BGuthrie Photos: IN -- Indianapolis -- Indianapolis Museum of Art

BGuthrie Photos: IN -- Indianapolis -- Indianapolis Museum of Art IN -- Indianapolis -- Indianapolis Museum of Art:

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. IMAEUR_170805_001.JPG: The following pictures are from the page 2017_IN_IMA_Europe IN -- Indianapolis -- Indianapolis Museum of Art -- European Art (155 photos from 2017)
  European Modernism 1900-1945
2. IMAEUR_170805_008.JPG: Pablo Picasso Ma Jolie, 1913-1914
3. IMAEUR_170805_012.JPG: George Braque Still Life with Pink Fish, 1937
4. IMAEUR_170805_016.JPG: Fernand Leger Man and Woman, 1921
5. IMAEUR_170805_023.JPG: Max Beckmann Self-Portrait with Stylus, about 1916
6. IMAEUR_170805_035.JPG: Georg Kolbe Lament, 1921
7. IMAEUR_170805_043.JPG: Marc Chagall The Flight into Egypt, 1944
8. IMAEUR_170805_048.JPG: Arthur Segal View from the Window, 1930
9. IMAEUR_170805_054.JPG: Raoul Dufy The Studio, about 1942
10. IMAEUR_170805_064.JPG: Henri Matisse Woman Seated in an Armchair, about 1922
11. IMAEUR_170805_071.JPG: Bernard Boutet de Monvel Fez, Seven O'Clock, about 1924
12. IMAEUR_170805_078.JPG: Balthus (Balthazar Klossowski de Rola) Bouquet of Roses on a Windowsill, 1958
13. IMAEUR_170805_085.JPG: Modernism
14. IMAEUR_170805_088.JPG: The New Style
15. IMAEUR_170805_099.JPG: Door from the Louis Schwitzer Residence, Indianapolis, IN designed about 1939
16. IMAEUR_170805_104.JPG: Partner's Desk and Chair designed about 1940 Rene Coulon, designer
17. IMAEUR_170805_119.JPG: The Arts and Crafts Movement
18. IMAEUR_170805_122.JPG: Window from Avery Coonley Playhouse, Riverside, Illinois designed 1912 Frank Lloyd Wright, designer
19. IMAEUR_170805_126.JPG: Reviving the Old and Celebrating the New
20. IMAEUR_170805_141.JPG: Cup, 1854-55 Jean-Valentin Morel
21. IMAEUR_170805_172.JPG: Paul Cezanne House in Provence, about 1886
22. IMAEUR_170805_176.JPG: Paul Gauguin Landscape Near Aries, 1888
23. IMAEUR_170805_181.JPG: George Minne Kneeling Youth, 1898 version
24. IMAEUR_170805_190.JPG: Pierre Bonnard The Mirror in the Green Room, 1908
25. IMAEUR_170805_195.JPG: Maurice Denis Fountain at the Villa Medici, 1904
26. IMAEUR_170805_198.JPG: The Post-Impressionist Era 1885-1900
27. IMAEUR_170805_200.JPG: Vincent Van Gogh Landscape at Saint-Remy (Enclosed Field with Peasant), 1889
28. IMAEUR_170805_205.JPG: Odilon Redon The Yellow Sail, about 1905
29. IMAEUR_170805_209.JPG: Georges Lacombe Vorhor, The Green Wave, about 1896-1897
30. IMAEUR_170805_214.JPG: Odilon Redon The Gothic Window, 1900
31. IMAEUR_170805_217.JPG: The Summer of 1893: Etching by Roderic O'Conor
32. IMAEUR_170805_237.JPG: Paul Gauguin Christmas Night (The Blessing of the Oxon)
33. IMAEUR_170805_241.JPG: Emile Bernard Pont-Aven Seen from the Bois d'AMour, 1892
34. IMAEUR_170805_245.JPG: Paul Serusier Bretons in the Forest of Huelgoat, 1893
35. IMAEUR_170805_249.JPG: Seurat and the Neo-Impressionists, 1886-1896
36. IMAEUR_170805_251.JPG: Henri Delavallee The Boot Polisher, 1890
