With an artistic career spanning more than six decades, abstract painter Sam Gilliam continually pushed the boundaries of color and form. Associated with the Washington Color School movement, it was in the early 1960s when Gilliam began staining unprimed and unstretched canvases with diluted acrylic paint rather than using traditional brushstroke techniques. By the end of the 1960s, he started experimenting with crumpling, folding, and draping these canvases before arranging them in site-specific spaces or wrapping them around variably shaped framed stretchers to dispense a more sculptural approach. The malleability of these canvases echoes the fluidity of the paint and vice versa. A quintessential work, \u201cA\u201d and the Carpenter I<\/em> is a painting on a grand scale, and yet, like a stained drop cloth slung across two sawhorses, it evokes a snapshot of the artist\u2019s studio.<\/p>\n","short_description":null,"dimensions":null,"dimensions_detail":[],"medium_display":"Acrylic and canvas draped over wooden sawhorses","inscriptions":null,"credit_line":"Twentieth-Century Purchase Fund","catalogue_display":null,"publication_history":"Walter Hopps, Sam Gilliam: Paintings and Works on Paper (Louisville: J.B. Speed Art Museum, 1976), n.p., cat. 10 (ill.).\n\nKay Kloner, Hugh M. Davies, Sam Gilliam: Indoor & Outdoor Paintings, 1967-1978, exh. cat. (Amherst: University Gallery, University of Massachusetts, Amherst, 1978), 2, 17.\n\nJay Kloner, \"Sam Gilliam: Recent Black Paintings,\u201d Arts Magazine 52, no. 6 (February 1978): 152, as A and the Carpenter I.\n\nSusan F. Rossen, \u201cIntroduction,\u201d Art Institute of Chicago Museum Studies 24, 2 (Chicago: Art Institute of Chicago, 1999), 141.\n\nJonathan P. Binstock, Sam Gilliam: A Retrospective, exh. cat. (Berkeley, CA: University of California Press\/Washington DC: Corcoran Gallery of Art, 2005), 46, 92, 94, 97 (color ill.), 113.\n\nLilly Wei, \"Living Color,\u201d Art in America 95, no. 4 (April 2007): 119, as A and the Carpenter I (1973).\n\nJonathan P. Binstock and Josef Helfenstein, eds., The Music of Color: Sam Gilliam, 1967\u20131973, exh. cat. (K\u00f6ln: Verlag Walther K\u00f6nig, 2018), 72-73 (color ill.), 143.\n\nJanelle Porter, Sam Gilliam (Los Angeles: David Kordansky Gallery, 2016), 30.\n\nAdrienne Edwards, Sam Gilliam: 1967-1973 (New York: Mnuchin Gallery, 2017), 69 (color ill., install).\n\nIshmael Reed, Mary Schmidt Campbell, and Andria Hickey, Sam Gilliam (New York, London: Phaidon Press, 2024), 123, 124-125 (color ill.), 298.","exhibition_history":"Washington, D. C., Corcoran Museum of Art, Sam Gilliam: A Retrospective, Oct. 15, 2005\u2013Jan. 22, 2006, no cat. no.; Louisville, Speed Art Museum, June 6\u2013Sept. 3; Savannah, Telfair Museums, Jepson Center, Oct. 11\u2013Dec. 31, 2006; Houston, Contemporary Arts Museum, Jan. 27\u2013May 6, 2006.\n\nKunstmuseum Basel, The Music of Color: Sam Gilliam, 1967\u20131973, June 9\u2013Sept. 30, 2018, cat. 17.","provenance_text":"The artist; Washington D.C.; sold to the Art Institute of Chicago, June 12, 1973.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":246,"fiscal_year":null,"fiscal_year_deaccession":null,"is_public_domain":false,"is_zoomable":true,"max_zoom_window_size":1280,"copyright_notice":"\u00a9 Sam Gilliam \/ Artists Rights Society (ARS), New York","has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":40.7131,"color":{"h":44,"l":68,"s":90,"percentage":0.02005209322745828,"population":95},"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":"Installation","artwork_type_id":16,"department_title":"Contemporary Art","department_id":"PC-8","artist_id":34656,"artist_title":"Sam Gilliam","alt_artist_ids":[],"artist_ids":[34656],"artist_titles":["Sam Gilliam"],"category_ids":["PC-8","PC-830","PC-142","PC-836"],"category_titles":["Contemporary Art","African Diaspora","African American artists","Contemporary works by BIPOC artists, summer 2021"],"term_titles":["sculpture","abstract shapes","modern and contemporary art","red (color)","yellow (color)","purple (color)","installation"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-13","classification_title":"sculpture","alt_classification_ids":["TM-155","TM-1152"],"classification_ids":["TM-13","TM-155","TM-1152"],"classification_titles":["sculpture","modern and contemporary art","installation"],"subject_id":"TM-12708","alt_subject_ids":["TM-11851","TM-11842","TM-11850"],"subject_ids":["TM-12708","TM-11851","TM-11842","TM-11850"],"subject_titles":["abstract shapes","red (color)","yellow (color)","purple (color)"],"material_id":null,"alt_material_ids":[],"material_ids":[],"material_titles":[],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":["African Diaspora","African American artists","Contemporary works by BIPOC artists, summer 2021"],"image_id":"ab8276f3-b112-6f17-b15a-b1200db5d434","alt_image_ids":["1f47747b-986e-e75a-09d1-6c8d2bbf0131"],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1973.681a-c"],"contexts":{"groupings":["accession"]}},{"input":["\"A\" and