":40810,"artist_title":"Georges Seurat","alt_artist_ids":[],"artist_ids":[40810],"artist_titles":["Georges Seurat"],"category_ids":["PC-10","PC-109","PC-831"],"category_titles":["Painting and Sculpture of Europe","Art Institute Icons","Essentials"],"term_titles":["oil on canvas","Pointillism","oil painting","leisure","oil paint (paint)","animals","nineteenth century","19th century","painting techniques","painting","painting","paint","canvas","paint","oil paintings (visual works)","french","landscape","dogs","dog","monkeys","sailing","trees","nature","woman with children","flowers","reflections","painting (image making)","Post-Impressionism","painting","european painting","urban life","weather\/seasons","men","women","children","circles","landscapes","water","Impressionism","Century of Progress","world's fairs","Chicago World's Fairs"],"style_id":"TM-12045","style_title":"Pointillism","alt_style_ids":["TM-15636","TM-13203","TM-7547","TM-7543"],"style_ids":["TM-12045","TM-15636","TM-13203","TM-7547","TM-7543"],"style_titles":["Pointillism","nineteenth century","19th century","Post-Impressionism","Impressionism"],"classification_id":"TM-66","classification_title":"oil on canvas","alt_classification_ids":["TM-10387","TM-78","TM-14976","TM-9","TM-54"],"classification_ids":["TM-66","TM-10387","TM-78","TM-14976","TM-9","TM-54"],"classification_titles":["oil on canvas","paint","oil paintings (visual works)","french","painting","european painting"],"subject_id":"TM-10094","alt_subject_ids":["TM-12218","TM-14145","TM-8865","TM-14335","TM-9125","TM-12236","TM-11205","TM-12261","TM-15267","TM-10482","TM-12891","TM-10126","TM-10095","TM-10121","TM-8735","TM-10118","TM-8803","TM-8657","TM-8681","TM-12169","TM-11299","TM-12176"],"subject_ids":["TM-10094","TM-12218","TM-14145","TM-8865","TM-14335","TM-9125","TM-12236","TM-11205","TM-12261","TM-15267","TM-10482","TM-12891","TM-10126","TM-10095","TM-10121","TM-8735","TM-10118","TM-8803","TM-8657","TM-8681","TM-12169","TM-11299","TM-12176"],"subject_titles":["leisure","animals","landscape","dogs","dog","monkeys","sailing","trees","nature","woman with children","flowers","reflections","urban life","weather\/seasons","men","women","children","circles","landscapes","water","Century of Progress","world's fairs","Chicago World's Fairs"],"material_id":"TM-2451","alt_material_ids":["TM-13502","TM-2577","TM-3124"],"material_ids":["TM-2451","TM-13502","TM-2577","TM-3124"],"material_titles":["oil paint (paint)","painting","paint","canvas"],"technique_id":"TM-4273","alt_technique_ids":["TM-3971","TM-14210","TM-3891"],"technique_ids":["TM-4273","TM-3971","TM-14210","TM-3891"],"technique_titles":["oil painting","painting techniques","painting","painting (image making)"],"theme_titles":["Art Institute Icons","Essentials"],"image_id":"2d484387-2509-5e8e-2c43-22f9981972eb","alt_image_ids":["6782523e-056b-ba22-69f9-b5f1b59efcb6"],"document_ids":["d9683532-66fd-67c3-5588-021527d115af","cd612b0c-3dfd-e213-3927-010b375c77a6"],"sound_ids":["d9683532-66fd-67c3-5588-021527d115af","cd612b0c-3dfd-e213-3927-010b375c77a6"],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[22],"suggest_autocomplete_boosted":"A Sunday on La Grande Jatte \u2014 1884","suggest_autocomplete_all":[{"input":["1926.224"],"contexts":{"groupings":["accession"]}},{"input":["A Sunday on La Grande Jatte \u2014 1884"],"weight":975461,"contexts":{"groupings":["title"]}}],"source_updated_at":"2024-11-07T15:20:01-06:00","updated_at":"2024-11-24T23:26:27-06:00","timestamp":"2024-11-24T23:27:39-06:00"},{"id":21023,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/21023","is_boosted":true,"title":"Buddha Shakyamuni Seated in Meditation (Dhyanamudra)","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAAFdNQ1xSR1BQUVhXVVpYVllaWllaW25jWWljXXFnXWNiYWVjYWxmYGhoaIN6coR8dIiEgYmFggAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAURoEAMQoEwRnMkjQIEC\/Q4UQgAOw==","width":5085,"height":6356,"alt_text":"Dark stone sculpture of Buddha sitting cross-legged, hands in lap, eyes closed."},"main_reference_number":"1964.556","has_not_been_viewed_much":false,"boost_rank":3,"date_start":1101,"date_end":1200,"date_display":"Chola period (c. 855-1279), about 12th century","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"India\nTamil Nadu, near Nagapattinam","place_of_origin":"Nagapattinam","description":"