37. IMAEUR_170805_259.JPG: Hendricus Petrus Bremmer Still Life with Books and Chinese Vase, 1895
38. IMAEUR_170805_264.JPG: Jan Vijlbrief Boat Along a Bank, 1894 or 1895
39. IMAEUR_170805_271.JPG: Jan Toorop Broek in Waterland, 1889
40. IMAEUR_170805_280.JPG: Paul Signac Entrance to the Port of Honfleur, 1899
41. IMAEUR_170805_287.JPG: Jeanne Selmersheim-Desgrange Garden at La Hune, Saint-Tropez, 1909
42. IMAEUR_170805_292.JPG: Henry van de Velde Pere Biart Reading in the Garden, 1890-91
43. IMAEUR_170805_296.JPG: Georges Lemmen The Two Sisters or The Serruys Sisters, 1894
44. IMAEUR_170805_302.JPG: Maximilien Luce La Rue Mouffetard, 1889-90
45. IMAEUR_170805_314.JPG: Theo van Rysselberghe Big Clouds, 1893
46. IMAEUR_170805_319.JPG: Albert Dubois-Pillet Portrait of Monsieur Pool, 1887
47. IMAEUR_170805_325.JPG: Camille Pissarro The House of the Deaf Woman and the Belfry at Eragny, 1886
48. IMAEUR_170805_333.JPG: Lucien Pissarro Interior of the Studio, 1887
49. IMAEUR_170805_339.JPG: X0ray taken in 2013 of Interior of the Studio
50. IMAEUR_170805_342.JPG: Georges Seurat The Channel of Gravelines, Petit Fort Philippe, 1890
51. IMAEUR_170805_352.JPG: Clement Marrier charger, 1900
52. IMAEUR_170805_356.JPG: Edmund Lachenal vase, about 1900
53. IMAEUR_170805_363.JPG: Nymphenburg Porcelain Manufactory two plates, 1899
54. IMAEUR_170805_366.JPG: Exoticism, Japonisme, and Art Nouveau 1860-1900
55. IMAEUR_170805_369.JPG: Alfred Stevens Visit to the Studio, 1891
56. IMAEUR_170805_380.JPG: Joseph Theodore Deck plate, about 1880
57. IMAEUR_170805_384.JPG: The Impressionist Era 1865-1900
58. IMAEUR_170805_387.JPG: Auguste Rodin The Martyr #5, modeled 1885, cast 1960
59. IMAEUR_170805_392.JPG: Jean-Baptiste Carpeaux The Negress, modeled 1868
60. IMAEUR_170805_397.JPG: Gustave Courbet Cascade in a Rocky Landscape, about 1872-74
61. IMAEUR_170805_407.JPG: Theodore Rousseau The Barbizon Plain
62. IMAEUR_170805_411.JPG: Jean-Baptiste-Camille Corot Ville d'Avray, Woodland Path Bordering the Pond, 1872
63. IMAEUR_170805_415.JPG: Claude Monet Charing Cross Bridge, about 1900
64. IMAEUR_170805_422.JPG: Claude Monet The Church of San Giorgio Maggiore, Venice, 1908
65. IMAEUR_170805_425.JPG: Armand Guillaumin The Quai d'Austerlitz, about 1877
66. IMAEUR_170805_433.JPG: Pierre Auguste Renoir Little Girl with a Hat, 1894
67. IMAEUR_170805_438.JPG: Alexandre Charles Guillemot Mars and Venus Surprised by Vulcan, 1827
68. IMAEUR_170805_447.JPG: Giusseppe de Nittia The Road from Brindisi to Barletta, 1872
69. IMAEUR_170805_453.JPG: Camille Pissarro The Banks of the Oise near Pontoise, 1873
70. IMAEUR_170805_458.JPG: William-Adolphe Bourguereau Dream of Spring
71. IMAEUR_170805_464.JPG: Alfred-Francois Delobbe Italian Peasant Family, about 1880
72. IMAEUR_170805_468.JPG: Jean-Leon Gerome The Guard, 1889
73. IMAEUR_170805_475.JPG: Jean-Jacque Feuchere Satan
74. IMAEUR_170805_479.JPG: Jean-Baptiste-Camille Corot Villeneuve-les-Avignon, 1836
75. IMAEUR_170805_483.JPG: Jean-Francois Millet Peasant with a Wheelbarrow, 1848-52