the Carpenter I"],"weight":3571,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-10-18T19:55:48-05:00","updated_at":"2026-10-18T21:15:29-05:00","timestamp":"2026-10-18T21:18:57-05:00"},{"id":9021,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/9021","is_boosted":false,"title":"The Bewitched Mill","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhAwAFAPMAAD1ta11eS15XVlVdWW1zYaVoYWBognd3gJaNiIuUmZiYmomfqrG4tbe7t7C5vgAAACH5BAAAAAAALAAAAAADAAUAAAQL0CSi2CgtICfAOhEAOw==","width":6100,"height":8830,"alt_text":"Vibrantly colored geometric painting of a central white and blue waterfall with birds visible through it. A stylized red jungle cat and black wild boar drink at bottom right. Red water wheel at left, angular blue and white cityscape top at left, tree top at right."},"main_reference_number":"1931.522","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1913,"date_end":1913,"date_display":"1913","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Franz Marc\nGerman, 1880\u20131916","place_of_origin":"Germany","description":"

Among the German Expressionists, artists who used strong color and exaggerated form to express emotional content, Franz Marc was especially committed to his empathic interest in the life of animals. "Is there a more mysterious idea," he asked, "than to imagine how nature is reflected in the eyes of animals?" Beginning in 1905, he devoted himself to representing the world with a fresh and purifying vision. Marc painted The Bewitched Mill<\/em> following a sojourn to the Italian town of Merano in the southern Tirol. The work's title refers to the "magical" harmony he sensed there between human life, represented by the houses and mill on the left, and nature, embodied by the lyrical region of trees and animals on the right.<\/p>\n","short_description":"Among the German Expressionists, who used strong color and exaggerated form to express emotional content, Franz Marc was unique in his empathic interest in animal life. He painted this work following a sojourn to the Italian town of Merano. Its title refers to the \"magical\" harmony he sensed there between human life, represented by the houses and mill on the left, and nature, embodied by the lyrical region of trees and animals on the right.","dimensions":"Without frame: 130.2 \u00d7 90.8 cm (51 5\/16 \u00d7 35 3\/4 in.); 130.2 \u00d7 91.2 cm (51 1\/4 \u00d7 35 7\/8 in.)","dimensions_detail":[{"depth":null,"width":90,"height":130,"diameter":null,"clarification":"Without frame"},{"depth":null,"width":91,"height":130,"diameter":null,"clarification":null}],"medium_display":"Oil on canvas","inscriptions":"inscribed, l.l.: \"M.\"","credit_line":"Arthur Jerome Eddy Memorial Collection","catalogue_display":null,"publication_history":"Eddy, Arthur Jerome, Cubists and Post-impressionism (Chicago: A. C. McClurg, 1919), p. 115. \n\nArt Institute of Chicago, Exhibition of Paintings from the Collection of the Late Arthur Jerome Eddy, exh. cat. (Chicago: Art Institute of Chicago, 1922), cat. 50. \n\nArt Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1932), p. 33 (ill.).\n\nArt Institute of Chicago, The Arthur Jerome Eddy Collection of Modern Paintings and Sculpture, exh. cat. (Chicago: Art Institute of Chicago, 1932), cat. 12 (ill.).\n\nBulliet, C. J., \u201cThe Eddy Gift to Chicago,\u201d Creative Art 10 (March 1932), pp. 213, 215 (ill.). \n\nArt Institute of Chicago, Catalogue of a Century of Progress Exhibition of Paintings and Sculpture, exh. cat. (Chicago: Art Institute of Chicago, 1933), cat. 757.\n\nRich, Daniel Catton, \u201cGerman Art in Chicago,\u201d American-German Review 1 (June 1935), pp. 37 (ill.), 38.\n\nSchardt, Alois Jakob, Franz Marc (Berlin: Rembrandt-Verlag, 1936), p. 164, cat. 1-1913-3. \n\nInstitute of Contemporary Art, Contemporary German Art, exh. cat. (Boston: Institute of Contemporary Art, 1939), cat. 40a.\n\nMilliken, William M., \u201cExpressionism Exhibited,\u201d Art News 37, 20 (February 11, 1939), pp. 7, 8 (ill.). \n\nGoldwater, Robert, Franz Marc, exh. cat. (New York: Buchholz Gallery, 1940), n. pag., cat. 16 (ill.).\n\nUniversity Gallery, University of Minnesota, German Expressionism in Art, 1905-1935: Painting, Sculpture, Prints, exh. cat. (Minneapolis: University Gallery, University of Minnesota, 1950), cat. 81.\n\nCurt Valentin Gallery, Der Blaue Reiter, exh. cat. (New York: Curt Valentin Gallery, 1954), cat. 44.\n\nBusch-Reisinger Museum, Harvard University, Artists of the Blaue Reiter, exh. cat. (Cambridge, Mass.: Busch-Reisinger Museum, 1955), cat. 54 (ill.), p. 11.\n\nSelz, Peter, German Expressionist Painting (Berkeley: University of California Press, 1957), pl. 101.\n\nWilliam Rockwell Nelson Gallery of Art and Mary Atkins Museum of Fine Art, Some Points of View in Modern Painting, exh. cat. (Kansas City: William Rockwell Nelson Gallery of Art and Mary Atkins Museum of Fine Art, 1957), p. 4, cat. 13.