This meditating Buddha comes from the coastal town of Nagapattinam in southern India, which was, as a result of settlers from Srivijaya (Indonesia), one of the few places where Buddhism was still flourishing in the twelfth century. The Buddha\u2014with his elongated earlobes, the wheel marks on his palms, the urna<\/em> between his brows, and the cranial protuberance covered with snail-shell curls\u2014is seated in the posture of meditation, with his hands resting on his lap (dhyanamudra)<\/em>, wearing a seemingly diaphanous monastic garment. As in other images from Nagapattinam, a flame emerges out of the Buddha\u2019s cranial protuberance, probably signifying wisdom. This monumental granite sculpture originally would have graced a monastic site at Nagapattinam, which is also well known for its Buddhist bronzes. The Tamil inscription covering its back is no longer legible.<\/p>\n","short_description":"Seated in a posture called the lotus, this serene 12th-century Buddha rests his hands and feet atop one another as he gazes downward, his eyelids lowered, the touch of a smile on his lips. The symbols that distinguish him as a great being\u2014such as the urna<\/em> on his forehead and ushnisha<\/em> on top of his head\u2014are delicately carved in the hard granite.","dimensions":"160 \u00d7 120.2 \u00d7 56.3 cm (63 \u00d7 47 5\/16 \u00d7 22 3\/16 in.)","dimensions_detail":[{"depth":56,"width":120,"height":160,"diameter":null,"clarification":null}],"medium_display":"Granite","inscriptions":null,"credit_line":"Purchased with funds provided by Mr. and Mrs. Robert Andrew Brown","catalogue_display":null,"publication_history":"The Essential Guide, rev. ed. (Chicago: Art Institute of Chicago, 2013) p. 117.\n\nThe Essential Guide, rev. ed. (Chicago: Art Institute of Chicago, 2009) p. 103.\n\nThe Essential Guide, Chicago: Art Institute of Chicago, 2003-2004 pp. 88-9, and 1993, pp. 88-9.\n\nPratapaditya Pal, \"Sculptures from South India in Art Institute of Chicago\", (Art Institute of Chicago: 1996), Museum Studies, Vol. 22, No. 1, p. 33, fig. 15.\n\nVidya Dehejia, The Persistence of Buddhism in Tamil Nadu, A Pot-Pourri of Indian Art, (Marg Publications, Bombay, 1988) pp. 53-74 and p. 70, fig. 19. \n\nRecent Acquisitions of Asian Art by American Museums, Archives of Asian Art, 1965, p. 75, fig 3.\n\nArchives of the Chinese Art Society of America, vol. 19 (University of Hawai'i Press for the Asia Society, 1964), p. 75, fig. 3","exhibition_history":null,"provenance_text":"Sold to Mr. and Mrs. Robert Andrew Brown, Chicago, Ill., by Mr. William H. Wolff, William H. Wolff Incorporated, New York, September 1964; restricted gift of Mr. and Mrs. Robert Andrew Brown to the Art Institute of Chicago, September 16, 1964.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":8,"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":11.9971,"color":{"h":164,"l":82,"s":0,"percentage":0.06640240759373431,"population":590},"latitude":41.8795874888153,"longitude":-87.622937522829,"latlon":"41.879587488815,41.879587488815","is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 140","gallery_id":24649,"nomisma_id":null,"artwork_type_title":"Sculpture","artwork_type_id":3,"department_title":"Arts of Asia","department_id":"PC-7","artist_id":null,"artist_title":null,"alt_artist_ids":[],"artist_ids":[],"artist_titles":[],"category_ids":["PC-7","PC-831","PC-837"],"category_titles":["Arts