76. IMAEUR_170805_486.JPG: Georges Michel Approaching Storm, about 1820-25
77. IMAEUR_170805_491.JPG: Jules Dalou The Pesant, after a model of 1898-1899
78. IMAEUR_170805_496.JPG: Joseph Mallord William Turner East Cowes Castle, the Seat of J. Nash, Esq., the Regatta Beating to Windward, 1828
79. IMAEUR_170805_508.JPG: Albert-Ernest Carrier-Belleuse Undine, after 1863
80. IMAEUR_170805_511.JPG: Neoclassicism, Romanticism, and Realism 1800-1865
81. IMAEUR_170805_513.JPG: Jean Joseph Xavier Bidauld The Park at Mortefontaine, 1806
82. IMAEUR_170805_520.JPG: Achille Etna Michallon Goatherd opposite the Falls of Tivoli, about 1817-19
83. IMAEUR_170805_524.JPG: Jean Victor Bertin Landscape, 1804
84. IMAEUR_170805_528.JPG: Hubert Robert The Statue
85. IMAEUR_170805_532.JPG: Vicente Lopez y Portana Portrait of Juan Miguel de Grijalba, about 1825
86. IMAEUR_170805_537.JPG: Francisco de Goya Portrait of Felix Colon de Larriategui, 1794
87. IMAEUR_170805_542.JPG: Jean-Honore Fragonard The Joys of Motherhood, about 1754
88. IMAEUR_170805_550.JPG: Canaletto View of the Piazzetta San Marco Looking South, about 1735
89. IMAEUR_170805_555.JPG: Thomas Lawrence Miss Harriet Clements, about 1805
90. IMAEUR_170805_559.JPG: Joseph Mallord William Turner The Fifth Plague of Egypt, 1800
91. IMAEUR_170805_564.JPG: Benjamin West Woodcutters in Windsor Park, 1795
92. IMAEUR_170805_570.JPG: George Romney Anne, Marchioness Townshend, about 1780
93. IMAEUR_170805_574.JPG: Richard Wilson Apollo and the Seasons, about 1768
94. IMAEUR_170805_582.JPG: The Grand Tour and the Roman Art Market
95. IMAEUR_170805_584.JPG: Giovanni Paolo Panini Roman Capriccio: The Colosseum and Other Monuments, 1735
96. IMAEUR_170805_592.JPG: A Latin American Addition to the European Galleries
97. IMAEUR_170805_593.JPG: Carlo Maratti Rebecca and Eliezer at the Well, 1653-54
98. IMAEUR_170805_597.JPG: Valentin de Boulogne The Concert, about 1625
99. IMAEUR_170805_601.JPG: Carlo Innocenzo Carlone Glorification of the Cross, about 1718
100. IMAEUR_170805_607.JPG: Carrado Giaguinto Allegory of Peace and Justice, 1753-54
101. IMAEUR_170805_613.JPG: Erwin Wurm One Minute Forever (Yogurt Cup), 2013
102. IMAEUR_170805_617.JPG: Benjamin Gerritaz, Cuyp Adoration of the Shepherds, about 1645
103. IMAEUR_170805_621.JPG: El Greco and Workshop St. Matthew, about 1610-1614
104. IMAEUR_170805_627.JPG: El Greco and Workshop St. Simon, about 1610-1814
105. IMAEUR_170805_631.JPG: El Greco and Workshop St. Luke, about 1610-1814
106. IMAEUR_170805_638.JPG: Peter Paul Rubens Triumphant Entry of Constantine into Rome, 1620-1622
107. IMAEUR_170805_651.JPG: Titian Portrait of a Man, about 1508-10
108. IMAFD_170805_012.JPG: The following pictures are from the page 2017_IN_IMA_FD IN -- Indianapolis -- Indianapolis Museum of Art -- Family Day: Breath In, Breath Out (18 photos from 2017)
109. IMAFD_170805_041.JPG: About the World Peace Mandala
110. IMAGLA_170805_01.JPG: The following pictures are from the page 2017_IN_IMA_Glass IN -- Indianapolis -- Indianapolis Museum of Art -- Studio Glass (18 photos from 2017)