\n\nArt Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), p. 273. \n\nColumbus Gallery of Fine Arts, German Expressionism, exh. cat. (Columbus, Ohio: Columbus Gallery of Fine Arts, 1961), cat. 53.\n\nKunstverein in Hamburg, Franz Marc: Gem\u00e4lde, Gouachen, Zeichnungen, Skulpturen, exh. cat. (Hamburg: Kunstverein, 1963), cat. 46 (ill.). \n\nSt\u00e4dtische Galerie im Lenbachhaus, Franz Marc, exh. cat. (Munich: St\u00e4dtische Galerie im Lenbachhaus, 1963), cat. 152.\n\nSpeyer, A. James, \u201cTwentieth-Century European Paintings and Sculpture,\u201d Apollo 84, 55 (September 1966), p. 225.\n\nLankheit, Klaus, Franz Marc: Katalog der Werke (Cologne: DuMont Schauberg, 1970), p. 69, cat. 196 (ill.).\n\nJ\u00e4hner, Horst, Franz Marc: Malerei und Werk (Dresden: Verlag der Kunst, 1972), pp. 19, pl. 10 (ill.), 32.\n\nLankheit, Klaus, Franz Marc: Sein Leben und seine Kunst (Cologne: DuMont, 1976), p. 161, color pl. 30.\n\nRosenthal, Mark, Franz Marc: 1880-1916, exh. cat. (Berkeley: University Art Museum, University of California, Berkeley, 1979), cat. 30.\n\n___, \u201cGallery Programs\/Exhibitions: Franz Marc: Pioneer of Spiritual Abstraction,\u201d University Art Museum Berkeley Calendar (December 1979), p. 2 (ill.).\n\nGollek, Rosel, ed., Franz Marc, 1880-1916, exh. cat. (Munich: St\u00e4dtische Galerie im Lenbachhaus and Prestel-Verlag, 1980), p. 83 (ill.).\n\nSpeyer, A. James, and Courtney Graham Donnell, Twentieth Century European Painting (Chicago: University of Chicago Press, 1980), p. 53, no. 2E11.\n\nTobien, Felicitas, Franz Marc (Ramerding: Berghaus Verlag, 1982), p. 15 (ill.).\n\nStadler, Wolfgang, Mit den Augen der Tiere: 25 Gem\u00e4lde (Freiburg: Herder, 1986), color ill. 21. \n\nTobien, Felicitas, Der Blaue Reiter (Kirchdorf-Inn: Berghaus, 1986), p. 64 (color ill.).\n\nKruty, Paul, \u201cArthur Jerome Eddy and His Collection: Prelude and Postscript to the Armory Show,\u201d Arts Magazine 61, 6 (February 1987), ill. 12.\n\nPese, Claus, Franz Marc: Leben und Werk (Stuttgart: Belser, 1989), color pl. 88.\n\nRosenthal, Mark, Franz Marc (Munich: Prestel, 1989), pp. 29, 30, 34, 38, color pl. 39. \n\nPartsch, Susanna, Franz Marc (K\u00f6ln: Taschen, 1990), p. 52 (color ill.).\n\nD\u00fcchting, Hajo, Franz Marc (K\u00f6ln: DuMont Buchverlag, 1991), p. 128 (color ill. 26).\n\nSchulz-Hoffman, Carla, ed., Sammlung Etta und Otto Stangl, von Klee bis Poliakoff, exh. cat. (Bayerischen Staatsgem\u00e4ldesammlungen\/Staatsgalerie Moderner Kunst\/Hatje, 1993), p. 194f.\n\nArt Institute of Chicago and Prefectural Museum of Modern Art, Masterworks of Modern Art from the Art Institute of Chicago, exh. cat. (Tokyo: Asahi Shimbun, 1994).\n\nArt Institute of Chicago, Twentieth-Century Painting and Sculpture (Chicago: Art Institute of Chicago, 1996), pp. 29 (color ill.), 159. \n\nBr\u00fccke Museum, Berlin, Der Blaue Reiter und seine K\u00fcnstler, exh. cat. (Munich: Hirmer, 1998), cat. 70 (color ill.).\n\nOtto, Almut, et. al., Das XX. Jahrhundert: ein Jahrhundert Kunst in Deutschland, exh. cat. (Berlin: Nationalgalerie Berlin, 1999), cat. 164 (color ill.).\n\nSotheby\u2019s, London, German & Austrian Art, sale cat. (Sotheby\u2019s, October 6, 1999), p. 60 (ill.).\n\nHoberg, Annegret, and Isabelle Jansen, Franz Marc: The Complete Works (London: Philip Wilson; New York: Distributed in the USA by Palgrave Macmillan, 2004), p. 240, cat. 207 (color ill.).\n\nFranz Marc: The Retrospective, (Prestel), p. 165 (ill.), cat. 76.\n\nVivian Endicott Barnett, ed. Franz Marc and August Macke: 1909\u20131914, exh. cat. (Neu Galerie\/Prestel, 2018), pp. 2 (color ill.); 56; 155, cat. 48 (color ill.); 182.","exhibition_history":"Chicago, Art Institute, Exhibition of Paintings from the Collection of the Late Arthur Jerome Eddy, September 19-October 22, 1922, cat. 50. \n\nChicago, Art Institute, The Arthur Jerome Eddy Collection of Modern Paintings and Sculpture, December 22, 1931-January 17, 1932, cat. 12 (ill.).\n\nChicago, Art Institute, A Century of Progress Exhibition of Paintings and Sculpture, June 1-November 1, 1933, cat. 757.\n\nCleveland Museum of Art, Expressionism and Related Movements, January 26-February 28, 1939, no cat.\n\nBoston, Institute of Contemporary Art, Contemporary German Art, November 2-December 9, 1939, cat. 40a. \n\nNew York, Buchholz Gallery, Franz Marc, November 11-December 7, 1940, n. pag., cat. 16 (ill.).\n\nCambridge, Mass., Germanic Museum, Harvard University, Exhibition, February 4-March 4, 1941, cat. 408.1940.\n\nLincoln, University of Nebraska, Survey of Modern European Painting, March 3-31, 1946, no cat.\n\nMinneapolis, University Gallery, University of Minnesota, German Expressionism in Art, 1905-1935: Painting, Sculpture, Prints, October 23-November 27, 1950, cat. 81.\n\nChicago, Main Street Bookstore, April 14-30, 1952.\n\nChicago, University of Chicago, May 6, 1952-June 6, 1952.\n\nChicago, University of Chicago, August 22-25, 1952.\n\nNew York, Curt Valentin Gallery, September 20-October 1954.