A.D. 1900 - present
(6 displayed of 14 in collection)
The Trees, Early Afternoon, France (ca. 1905, William A.Harper) This rare work by the Black landscape painter William A. Harper depicts a bucolic scene in the French countryside. Canadian-born and Chicago-trained, Harper also studied informally in Paris with Henry Ossawa Tanner, the leading African American expatriate of his generation. Harper’s interest in painting regional subjects outside of Paris’s urban environs was shared by many American artists in these years. In transitional works such as this scene, Harper revealed the influence on his art of the French Barbizon painters as well as the Impressionists and Post-Impressionists.
The Repast of the Lion (ca. 1907; Henri Rousseau) This work was probably shown in the Salon d'Automne of 1907, but it treats a theme that Rousseau first explored in Surprised! of 1891 (National Gallery, London). He based the exotic vegetation of his many jungle pictures on studies that he made in Paris’s botanical gardens, and adapted the wild beasts from popular ethnographic journals and illustrated children's books. Rousseau’s nickname, "le Douanier," derives from his job as a customs official.
A Rose (1907; Thomas Anshutz) One of the most gifted American art teachers, Anshutz links the realism of his mentor Thomas Eakins with that of the Ashcan School, some of whom were his students. Perhaps because Anshutz spent so much time teaching, he painted only about 130 oils. Some of the most impressive belong to a series of images of Rebecca H. Whelen, daughter of a trustee of the Pennsylvania Academy of the Fine Arts, where Anshutz taught. The woman at leisure and the likening of a beautiful woman to a flower are common themes in late-nineteenth-century American painting. They reflect the contemporary definition of a woman's proper sphere: the realm of leisure, beauty, and the aesthetic, harmonious domestic environment. "A Rose" reflects Anshutz's simultaneous appreciation of Eakins's academic rigor and psychological probing and John Singer Sargent's painterly freedom. "A Rose" also suggests the influence of Diego Velázquez and James McNeill Whistler on late-nineteenth-century painters, including Eakins and Sargent as well as Anshutz. In portraying the young woman as contemplative and yet intellectually and emotionally alert, Anshutz also anticipates the earthier women painted by members of the Ashcan School and other twentieth-century realists.
Mäda Primavesi (1903–2000) (1912-13; Gustav Klimt) Mäda Primavesi’s expression and posture convey a remarkable degree of confidence for a nine-year-old girl, even one who was, by her own account, willful and a tomboy. Klimt made numerous preliminary sketches for this portrait, experimenting with different poses, outfits, and backgrounds before deciding to show Mäda standing tall in a specially-made dress amid a profusion of springlike patterns. The picture testifies to the sophisticated taste of her parents, banker and industrialist Otto Primavesi and his wife Eugenia, who were ardent supporters of progressive Viennese art and design. In fact, Klimt soon painted Eugenia’s portrait (Toyota Municipal Museum of Art, Japan).
A Reconnaissance (1902; Frederic Remington) After 1900 Remington produced an evocative series of nocturnes that feature darkness as an essential narrative element. Rendered in a muted palette of blue, green, and brown, A Reconnaissance depicts three cavalry soldiers and their horses in a moonlit, snow-blanketed landscape. An officer and scout have ventured forth to a hillcrest to survey a distant tree line, alert to the possibility of confrontation. By turning the figures away from the viewer, Remington creates an aura of moody mystery and enhances the suspense of an uncertain outcome.
The Thinker: Portrait of Louis N. Kenton (1900; Thomas Eakins) Louis N. Kenton (1865–1947) was Eakins's brother-in-law, having married Elizabeth Macdowell (1858–1953), sister of Eakins's wife Susan, in 1889. Elizabeth studied at the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibited professionally, and traveled widely. Her marriage to Kenton was stormy and apparently brief, and very little is known of it, or of Kenton. The title associated with this portrait, "The Thinker," was at one time based upon an inscription on the reverse that apparently was placed there by Susan Eakins. Beginning in 1900, the portrait was widely exhibited and much admired. An oil study for the portrait is in the Farnsworth Library and Art Museum in Rockland, Maine.