  Harvey K. Littleton Blue Crown, 1988
111. IMAGLA_170805_05.JPG: The Studio Glass Movement
112. IMAGLA_170805_13.JPG: Daniel Owen Dailey Study, 1989
113. IMAGLA_170805_19.JPG: Erwin Eisch Buddha, 1988
114. IMAGLA_170805_46.JPG: Toots Zynsky Cityscape, 1992
115. IMAGLA_170805_55.JPG: Bertil Vallien Calendarium, 1990
116. IMAGLA_170805_59.JPG: Jay Musler Tray with 3 Goblets, 1990
117. IMAGOL_170805_01.JPG: The following pictures are from the page 2017_IN_IMA_Golf IN -- Indianapolis -- Indianapolis Museum of Art -- Miniature Golf (18 photos from 2017)
118. IMAGOL_170805_06.JPG: Voted the best mini golf at any museum on 38th St.
119. IMALIE_170805_01.JPG: The following pictures are from the page 2017_IN_IMA_Lies IN -- Indianapolis -- Indianapolis Museum of Art -- Exhibit: What Lies Beneath (24 photos from 2017)
  Washington's Birthday, 1878 Charles Baugniet
120. IMALIE_170805_11.JPG: What Lies Beneath
121. IMALIE_170805_30.JPG: The Mysterious Departure, early 1930s Giorgio de Chirico
122. IMALIE_170805_35.JPG: What Lies Beneath
123. IMALIE_170805_51.JPG: What Lies Beneath
124. IMALIE_170805_52.JPG: Temptation of St. Anthony, 1575-1600 After Hieronymus Bosch
125. IMALIE_170805_81.JPG: Every painting has a story under its surface. What Lies Beneath invites our guests to join the Museum's scientists, conservators, and curators for the rare opportunity to look below the visible surfaces of paintings in the IMA's collection. X-ray and infrared imaging technologies allow us to see what the naked eye cannot, revealing clues about the condition, creation, dating, and history of artworks, in order to better understand them. With What Lies Beneath the IMA continues a series of exhibitions called CSI (Conservation Science Indianapolis), focusing on how science and scientific detective work inform the study of art.
126. IMAUSA_170805_001.JPG: The following pictures are from the page 2017_IN_IMA_USA IN -- Indianapolis -- Indianapolis Museum of Art -- American Art (125 photos from 2017)
  American Modernism Gallery
127. IMAUSA_170805_005.JPG: Paul Manship The Flight of Europa, 1925
128. IMAUSA_170805_011.JPG: Georgia O'Keeffe Grey Hills, 1941
129. IMAUSA_170805_024.JPG: Georgia O'Keeffe Jimson Weed, 1936
130. IMAUSA_170805_030.JPG: Georgia O'Keeffe Pelvis with the Distance
131. IMAUSA_170805_035.JPG: William Bradford Whaler and Fishing Vessels near the Coast of Labrador, about 1880
132. IMAUSA_170805_040.JPG: Jasper Francis Cropsey Summer, Lake Ontario, 1857
133. IMAUSA_170805_046.JPG: Asher Brown Durand Landscape with Covered Wagon, 1847
134. IMAUSA_170805_057.JPG: Joshua Shaw The Pioneers, about 1838
135. IMAUSA_170805_064.JPG: Albert Bierstadt Alaska, about 1889
136. IMAUSA_170805_071.JPG: George Inness The Rainbow, about 1878-79
137. IMAUSA_170805_075.JPG: Worthington Whittredge Landscape, about 1886
138. IMAUSA_170805_079.JPG: Worthington Whittredge Summer Pastorale (View of Kallenfels), 1853