of Asia","Essentials","Arts of Asia 100"],"term_titles":["granite (rock)","stone (unidentified)","sculpting","Buddha","South Asian","stone","stone","sculpture","asian art","chola"],"style_id":"TM-5344","style_title":"South Asian","alt_style_ids":["TM-5442"],"style_ids":["TM-5344","TM-5442"],"style_titles":["South Asian","chola"],"classification_id":"TM-268","classification_title":"stone (unidentified)","alt_classification_ids":["TM-96","TM-13","TM-26"],"classification_ids":["TM-268","TM-96","TM-13","TM-26"],"classification_titles":["stone (unidentified)","stone","sculpture","asian art"],"subject_id":"TM-12133","alt_subject_ids":[],"subject_ids":["TM-12133"],"subject_titles":["Buddha"],"material_id":"TM-2552","alt_material_ids":["TM-2434"],"material_ids":["TM-2552","TM-2434"],"material_titles":["granite (rock)","stone"],"technique_id":"TM-12999","alt_technique_ids":[],"technique_ids":["TM-12999"],"technique_titles":["sculpting"],"theme_titles":["Essentials","Arts of Asia 100"],"image_id":"0675f9a9-1a7b-c90a-3bb6-7f7be2afb678","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_boosted":"Buddha Shakyamuni Seated in Meditation (Dhyanamudra)","suggest_autocomplete_all":[{"input":["1964.556"],"contexts":{"groupings":["accession"]}},{"input":["Buddha Shakyamuni Seated in Meditation (Dhyanamudra)"],"weight":30401,"contexts":{"groupings":["title"]}}],"source_updated_at":"2024-02-23T19:03:22-06:00","updated_at":"2024-11-24T23:26:27-06:00","timestamp":"2024-11-24T23:27:39-06:00"},{"id":131299,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/131299","is_boosted":false,"title":"The Old Guitarist, from The Blue Guitar","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAABUjZRo0eR00eBs1fClDiDJNkpGVqpOhusS\/u8TDvsXCwcbGxcrJx9DOz9TQysbK1cjM1djY0+jm4ezq5wAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAURYHQYzkIAiCIESVMMzPRAUggAOw==","width":2635,"height":3000,"alt_text":"A print features at its center a version of Pablo Picasso's \"The Old Guitarist\"\u2014depicting, in various shades of blue, an old man sitting cross-legged, playing guitar. Around it are smaller sketches related to Picasso's work in red and blue. At the top, \"Pablo Picasso Spanish 1881\" is written in red type, at the bottom \"The Old Guitarist 1903.\""},"main_reference_number":"1978.23.2","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1976,"date_end":1977,"date_display":"1976\u201377","date_qualifier_title":"Made","date_qualifier_id":4,"artist_display":"David Hockney (English, born 1937)\nproofed by Maurice Payne (English)\nprinted by Richard Spare (English)\npublished by Petersburg Press Ltd. (American, 20th century)","place_of_origin":"United States","description":"

Since the early 1960s, David Hockney has sought ways to meld his modern aesthetic style with highly personalized subject matter. He started by inserting fragments of poems into his paintings, as, for example, in We Two Boys Together Clinging<\/em> (1961), which integrates two lines from a Walt Whitman poem of the same title. Fifteen years later, inspired by Wallace Stevens\u2019s \u201cThe Man with the Blue Guitar\u201d (1937), with its themes of representation and imaginative transformation, Hockney made 10 drawings in colored inks and crayons. With the aid of master printer Aldo Crommelynck those drawings were converted into 20 mixed intaglio prints using a color-etching process initially developed for Pablo Picasso.<\/p>\n

While not a literal illustration of Stevens\u2019s poem, the print series The Blue Guitar<\/em> interprets its themes in visual terms, and most of the images show Hockney\u2019s love of Picasso. The print Old Guitarist<\/em> juxtaposes the Art Institute\u2019s famous painting of 1903\u201304 (1926.253) with later Picasso iconography. Other sheets likewise contrast Picasso\u2019s different phases within the same image; throughout the series, Hockney distinguishes the disparate styles by using different colors.<\/p>\n

