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\u201cIs Nadelman serious?\u201d asked a writer for the New York World<\/em> in 1919. \u201cAre these things art, or only insolence?\u201d This indignation was sparked by Elie Nadelman\u2019s choice to depict people in contemporary clothing rather than the classical drapery used by most sculptors at the time. Here, the woman\u2019s short dress and high heels evoke modern city life during the Roaring Twenties with whimsy and charm.<\/p>\n","short_description":"\u201cIs Nadelman serious?\u201d asked a writer for the New York World<\/em> in 1919. \u201cAre these things art, or only insolence?\u201d This indignation was sparked by artist Elie Nadelman\u2019s choice to depict people in contemporary clothing rather than the classical drapery used by most sculptors at the time. 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Mencoff; through prior gifts of the George F. Harding Collection, Edgar Kaufmann Jr., and Mary and Leigh B. Block; through prior bequest of Dr. John J. Ireland; purchased with funds provided by Jamee J. and Marshall Field; through prior purchase from the Roger McCormick Fund; through prior gifts of Yvonne and Richard Angarola, Miss Gertrude Finch, Mrs. Ignatius Jelinski, the Charles H. & Mary F. S. Worcester Collection, the Walter H. Schulze Memorial Collection, and Donn Shapiro; Jane and Morris Weeden Endowment Fund; through prior gifts of the Society for Contemporary American Art and Mr. Sam A. Lewisohn; through prior purchase of the Charles S. Peterson Purchase Prize Fund; through prior gift of the Mr. and Mrs. Samuel Nickerson Collection; Vance American Arts Fund; through prior gifts of the estates of Edgar William and Bernice Chrysler Garbisch and Marie F. Lennards; through prior purchase of the Samuel P. Avery Fund; through prior gifts of Joseph R. 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A technical tour-de-force, this diminutive vase displays the exquisite crystalline glaze perfected by Adelaide Alsop Robineau after years of experimentation. She most often applied this glaze to small vessels that were intended for cabinet display. The jewel-like quality and spontaneous appearance of the crystals derive from the glaze formula and firing technique. Created by the prominent artist-potter only three years before her death, this vase exemplifies the unadorned aesthetic preferred by modern studio ceramists.<\/p>\n","short_description":null,"dimensions":"12.7 \u00d7 13 \u00d7 13 cm (5 \u00d7 5 1\/8 \u00d7 5 1\/8 in.)","dimensions_detail":[{"depth":13,"width":13,"height":12,"diameter":null,"clarification":null}],"medium_display":"Porcelain and glaze","inscriptions":"Initialed and dated bottom: \"AR\" [conjoined letters in circular monogram, excised] \/ \"1926\" [incised within monogram].","credit_line":"Gift of Mr. and Mrs. Morris S. 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Tramp art is a movement in wood carving that was prevalent in the United States from the 1880s to the 1940s. Using raw materials such as recycled wood, adhesive, nails, and paint, practitioners notched and layered wood to create rhythmic, three-dimensional surfaces on household objects such as this clock case. The vernacular traditions of chip carving and whittling were practiced by people of different classes and ages across the country and passed on through oral instruction, pamphlets, and the study of existing works.<\/p>\n","short_description":null,"dimensions":"55.9 \u00d7 47.6 \u00d7 20.3 cm (22 \u00d7 18 3\/4 \u00d7 8 in.)","dimensions_detail":[{"depth":20,"width":47,"height":55,"diameter":null,"clarification":null}],"medium_display":"Wood and paint","inscriptions":null,"credit_line":"Gift of Harold Allen","catalogue_display":null,"publication_history":"Judith A. Barter and Monica Obniski, \"For Kith and Kin: The Folk Art Collection at the Art Institute of Chicago<\/em>,\" (Art Institute of Chicago\/Yale University Press, 2012) no. 51.