\n\nCambridge, Mass., Busch-Reisinger Museum, Harvard University, November 1-December 11, 1954.\n\nNew York, Curt Valentin Gallery, Der Blaue Reiter, December 7, 1954-January 8, 1955, cat. 44. \n\nCambridge, Mass., Busch-Reisinger Museum, Harvard University, Artists of the Blaue Reiter, January 21-February 24, 1955, cat. 54 (ill.), p. 11.\n\nKansas City, William Rockwell Nelson Gallery of Art and Mary Atkins Museum of Fine Art, Some Points of View in Modern Painting, February 10-March 10, 1957, p. 4, cat. 13.\n\nColumbus, Ohio, Gallery of Fine Arts, German Expressionism, February 10-March 9, 1961, cat. 53. \n\nMunich, St\u00e4dtische Galerie im Lenbachhaus, Franz Marc, August 10-October 13, 1963, cat. 152.\n\nHamburg, Kunstverein, Franz Marc: Gem\u00e4lde, Gouachen, Zeichnungen, Skulpturen, November 9, 1963-January 5, 1964, cat. 46 (ill.). \n\nBerkeley, University of California Art Museum, Franz Marc: Pioneer of Spiritual Abstraction, December 5, 1979-February 3, 1980, cat. 30; traveled to Fort Worth Art Museum, February 23-April 13, 1980, and Minneapolis, Walker Art Center, May 4-June 15, 1980.\n\nNiigata, Japan, Prefectural Museum of Modern Art, Masterworks of Modern Art from the Art Institute of Chicago, April 20-May 29, 1994; traveled to Aichi Prefectural Museum of Art, June 10-July 24, 1994, and Yokohama Museum of Art, August 6-September 25, 1994.\n\nBerlin, Br\u00fccke Museum, Der Blaue Reiter und seine K\u00fcnstler, October 3, 1998-January 3, 1999, cat. 70 (color ill.); traveled to Tubingen, Kunsthalle, January 16, 1999-March 28, 1999.\n\nBerlin, Neue Nationalgalerie, Das XX. Jahrhundert: ein Jahrhundert Kunst in Deutschland, September 4, 1999-January 9, 2000, cat. 164 (color ill.).\n\nMunich, St\u00e4dtische Galerie im Lenbachhaus and Kunstbau, Franz Marc: The Retrospective, September 17, 2005\u2013January 8, 2006, cat. 76.\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\n\nNew York, Neue Galerie, Franz Marc and August Macke: 1909\u20131914, Oct. 4, 2018\u2013Jan. 21, 2019, cat. 48; Paris, Mus\u00e9e de l'Orangerie, Mar. 6\u2013June 17, 2019.","provenance_text":"The artist, Munich; sold to Arthur Jerome Eddy (1859\u20131920), Chicago, 1914 [Barnett 2022]; by descent to his wife, Lucy O. Eddy (1863-1931) and son, Jerome O. Eddy (1891-1951), Chicago, 1920; given to the Art Institute of Chicago, 1931.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":246,"fiscal_year":1930,"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":43.0038,"color":{"h":4,"l":52,"s":61,"percentage":0.033059136962059775,"population":340},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":"

On loan to Kunstsammlung Nordrhein-Westfalen (Germany) in D\u00fcsseldorf for Franz Marc \u2013 The Quest for a Better World<\/i><\/p>","gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Modern Art","department_id":"PC-11","artist_id":16157,"artist_title":"Franz Marc","alt_artist_ids":[],"artist_ids":[16157],"artist_titles":["Franz Marc"],"category_ids":["PC-11"],"category_titles":["Modern Art"],"term_titles":["oil on canvas","Century of Progress","painting","modern and contemporary art","world's fairs","Chicago World's Fairs","deers","animals","birds","trees","cities","mechanical","mills","rivers","water"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-66","classification_title":"oil on canvas","alt_classification_ids":["TM-9","TM-155"],"classification_ids":["TM-66","TM-9","TM-155"],"classification_titles":["oil on canvas","painting","modern and contemporary art"],"subject_id":"TM-12169","alt_subject_ids":["TM-11299","TM-12176","TM-12684","TM-12218","TM-11211","TM-11205","TM-12657","TM-12655","TM-12683","TM-12423","TM-8681"],"subject_ids":["TM-12169","TM-11299","TM-12176","TM-12684","TM-12218","TM-11211","TM-11205","TM-12657","TM-12655","TM-12683","TM-12423","TM-8681"],"subject_titles":["Century of Progress","world's fairs","Chicago World's Fairs","deers","animals","birds","trees","cities","mechanical","mills","rivers","water"],"material_id":null,"alt_material_ids":[],"material_ids":[],"material_titles":[],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"6829aab0-8d0e-9438-aebf-a1a379572951","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1931.522"],"contexts":{"groupings":["accession"]}},{"input":["The Bewitched Mill"],"weight":14018,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-10-18T00:30:17-05:00","updated_at":"2026-10-18T03:32:16-05:00","timestamp":"2026-10-18T21:18:57-05:00"},{"id":2848,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/2848","is_boosted":false,"title":"Scene from Bohemian Life","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBQAFAPQAAG1kV3tsV3hsW4FwWI97X4h5Y41+aJGBapSDbKeOaqWPcq2Uc6qUdpWMga6fjKyfj6+hj7alkL6rkr+tlsOymuPf3eTg3+Pg4OXh4AAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAFAAUAAAUVYCUtkeUkxTABxiEgTaAQzwUxFBYCADs=","width":5306,"height":5326,"alt_text":"A work made of pen and black ink and black watercolor over graphite, with touches of white opaque paint (discolored), on tan laid paper laid down on cream board."