It is perhaps Hockney\u2019s Blue Guitar<\/em> that has perpetuated the idea that Wallace Stevens was similarly inspired by Picasso\u2019s Old Guitarist<\/em>. Although Stevens was familiar with modern art and no doubt saw the painting when it was exhibited at the Wadsworth Atheneum in 1934, he insisted that no one picture inspired his famous poem.<\/p>\n","short_description":null,"dimensions":"Plate: 42.5 \u00d7 34.5 cm (16 3\/4 \u00d7 13 5\/8 in.); Sheet: 52.5 \u00d7 46 cm (20 11\/16 \u00d7 18 1\/8 in.)","dimensions_detail":[{"depth":null,"width":34,"height":42,"diameter":null,"clarification":"Plate"},{"depth":null,"width":46,"height":52,"diameter":null,"clarification":"Sheet"}],"medium_display":"Color etching and aquatint from two copper plates on white wove paper","inscriptions":null,"credit_line":"Mrs. Solomon B. Smith Memorial Fund","catalogue_display":null,"publication_history":null,"exhibition_history":null,"provenance_text":null,"edition":null,"publishing_verification_level":"Web Basic","internal_department_id":3,"fiscal_year":null,"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":56.9175,"color":{"h":7,"l":39,"s":86,"percentage":0.004576732633464326,"population":37},"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":"Print","artwork_type_id":18,"department_title":"Prints and Drawings","department_id":"PC-13","artist_id":34956,"artist_title":"David Hockney","alt_artist_ids":[],"artist_ids":[34956],"artist_titles":["David Hockney"],"category_ids":["PC-13"],"category_titles":["Prints and Drawings"],"term_titles":["etching","Pop Art","paper (fiber product)","print","prints and drawing"],"style_id":"TM-7221","style_title":"Pop Art","alt_style_ids":[],"style_ids":["TM-7221"],"style_titles":["Pop Art"],"classification_id":"TM-18","classification_title":"etching","alt_classification_ids":["TM-17","TM-4"],"classification_ids":["TM-18","TM-17","TM-4"],"classification_titles":["etching","print","prints and drawing"],"subject_id":null,"alt_subject_ids":[],"subject_ids":[],"subject_titles":[],"material_id":"TM-2982","alt_material_ids":[],"material_ids":["TM-2982"],"material_titles":["paper (fiber product)"],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"86395f37-0617-a999-99eb-d3902aa3dec6","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1978.23.2"],"contexts":{"groupings":["accession"]}},{"input":["The Old Guitarist, from The Blue Guitar"],"weight":1740,"contexts":{"groupings":["title"]}}],"source_updated_at":"2022-09-21T19:19:13-05:00","updated_at":"2024-11-24T23:26:26-06:00","timestamp":"2024-11-24T23:27:39-06:00"},{"id":96273,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/96273","is_boosted":false,"title":"Cinerary Urn of Plautia Hesperis","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBwAFAPUAACgoKC4tLUVFRE9PTk5PT1RUU1ZXV2BaUGFiYWJiYmRjYWRjYnZ2dnx8fKOWfo2Mh5COiZKRjZWUkJiXlLGsn7Otn7GtoLSxprayp7ezp7OxqbSzqre0qL23qbi1rLu4rcC5p8C7rQAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAHAAUAAAYhQEBhcVAgAoLNx0HxDAgXC4aTMRA0nRCokmBMJJBHpBEEADs=","width":3000,"height":2250,"alt_text":"A work made of marble."},"main_reference_number":"1923.969a-b","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1,"date_end":100,"date_display":"1st century","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Roman","place_of_origin":"Italy","description":"