\n\nPaul Jones, \"Collection Highlight: Whittling Away in Anonymity,\" Art Institute of Chicago<\/em>, July 28, 2017, https:\/\/www.artic.edu\/articles\/625\/whittling\u2013away\u2013in\u2013anonymity<\/a>.","exhibition_history":"Art Institute of Chicago, Photography + Folk Art: Looking for America in the 1930s<\/em>, Sept. 21, 2019\u2013Jan. 19, 2020, no cat.","provenance_text":"Harold Allen (1912-1998), Chicago, by 1997 [incoming receipt, RX21761, Oct. 13, 1997; copy in curatorial object file]; given to the Art Institute of Chicago, 1997.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":21,"fiscal_year":1998,"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":52.2216,"color":{"h":44,"l":63,"s":12,"percentage":0.15605077359316422,"population":1476},"latitude":null,"longitude":null,"latlon":null,"is_on_view":true,"on_loan_display":null,"gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Furnishings","artwork_type_id":42,"department_title":"Arts of the Americas","department_id":"PC-3","artist_id":114854,"artist_title":"Artist unknown","alt_artist_ids":[],"artist_ids":[114854],"artist_titles":["Artist unknown"],"category_ids":["PC-3"],"category_titles":["Arts of the Americas"],"term_titles":["case furniture","wood (plant material)","Folk Art","architecture","furniture","american decorative arts","american arts","furniture","decorative arts","decorative arts"],"style_id":"TM-12125","style_title":"Folk Art","alt_style_ids":[],"style_ids":["TM-12125"],"style_titles":["Folk Art"],"classification_id":"TM-122","classification_title":"case furniture","alt_classification_ids":["TM-76","TM-2190","TM-2191","TM-1678"],"classification_ids":["TM-122","TM-76","TM-2190","TM-2191","TM-1678"],"classification_titles":["case furniture","furniture","american decorative arts","american arts","decorative arts"],"subject_id":"TM-12085","alt_subject_ids":["TM-9132","TM-14841"],"subject_ids":["TM-12085","TM-9132","TM-14841"],"subject_titles":["architecture","furniture","decorative arts"],"material_id":"TM-2431","alt_material_ids":[],"material_ids":["TM-2431"],"material_titles":["wood (plant material)"],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"9dec5b32-ae98-eb12-75a5-f9a0fae351fc","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1997.556"],"contexts":{"groupings":["accession"]}},{"input":["Cathedral Clock Case"],"weight":262,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-06-29T14:54:55-05:00","updated_at":"2026-08-30T16:07:36-05:00","timestamp":"2026-08-31T00:07:48-05:00"},{"id":145292,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/145292","is_boosted":false,"title":"Standing Figure","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhAwAFAPMAAFtYW2BeYG1qbHNydHh2d4mHh5ORkZaUlKOioquoqK+sq7W0srS0tL++u729vQAAACH5BAAAAAAALAAAAAADAAUAAAQLMAxAkjCqoHVcYxEAOw==","width":3029,"height":5271,"alt_text":"A work made of marble."},"main_reference_number":"1996.401","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1945,"date_end":1949,"date_display":"Late 1940s","date_qualifier_title":"c.","date_qualifier_id":60,"artist_display":"Marion Perkins (American, 1908\u20131961)","place_of_origin":"United States","description":"

Chicago sculptor Marion Perkins began making art in the late 1930s. Known for commanding heads and busts carved from wood, stone, and marble that he salvaged from architectural ruins around the city, the full-length body of Standing Figure<\/em> was unusual for him. Here, a woman presses her arms tightly to herself, her head thrown back. Her sinuous position recalls Classical Greek and Roman sculptures, while her exaggerated features and restrained form are emblematic of Perkins\u2019s individual style.<\/p>\n","short_description":"Perkins began making art in the late 1930s and became known for commanding heads and busts carved from wood, stone, and marble that he salvaged from architectural ruins around Chicago. This work, a the full-length body, was unusual for him. 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