The Iowa artist Grant Wood was one of the leading midwestern American regionalist painters. Created in 1939 after a three-year period in which Wood concentrated on lithography, New Road and its companion Haying are representative examples of the idealized rural landscapes that the artist had begun to paint in 1930.
Joslyn Art Museum, Omaha, NE; Davenport Museum of Art, IA, and the Worcester Art
français de Poussin à Corot, Palais des Beaux-Arts, Paris, 1925, no. 121, as Scène
Dancers Backstage depicts an informal, behind-the-scenes moment at the ballet—the type of scene that most intrigued Degas. Four figures occupy the painting:
Art Museum, 2008, unnumbered catalogue, pls. 47, 55, and 152. 2009 De la Scène
The Last of the Buffalo is Albert Bierstadt’s final, great, western painting. Measuring six by ten feet, it mirrors in size his first massive oil, Lake Lucerne (1858), also in the National Gallery of Art collection.
Washington, 2011: 36, 170-173, 273, repro. 2015 Valance, Hélène.
Information on this painting can be found in the Gallery publication American Paintings of the Nineteenth Century, Part I, pages 318-322, which is available as a free PDF at https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/american-paintings-19th-century-part-1.pdf
Harper’s Weekly 54 (22 October 1910): 13. 1937 Pène du Bois, Guy.
Courbet painted events and scenery primarily from his native Ornans, a village in the remote Franche-Comté region. A proponent of realism, he challenged traditional ideas about art by depicting simple peasants and rustic scenery with dignity and on the grandscale usually reserved for history paintings.
(Not in 1995 rev. ed.). 1997 Laurillard-Cuinet, Hélène.
"L’abbé de Saint-Non artiste et mécène."
"L’abbé de Saint-Non artiste et mécène."
Gold and silver threads add life to this tapestry, often described as the finest surviving from the Middle Ages and early Renaissance. Everything indicates that this was an important commission:
Villars, prince de Martigues [1702-1770], Château des Aygalades, Bouches-du-Rhône
Painted in August 1907, Forty-two Kids depicts a band of nude and partially clothed boys engaged in a variety of antics—swimming, diving, sunbathing, smoking, and possibly urinating—on and near a dilapidated wharf jutting out over New York City’s East River. A sharp observer of urban life, George Bellows has sketched his streetwise subjects with characteristic vigor and economy of means, and he has carefully rendered their varied ethnic backgrounds.
International Studio 56, no. 224 (October 1915): 244, 246, repro. 1918 Pène du