Prior to A.D. 100, the Romans typically cremated their dead and placed the ashes and remaining bones in urns and ossuaries (containers used to hold skeletal remains). The front of this urn is adorned with heart-shaped ivy leaves and an inscription that identifies the deceased, a young woman named Plautia Hesperis. Much like modern headstones, the inscription indicates the length of her life (\u201cLived 16 years\u201d). The lid is adorned with simple rosettes at the corners, while an eagle, thought by the Romans to carry the deceased\u2019s soul into the realm of the gods, is perched at its center.<\/p>\n","short_description":null,"dimensions":"a (urn): 18.7 \u00d7 33.3 \u00d7 31.4 cm (7 3\/8 \u00d7 13 1\/8 \u00d7 13 3\/8 in)\nb (lid): 6.9 \u00d7 33.6 \u00d7 32 cm (2 \u00be 13 \u00bc 15 5\/8 in)","dimensions_detail":[],"medium_display":"Marble","inscriptions":"PLAVTIA HESPERIS \/ VIXIT AN[NOS] XVI (\"Plautia Hesperis, lived sixteen years\")","credit_line":"Gift of Mrs. George A. Thorne","catalogue_display":null,"publication_history":"The Art Institute of Chicago, \"Accessions and Loans,\" Bulletin of the Art Institute of Chicago 18, 1 (January 1924), p. 122.\n\nKatharine A. Raff, \u201cCat. 17 Cinerary Urn of Plautia Hesperis: Curatorial Entry,\u201d in Roman Art at the Art Institute of Chicago (Art Institute of Chicago, 2016).","exhibition_history":"Art Institute of Chicago, Of Gods and Glamour: The Mary and Michael Jaharis Galleries of Greek, Roman, and Byzantine Art, Gallery 152, November 11, 2012-October 25, 2016.","provenance_text":"Mrs. George A. (Louise Ehrman) Thorne (1872-1955), Chicago; given to the Art Institute, 1923.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":941,"fiscal_year":1924,"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":true,"colorfulness":15.1826,"color":{"h":39,"l":44,"s":45,"percentage":0.00412931513431536,"population":22},"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":"Funerary Object","artwork_type_id":27,"department_title":"Arts of the Ancient Mediterranean and Byzantium","department_id":"PC-4","artist_id":51349,"artist_title":"Ancient Roman","alt_artist_ids":[],"artist_ids":[51349],"artist_titles":["Ancient Roman"],"category_ids":["PC-4"],"category_titles":["Arts of the Ancient Mediterranean and Byzantium"],"term_titles":["stone","marble","roman (ancient, style or period)","vessel","ancient art","writing","ancient"],"style_id":"TM-4439","style_title":"roman (ancient, style or period)","alt_style_ids":["TM-8542"],"style_ids":["TM-4439","TM-8542"],"style_titles":["roman (ancient, style or period)","ancient"],"classification_id":"TM-96","classification_title":"stone","alt_classification_ids":["TM-27","TM-1392"],"classification_ids":["TM-96","TM-27","TM-1392"],"classification_titles":["stone","vessel","ancient art"],"subject_id":null,"alt_subject_ids":["TM-8632"],"subject_ids":["TM-8632"],"subject_titles":["writing"],"material_id":"TM-2435","alt_material_ids":[],"material_ids":["TM-2435"],"material_titles":["marble"],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"f98b3be5-4658-cbcf-4aee-fe7813d8934a","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[486110],"section_titles":["Cat. 17 \u00a0Cinerary Urn of Plautia Hesperis, 1st century A.D."],"site_ids":[],"suggest_autocomplete_all":[{"input":["1923.969a-b"],"contexts":{"groupings":["accession"]}},{"input":["Cinerary Urn of Plautia Hesperis"],"weight":698,"contexts":{"groupings":["title"]}}],"source_updated_at":"2024-08-20T09:42:38-05:00","updated_at":"2024-11-24T23:26:26-06:00","timestamp":"2024-11-24T23:27:39-06:00"}],"info":{"license_text":"The `description` field in this response is licensed under a Creative Commons Attribution 4.0 Generic License (CC-By) and the Terms and Conditions of artic.edu. All other data in this response is licensed under a Creative Commons Zero (CC0) 1.0 designation and the Terms and Conditions of artic.edu.","license_links":["https:\/\/creativecommons.org\/publicdomain\/zero\/1.0\/","https:\/\/www.artic.edu\/terms"],"version":"1.10"},"config":{"iiif_url":"https:\/\/www.artic.edu\/iiif\/2","website_url":"http:\/\/www.artic.edu"}}