},"main_reference_number":"1956.350","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1855,"date_end":1857,"date_display":"1855\/57","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"James McNeill Whistler\nAmerican, 1834-1903","place_of_origin":"United States","description":null,"short_description":null,"dimensions":"22.4 \u00d7 24 cm (8 7\/8 \u00d7 9 1\/2 in.)","dimensions_detail":[{"depth":null,"width":24,"height":22,"diameter":null,"clarification":null}],"medium_display":"Pen and black ink and black watercolor over graphite, with touches of white opaque paint (discolored), on tan laid paper laid down on cream board","inscriptions":"Signed recto, lower right, in image, in ink: \"J. Whistler\"","credit_line":"Gift of John F. O'Connell","catalogue_display":"

MacDonald 213<\/p>","publication_history":"Nancy D. Pressly, \"Whistler in America: An Album of Early Drawings,\" Metropolitan Museum Journal V (1972), fig. 33.\n\nFrances Spalding, Whistler (Oxford, 1979), pp. 9-12 (ill.).\n\nMargaret F. MacDonald, James McNeill Whistler: Drawings, Pastels, and Watercolours: A Catalogue Raisonn\u00e9 (New Haven, 1995), p. 65, no. 213 (ill.).\n\nThe Lithographs of James McNeill Whistler: A Catalogue Raisonne, ed. Harriet K. Stratis and Martha Tedeschi (Chicago, 1998), p. 35.\n\nDaniel Sutherland, Whistler: A Life for Art\u2019s Sake (New Haven and London, 2014), p. 41.\n\nMeg Hausberg and Victoria Sancho Lobis. Whistler and Roussel: Linked Visions. Department of Publishing of The Art Institute of Chicago, 2015 (https:\/\/publications.artic.edu\/whistler\/reader\/linkedvisions; Accessed August 24, 2013), checklist para. 10, cat. 9.1 (ill.).","exhibition_history":"Art Institute of Chicago, \"James McNeill Whistler,\" 1968, pp. 20, 98-99, cat. 75 (ill.); also Utica, NY, Munson-Williams-Procter Institute, 1968.\n\nBerlin, Nationalgalerie, \"James McNeill Whistler,\" 1969, cat. 62.\n\nArt Gallery of Ontario, \"The Etchings of James McNeill Whistler,\" Nov. 24, 1984-Jan. 11, 1985.\n\nParis, Grand Palais, \"Boh\u00e8mes: De L\u00e9onard de Vinci \u00e0 Picasso,\" Sept. 26, 2012- Jan. 14, 2013, p. 266, cat. 119 (ill.).\n\nArt Institute of Chicago, \"Whistler and Roussel: Linked Visions,\" June 20-Sept. 27, 2015, checklist para. 10, cat. 9.1 (ill.).\n\nTate Britain, London, \"James McNeill Whistler\", May 21 - September 27, 2026, traveled to Amsterdam, Van Gogh Museum, October 16, 2026 - January 10, 2027, Washington, National Museum of Asian Art, February 6 - July 5, 2027, p. 13 (ill.), cat. by Carol Jacobi, et. al.","provenance_text":"Given by John F. O'Connell, Chicago, to the Art Institute of Chicago, 1956.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":3,"fiscal_year":1957,"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":30.7702,"color":{"h":303,"l":91,"s":4,"percentage":0.3607794968437052,"population":2573},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":"

On loan to Van Gogh Museum in Amsterdam for James McNeill Whistler<\/i><\/p>","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":37279,"artist_title":"James McNeill Whistler","alt_artist_ids":[],"artist_ids":[37279],"artist_titles":["James McNeill Whistler"],"category_ids":["PC-13"],"category_titles":["Prints and Drawings"],"term_titles":["pen and ink drawings","paper (fiber product)","ink","wash","paper","graphite","watercolor","drawings (visual works)","prints and drawing","laid paper"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-212","classification_title":"pen and ink drawings","alt_classification_ids":["TM-145","TM-5","TM-4"],"classification_ids":["TM-212","TM-145","TM-5","TM-4"],"classification_titles":["pen and ink drawings","paper","drawings (visual works)","prints and drawing"],"subject_id":null,"alt_subject_ids":[],"subject_ids":[],"subject_titles":[],"material_id":"TM-2982","alt_material_ids":["TM-2398","TM-2399","TM-2410","TM-2403","TM-3070"],"material_ids":["TM-2982","TM-2398","TM-2399","TM-2410","TM-2403","TM-3070"],"material_titles":["paper (fiber product)","ink","wash","graphite","watercolor","laid paper"],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"15c13ae6-7fe8-d06b-7462-aee0c985b220","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[2938],"section_titles":["Cat. 6\u00a0Scene from Bohemian Life, 1855\/57"],"site_ids":[],"suggest_autocomplete_all":[{"input":["1956.350"],"contexts":{"groupings":["accession"]}},{"input":["Scene from Bohemian Life"],"weight":1055,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-10-18T00:30:17-05:00","updated_at":"2026-10-18T03:32:16-05:00","timestamp":"2026-10-18T21:18:57-05:00"},{"id":14837,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/14837","is_boosted":false,"title":"Netting the Fish","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBwAFAPUAADAqKTAsLDgxMDs0Mj04Nz04OEc\/PUU\/PkhAPklDQVFJRlNKR1ZOTFdPTFdPTV1VUl5VUl1WU19XU19XVGlhXmxiX2tiYG1kYG5lYXVrZ3pyb350cH92cYB3cod+epiOipmRjcC1rgAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAHAAUAAAYhwIECgslsFgDDhZKpIAoRh8UjaWhABMGkwwkwEofHJxQEADs=","width":11135,"height":7811,"alt_text":"A work made of transparent watercolor, heightened with opaque white watercolor, with rewetting, blotting, and scraping, over graphite, on moderately thick, slightly textured, cream wove paper."},"main_reference_number":"1933.526","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1889,"date_end":1889,"date_display":"1889","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Winslow Homer\nAmerican, 1836-1910","place_of_origin":"United States","description":"