139. IMAUSA_170805_083.JPG: Worthington Whittredge Lake Shawangunk, 1863
140. IMAUSA_170805_087.JPG: Edward Moran The Valley in the Sea, 1862
141. IMAUSA_170805_093.JPG: Robert S. Duncanson Loch Long, 1867
142. IMAUSA_170805_096.JPG: Randolph Rogers Ruth Gleaning, modeled 1853, carved 1860
143. IMAUSA_170805_101.JPG: Alfred Thompson Bricher Morning at Grand Manan, 1878
144. IMAUSA_170805_107.JPG: Early American Gallery
145. IMAUSA_170805_112.JPG: Samuel Finley Breese Morse Portrait of Dr. James E.B. Finley
146. IMAUSA_170805_115.JPG: Charles Willson Peale Charles Peale Polk George Washington at Princeton, about 1788
147. IMAUSA_170805_120.JPG: Gilbert Stuart Marianne Ashley Walker, 1799
148. IMAUSA_170805_124.JPG: Gilbert Stuart Portrait of a Family, about 1783-93
149. IMAUSA_170805_132.JPG: William Morris Hunt Ideal Head, about 1865
150. IMAUSA_170805_136.JPG: John Singer Sargent Portrait of James Whitcomb Riley, 1903
151. IMAUSA_170805_140.JPG: Thomas Eakins The Pianist (Stanley Addicks), 1896
152. IMAUSA_170805_147.JPG: Abbott Handerson THayer Margaret McKittrick, about 1903
153. IMAUSA_170805_162.JPG: Painting in America, 1860-1900
154. IMAUSA_170805_165.JPG: Winslow Homer The Boat Builders, 1873
155. IMAUSA_170805_171.JPG: Seymour Joseph Guy Temptation, about 1884
156. IMAUSA_170805_176.JPG: Thomas Mickell Burnham The Young Artist, 1840
157. IMAUSA_170805_184.JPG: George Cochran Lambdin The Consecration, 1865
158. IMAUSA_170805_189.JPG: William Holbrook Beard His Majesty Receives, 1885
159. IMAUSA_170805_195.JPG: William Merritt Chase Still Life with Hummingbird, 1870
160. IMAUSA_170805_203.JPG: Frederic Edwin Church Our Flag, 1864
161. IMAUSA_170805_210.JPG: Mary Shepard Greene Blumenschein Louisa Fletcher, 1912
162. IMAUSA_170805_214.JPG: John Singer Sargent The Olive Grove, about 1910
163. IMAUSA_170805_221.JPG: William Edouard Scott Rainy Night, Etaples, 1912
164. IMAUSA_170805_234.JPG: Joseph Frank Currier Landscape near Dachau, about 1880
165. IMAUSA_170805_239.JPG: Gari Melchers Joan of Arc
166. IMAUSA_170805_246.JPG: Augustus Saint-Gaudens Diana, modeled about 1895, cast 1905
167. IMAUSA_170805_249.JPG: Frank Diverneck Pulling Landscape. 1887
168. IMAUSA_170805_253.JPG: William Merritt Chase Study of a Young Woman, mid-1880s
169. IMAUSA_170805_263.JPG: George Hitchcock Calypso, about 1906
170. IMAUSA_170805_267.JPG: Bolton Coit Brown Chinese Fishing Village, Monterey Bay, California, 1890-1900
171. IMAUSA_170805_273.JPG: James Carroll Beckwith Portrait of William Merritt Chase, 1881-82
172. IMAUSA_170805_277.JPG: Charles Osborne Tiffany & Co. "Goelet" Racing Cup for Schooners, 1885
173. IMAUSA_170805_284.JPG: American Furniture
174. IMAUSA_170805_293.JPG: John Ottis Adams Thornberry's Pasture, Brooklyn, Indiana, 1904
175. IMAUSA_170805_306.JPG: Theodore Clement Steele Winter in Munich, 1885
176. IMAUSA_170805_313.JPG: Through the Seasons with Indiana Artists
177. IMAUSA_170805_315.JPG: Otto Stark A Summer Morning, 1909
178. IMAUSA_170805_319.JPG: American Impressionism