An avid angler and sportsman, Homer often depicted fishing and hunting scenes in his artwork. Many of his watercolors that explore these subjects were painted on frequent trips to the Adirondack Mountains. Netting the Fish<\/em> is unusual in its focus on a gentleman sportsman. Young, well groomed, and neatly attired, the fisherman in this watercolor stands in contrast to the rustic guides featured in many of the artist\u2019s other Adirondacks works. Homer\u2019s fluid brushstrokes describe the smooth surface of the water, and his background washes evoke the wooded shoreline seen at a distance. Netting the Fish<\/em> is one of Homer\u2019s few grisaille, or monochrome, watercolors, painted as a study of values in preparation for the etching Fly Fishing, Saranac Lake<\/em><\/a>.<\/p>\n","short_description":null,"dimensions":"35.3 \u00d7 50.8 cm (13 15\/16 \u00d7 20 in.)","dimensions_detail":[{"depth":null,"width":50,"height":35,"diameter":null,"clarification":null}],"medium_display":"Transparent watercolor, heightened with opaque white watercolor, with rewetting, blotting, and scraping, over graphite, on moderately thick, slightly textured, cream wove paper","inscriptions":"Signed recto, lower right, in pen and brown ink: \"Winslow Homer 1890, Copyright 1889\"","credit_line":"Olivia Shaler Swan Memorial Collection","catalogue_display":null,"publication_history":"Theodore Bolton, \u201cWater Colors by Homer: Critique and Catalogue,\u201d The Fine Arts 18: 5 (April 1932), p. 54, as 'Man Fishing'.\n\nGordon Hendricks, The Life and Work of Winslow Homer (New York, 1979), pp. 200\u201301 and 286, fig. 302.\n\nDavid Tatham, Winslow Homer in the Adirondacks (Syracuse, 1996), pp. 99\u2013100 and 140, fig. 34.","exhibition_history":"Art Institute of Chicago, \"Watercolors lent by Mrs. L. L. Coburn,\" July 24\u2013Oct 12, 1930, no cat.\n\nArt Institute of Chicago, \"Water Colors and Drawings by Winslow Homer,\" October 14\u2013December 4, 1944 (Gallery 13), no cat.\n\nNew York, Whitney Museum of American Art, \"The Graphic Art of Winslow Homer,\" November 1968\u2013June 1970, cat. 105A, pl. 101.\n\nFort Worth, Tex., Amon Carter Museum, and Fine Arts Museum of San Francisco, California Palace of the Legion of Honor, \"Casting a Spell: Winslow Homer, Artist and Angler,\" December 7, 2002\u2013February 9, 2003, April 11\u2013June 22, 2003, pp. 44 and 229, cat. 20 (ill.), cat. by Patricia Junker et al.\n\nArt Institute of Chicago, \"Watercolors by Winslow Homer: The Color of Light,\" February 16-May 11, 2008, pp. 16, 23, 94, 139, 142, 143 (ill.), 145, 212, chap. 4 n. 17, cat. by Martha Tedeschi and Kristi Dahm.","provenance_text":"Mr. and Mrs. Lewis Larned Coburn, Chicago, by May 1, 1930 [Chicago 1930; see R4492]; given to the Art Institute of Chicago, 1933.","edition":null,"publishing_verification_level":"Web Cataloged","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":7.2805,"color":{"h":347,"l":13,"s":5,"percentage":0.2611346604642124,"population":1290},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":"

On loan<\/p>","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":34988,"artist_title":"Winslow Homer","alt_artist_ids":[],"artist_ids":[34988],"artist_titles":["Winslow Homer"],"category_ids":["PC-143","PC-13"],"category_titles":["Winslow Homer: Behind the Scenes","Prints and Drawings"],"term_titles":["ink or chalk wash","boats","paper (fiber product)","animals","wash","coating (material)","drawings (visual works)","prints and drawing","people","fishing","graphite","scraping","wove paper","wilderness","aquarelle","gouache"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-217","classification_title":"ink or chalk wash","alt_classification_ids":["TM-5","TM-4"],"classification_ids":["TM-217","TM-5","TM-4"],"classification_titles":["ink or chalk wash","drawings (visual works)","prints and drawing"],"subject_id":"TM-8737","alt_subject_ids":["TM-12218","TM-8810","TM-12106","TM-12599"],"subject_ids":["TM-8737","TM-12218","TM-8810","TM-12106","TM-12599"],"subject_titles":["boats","animals","people","fishing","wilderness"],"material_id":"TM-2982","alt_material_ids":["TM-2399","TM-3238","TM-2410","TM-3074","TM-2404"],"material_ids":["TM-2982","TM-2399","TM-3238","TM-2410","TM-3074","TM-2404"],"material_titles":["paper (fiber product)","wash","coating (material)","graphite","wove