179. IMAUSA_170805_321.JPG: Robert W. Vonnoh Poppies, 1888
180. IMAUSA_170805_325.JPG: Charles Webster Hawthorne Sketch, Hyannisport, 1903
181. IMAUSA_170805_330.JPG: Childe Hassam Cliff Rock -- Appledorn, 1903
182. IMAUSA_170805_336.JPG: John Henry Twachtman A Summer Day, about 1900
183. IMAUSA_170805_340.JPG: Augustus Saint-Gaudens Jules Bastien-Lepage, modeled 1880, cast by 1910
184. IMAUSA_170805_344.JPG: Janet Scudder Louise Hartshorne Moore, 1901 and Alice Jones, 1900
185. IMAUSA_170805_352.JPG: Augustus Saint-Gaudens Robert Louis Stevenson, modeled 1887-1888, cast 1910
186. IMAUSA_170805_357.JPG: American Medals and Portrait Medallions
187. IMAUSA_170805_359.JPG: American Impressionism in the Twentieth Century
188. IMAUSA_170805_361.JPG: Louis Ritman Sunlit Window, 1918
189. IMAUSA_170805_365.JPG: Robert Reid Portrait of Mrs. Robert Reid, undated
190. IMAUSA_170805_370.JPG: Edmund Charles Tarbell Preparing for the Matinee, 1907
191. IMAUSA_170805_374.JPG: William McGregor Paxton Girl Sweeping, about 1912
192. IMAUSA_170805_378.JPG: Frank Weston Benson Sunlight, 1909
193. IMAUSA_170805_383.JPG: John Sharman At the End of the Porch, about 1918
194. IMAUSA_170805_389.JPG: Louis Ritman Early Morning Sunshine, about 1913
195. IMAUSA_170805_393.JPG: Julian Alden Weir Still Life, 1902-1905
196. IMAUSA_170805_399.JPG: Richard Emile Miller Afternoon Tea, 1910
197. IMAUSA_170805_403.JPG: Frederick Carl Frieseke Afternoon -- Yellow Room, 1910
198. IMAUSA_170805_408.JPG: Daniel Garber Quarry at Byram, about 1917
199. IMAUSA_170805_412.JPG: Angel of the Resurrection Illuminated, 1903-04 Frederick Wilson, designer Tiffany Studios, maker
200. IMAUSA_170805_418.JPG: Angel of the Resurrection Illuminated, 1903-04 Frederick Wilson, designer Tiffany Studios, maker
201. IMAUSA_170805_420.JPG: Ruth Pratt Bobbs Girl in White, about 1905-1907
202. IMAUSA_170805_424.JPG: William McGregor Paxton Glow of Gold, Gleam of Pearl, 1906
203. IMAUSA_170805_433.JPG: Cecilia Beaux Portrait of Mrs. Addison C. Harris, 1917
204. IMAUSA_170805_443.JPG: Theodor Groll Washington Street, Indianapolis at Dusk, 1892-95
205. IMAUSA_170805_447.JPG: Urban Realism Gallery
206. IMAUSA_170805_450.JPG: John Sloan Red Kimono on the Roof, 1912
207. IMAUSA_170805_454.JPG: John Wesley Hardrick Dolly and Rach, about 1930
208. IMAUSA_170805_462.JPG: Robert Henri Edna Smith in a Japanese Wrap, about 1915
209. IMAUSA_170805_466.JPG: George Wesley Bellows Portrait of a Boy, 1921
210. IMAUSA_170805_471.JPG: George Benjamin Luks New Year's Shooter, about 1907
211. IMAUSA_170805_477.JPG: Robert Henri Old Johnnie's Wife, 1913
212. IMAUSA_170805_482.JPG: Ernest Lawson April, about 1915
213. IMAUSA_170805_489.JPG: Hugh M. Poe Herman and Verman, 1924
214. IMAUSA_170805_496.JPG: Robert Henri Indian Girl (Julianita), 1917
215. IMAUSA_170805_502.JPG: Daniel Garber Pioneer's House, 1929
216. IMAUSA_170805_506.JPG: Rockwell Kent Winter Landscape, 1909
217. IMAUSA_170805_510.JPG: Victor Higgins New Mexico Calvary (Holy Week Procession), 1922