paper","gouache"],"technique_id":null,"alt_technique_ids":["TM-3852","TM-4269"],"technique_ids":["TM-3852","TM-4269"],"technique_titles":["scraping","aquarelle"],"theme_titles":[],"image_id":"3d3c78e3-3360-f2d1-894d-556b5e289dab","alt_image_ids":[],"document_ids":["07f5cb1a-27a0-bbc5-5a34-39322f2a430a"],"sound_ids":["07f5cb1a-27a0-bbc5-5a34-39322f2a430a"],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1933.526"],"contexts":{"groupings":["accession"]}},{"input":["Netting the Fish"],"weight":3067,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-10-18T00:30:17-05:00","updated_at":"2026-10-18T03:32:15-05:00","timestamp":"2026-10-18T21:18:57-05:00"},{"id":16571,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/16571","is_boosted":true,"title":"Arrival of the Normandy Train, Gare Saint-Lazare","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBwAFAPUAADU8QkROS0ZPU0hSVk1YXVFWUlBXXlFaWVNcWFFkV1plVVtjWmBnWmFqXmRrX05ZYFFaYlljbF5qbGNsY2ZydmlzdWRxeGdze2l1fWx3fG16enJ4fH+KioWOkZeam5yjqZ2lqrG1ubS6vwAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAHAAUAAAYhQIKmYslQDoONp8ORBECi0OfyKEAMmAhAgFhMHA2GIhEEADs=","width":6786,"height":5092,"alt_text":"Loosely painted image of an open-air train station. On the right, a parked train gives off an enormous plumb of white smoke, making the scene look as though it were full of clouds. A huddled mass of barely discernible people crowd around the train on both sides of the tracks. Blue, green, and gray tones dominate."},"main_reference_number":"1933.1158","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1877,"date_end":1877,"date_display":"1877","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Claude Monet (French, 1840\u20131926)","place_of_origin":"France","description":"

One of the most avant-garde aspects of the Impressionists was their choice of subject matter, which frequently included scenes derived from modern, industrial Paris, from iron bridges to exhibition halls to train sheds. The train station at Saint-Lazare would have been a familiar, meaningful sight to Claude Monet in the 1870s. The terminal linked Paris to Normandy, where the artist developed his technique of painting outdoors in the 1860s. It was also the point of departure for the towns and villages west and north of Paris that the Impressionists frequently visited. Monet completed eight of his twelve known paintings of the Gare Saint-Lazare in time for the third Impressionist exhibition, in 1877, probably displaying them in the same gallery.<\/p>\n

Monet chose to focus his attention here on the glass-and-iron train shed, where he found an appealing combination of arti\ufb01 cial and natural effects\u2014the rising steam of locomotives trapped within the structure and the daylight penetrating large, glazed sections of the roof, for instance. Monet\u2019s depictions of the station inaugurated what was to become for him an established pattern of painting a speci\ufb01c motif repeatedly in order to capture subtle and temporal atmospheric changes, as in his famous series of stacks of wheat<\/a>. But the Saint-Lazare paintings also represented his last attempt to capture urban life: from this point on in his career, Monet largely devoted himself to landscapes.<\/p>\n","short_description":"The Impressionists frequently paid tribute to the modern aspects of Paris, depicting scenes of grand boulevards and modern constructions. Monet made 12 paintings of the Gare Saint-Lazare. Here, he focused on the glass-and-iron train shed, where he found an appealing combination of artificial and natural effects: the rising steam of locomotives trapped within the structure and daylight penetrating the large, glazed sections of the roof.","dimensions":"60.3 \u00d7 80.2 cm (23 3\/4 \u00d7 31 1\/2 in.); Framed: 80.7 \u00d7 100.4 \u00d7 10.2 cm (31 3\/4 \u00d7 39 1\/2 \u00d7 4 in.)","dimensions_detail":[{"depth":null,"width":80,"height":60,"diameter":null,"clarification":null},{"depth":10,"width":100,"height":80,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":"Inscribed lower left: Claude Monet 77","credit_line":"Mr. and Mrs. Martin A. Ryerson Collection","catalogue_display":"

On loan to Nationalmuseum in Stockholm for To the Sea! Coastal Tourism and the Visual Arts<\/i><\/p>","gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":35809,"artist_title":"Claude Monet","alt_artist_ids":[],"artist_ids":[35809],"artist_titles":["Claude Monet"],"category_ids":["PC-10"],"category_titles":["Painting and Sculpture of Europe"],"term_titles":["painting","Impressionism","landscapes","oil painting","oil paint (paint)","travel","trains","train station","smoke","France","figures","building","nineteenth century","19th century","painting techniques","painting","painting","paint","canvas","paint","oil on canvas","oil paintings (visual works)","french","european painting","painting (image making)","urban life","transportation","Century of Progress","world's fairs","Chicago World's