218. IMAUSA_170805_515.JPG: Arthur B. Davies The Butterfly, 1890s
219. IMAUSA_170805_518.JPG: Arthur Bowen Davies Across the Harbor, 1908
220. IMAUSA_170805_522.JPG: The American Scene Gallery
221. IMAUSA_170805_524.JPG: Reginald Marsh Hauptmann Must Die, 1935
222. IMAUSA_170805_529.JPG: Isabel Bishop Tidying Up, 1941
223. IMAUSA_170805_534.JPG: Norman Rockwell The Love Song, 1926
224. IMAUSA_170805_545.JPG: Constance Richardson Streetlight, 1930
225. IMAUSA_170805_548.JPG: Edward Hopper Hotel Lobby, 1943
226. IMAUSA_170805_555.JPG: Horace Pippin The Blue Tiger, 1933
227. IMAUSA_170805_558.JPG: Augusta Savage Gamin, about 1930
228. IMAUSA_170805_562.JPG: Leon Kroll The Red Tam, 1928
229. IMAUSA_170805_565.JPG: Edmund Brucker Monday Morning, 1945
230. IMAUSA_170805_569.JPG: Sargent Johnson Standing Woman, 1941
231. IMAUSA_170805_572.JPG: Edward Hopper New York, New Haven and Hartford, 1931
232. IMAUSA_170805_576.JPG: Thomas Hart Benton Henry Look Unhitching, about 1942
233. IMAUSA_170805_584.JPG: Cecil F. Head Buildings in Winter, 1935
234. IMAUSA_170805_588.JPG: Joseph Delaney The Artist's Party, 1941-43
235. IMAUSA_170805_596.JPG: John W. Hardrick Little Brown Girl, 1927
236. IMA_170805_01.JPG: The following pictures are from the page 2017_IN_IMA IN -- Indianapolis -- Indianapolis Museum of Art (13 photos from 2017)
237. IMA_170805_05.JPG: Alliance Sculpture Court
238. IMA_170805_16.JPG: Light and Space III, 2008 Robert Irwin
239. IMA_170805_27.JPG: More than a Museum
240. IMA_170805_35.JPG: Monika Sosnowska
241. IMA_170805_42.JPG: Never Odd or Even, 2005 Kay Rosen
242. IMAAFR_120810_002.JPG: The following pictures are from the page 2012_IN_IMA_Africa IN -- Indianapolis -- Indianapolis Museum of Art -- African Art (92 photos from 2012)
243. IMAAFR_120810_011.JPG: POWER Human beings have always tried to understand unseen forces in the world. In most of Africa, no event, whether good or bad, is ever seen as happening due to chance. Most traditional African religions stress the importance of the relationship between the living and powerful deceased ancestors, who are in turn the link to a creator god. In some cultures these ancestors were deified, and over time a polytheistic system developed. Likewise, the caprices of a fickle natural world were embodied in a variety of spiritual forces. Many African objects, including those in this gallery, were created with the intent to control or respond to these many unseen powers.
244. IMAAFR_120810_035.JPG: ANCESTORS The most important traditional religious belief in much of sub-Saharan Africa is that ancestors are crucial to the health and well-being of the living community. Ancestors -- who may include primordial beings, first humans, lineage founders, and the important deceased -- connect people to a supreme being or creator god, with the most recently departed forming the critical bridge between the living and the dead. Images of ancestors, reliquaries, memorials, offerings, and ritual objects are among the works included in this gallery.