Fairs"],"style_id":"TM-7543","style_title":"Impressionism","alt_style_ids":["TM-15636","TM-13203"],"style_ids":["TM-7543","TM-15636","TM-13203"],"style_titles":["Impressionism","nineteenth century","19th century"],"classification_id":"TM-9","classification_title":"painting","alt_classification_ids":["TM-10387","TM-66","TM-78","TM-14976","TM-54"],"classification_ids":["TM-9","TM-10387","TM-66","TM-78","TM-14976","TM-54"],"classification_titles":["painting","paint","oil on canvas","oil paintings (visual works)","french","european painting"],"subject_id":"TM-8657","alt_subject_ids":["TM-9201","TM-8741","TM-13683","TM-12755","TM-12288","TM-15161","TM-14683","TM-10126","TM-8668","TM-12169","TM-11299","TM-12176"],"subject_ids":["TM-8657","TM-9201","TM-8741","TM-13683","TM-12755","TM-12288","TM-15161","TM-14683","TM-10126","TM-8668","TM-12169","TM-11299","TM-12176"],"subject_titles":["landscapes","travel","trains","train station","smoke","France","figures","building","urban life","transportation","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":[],"image_id":"0f1cc0e0-e42e-be16-3f71-2022da38cb93","alt_image_ids":[],"document_ids":["b0f825a6-e1e9-8607-b925-fd4d2e3b70f2","ec7cf803-7d44-ff3c-ad45-79cb5dc5f820"],"sound_ids":["ec7cf803-7d44-ff3c-ad45-79cb5dc5f820"],"video_ids":[],"text_ids":["b0f825a6-e1e9-8607-b925-fd4d2e3b70f2"],"section_ids":[36725107186],"section_titles":["Cat. 16 \u00a0Arrival of the Normandy Train, Gare Saint-Lazare, 1877"],"site_ids":[],"suggest_autocomplete_boosted":"Arrival of the Normandy Train, Gare Saint-Lazare","suggest_autocomplete_all":[{"input":["1933.1158"],"contexts":{"groupings":["accession"]}},{"input":["Arrival of the Normandy Train, Gare Saint-Lazare"],"weight":86286,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-10-18T00:30:17-05:00","updated_at":"2026-10-18T03:32:14-05:00","timestamp":"2026-10-18T21:18:57-05:00"},{"id":24836,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/24836","is_boosted":true,"title":"Brushstroke with Spatter","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBgAFAPQAAF1ZOnJrIX93K2xlPX9wWmxef41\/P458Y5F\/Y4l2eZWEVZOGWo+CYZiEa5uLe5qCgpyFgp6GjKOLhaiOgaGJiKaMiKmPjKyRh66TibCTiLSaibebiq2ambOWkQAAAAAAACH5BAAAAAAALAAAAAAGAAUAAAUYoHJUl5Q82AZR3WQVkdZkCGAIAxEsjMOFADs=","width":9637,"height":8129,"alt_text":"Oil painting in cartoon style of gigantic, close-up brushstroke of paint, blue spatter."},"main_reference_number":"1966.3","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1966,"date_end":1966,"date_display":"1966","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Roy Lichtenstein\nAmerican, 1923-1997","place_of_origin":"United States","description":"

Roy Lichtenstein rose to prominence at the beginning of the 1960s and became one of the best-known practitioners of Pop Art. His brightly painted canvases depicting everyday objects, as well as scenes of war and romance culled from the pages of contemporary comics, were rendered in stylized black outlines and hand-painted Ben Day dots that mimicked the commercial printing process. Thus he seemed to elevate what was often seen as low art\u2014both its quotidian, affective subject matter and its visual terms\u2014into high art. This was never simply a straightforward process of reversal, however, and by mid-decade Lichtenstein began to focus on subjects that reflected his lifelong interest in art historical themes.<\/p>\n

Brushstroke with Spatter<\/em>, from the Brushstroke<\/em> series (1965\u201367), is a wry commentary on the bravura of midcentury Abstract Expressionism. Here Lichtenstein combines the gestural sweep of Willem de Kooning\u2019s brushwork with the rhythmic drips typical of Jackson Pollock. He isolates and magnifies his stroke and spatter against a ground of Ben Day dots, reproducing the conventionally painterly elements as flatly as possible with no trace of emotion or texture. This deadpan rendering is not purely comic, but also establishes a tension key to the work\u2019s success as an abstract painting in its own right, with grand scalar play and dramatic cropping, intensity of color, and the optical pulse of the dotted ground.<\/p>\n","short_description":null,"dimensions":"172.7 \u00d7 203.2 cm (68 \u00d7 80 in.)","dimensions_detail":[{"depth":null,"width":203,"height":172,"diameter":null,"clarification":null}],"medium_display":"Oil and Magna on canvas","inscriptions":null,"credit_line":"Barbara Neff Smith and Solomon Byron Smith Purchase Fund","catalogue_display":null,"publication_history":null,"exhibition_history":null,"provenance_text":null,"edition":null,"publishing_verification_level":"Web Basic","internal_department_id":246,"fiscal_year":null,"fiscal_year_deaccession":null,"is_public_domain":false,"is_zoomable":true,"max_zoom_window_size":1280,"copyright_notice":"\u00a9 Estate of Roy Lichtenstein","has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":0,"color":{"h":56,"l":45,"s":95,"percentage":0.0007646238491693037,"population":599},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":"

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