245. IMAAFR_120810_121.JPG: LIFE TRANSITIONS All people experience moments that mark important passages from one stage of life to the next -- from childhood to adulthood; through marriage, parenthood, and old age; and to death and the unknown afterlife. Many of these transitions require stressful changes and risks. Much of traditional African art is concerned with the communal desire for all members of society to proceed safely through life transitions. These objects can be symbolic as well as imbued with powers to assist in life's passages. Two of the most culturally significant transitions are from childhood to adulthood and from death to the afterlife. At these times, an individual's successful passage is seen to have a profound impact on the religious, political, physical, and social well-being of the entire community. As a result, the most serious and dangerous rituals in African cultures are often related to initiations into adult status and to funerals. Conducting successful ceremonies during these periods is the primary function of most African masks, many examples of which are shown here. This gallery also includes human figures, distinctive garments, and other objects that relate to rituals, ceremonies, and signs of transitions.
246. IMAAFR_120810_185.JPG: COLLECTING AFRICAN ART Private collectors of art often play a crucial role in the development of museum collections. The vast majority of the works in these galleries were given to the Indianapolis Museum of Art in 1989 by the Indiana businessman Harrison Eiteljorg (1903–1997). Well known for his pivotal collection of American art of the West, Eiteljorg first became interested in African art in 1965. During the several decades he spent assembling this eminent collection, Eiteljorg was guided by Dr. Roy Sieber, a professor at Indiana University who was America's first African art historian and greatly influential in the field. Eiteljong enjoyed the process of collecting, and many works reflect his personal values and interests. Among Eiteljorg's notable contributions to the field of African art was the purchase of works from important early modern African artists.
247. IMAAFR_120810_214.JPG: DESIGN FOR LIVING Like body adornment, how people decorate their personal belongings and the spaces they occupy expresses much about their culture, social roles, and individual tastes. In Africa, where the majority of rural people have traditionally owned only a few items, such as basic utensils, vessels, and small furniture items, their possessions are often designed and decorated with great care. Symbols and patterns on everyday objects are frequently related to religious or social beliefs.
248. IMAAFR_120810_299.JPG: ROYAL ARTS Africa has a number of important kingdoms. As in Europe, Africa's royal courts have been places of extraordinary displays of ritual, ceremony, wealth, and highly developed art forms. However, most African royalty is distinct from that of Europe in that African rulers have often been believed to be divine, and this belief is reinforced through myth and visual symbols. Because of the economic, social, religious, and political power of African monarchs, the most valued human and material resources in any kingdom are controlled by kings or queens. As a result, objects created for royalty are some of the most visually and technically spectacular examples of African art that can be seen in this collection. Precious materials such as gold, bronze, silk, imported beads, and elephant ivory are common in the royal arts of the Asante, Benin, Cameroon Grasslands, Congo, and Yoruba kingdoms.
249. IMAAFR_120810_354.JPG: Ritual skull Probably a monkey
250. IMAAFR_120810_360.JPG: Male figure (nkisi) This figure once held over four hundred iron inserts, most of which have since eroded away, fallen out, or been removed. Each of these metal blades was ritually inserted or removed to activate the figure for a particular spiritual service to its owner.
251. IMAASI_120810_021.JPG: Maya Lin Above and Below, 2007
252. IMAEUR_120810_005.JPG: Thomas Gainsborough Lady in a Mob Cap, c 1763
253. IMAEUR_120810_028.JPG: Joseph Mallard William Turner Nicolas Poussin's Birthplace, 1832
254. IMAEUR_120810_034.JPG: Joseph Mallord William Turner Cochem on the Mosel, 1839
255. IMAEUR_120810_078.JPG: Joseph Mallord WIlliam Turner Self-Portrait, 1791-1793
256. IMAEUR_120810_135.JPG: John Thomas Smith JMW Turner in the British Museum, 1830-1832
257. IMAEUR_120810_141.JPG: Joseph Mallord William Turner Fall of the Trees, Yorkshire, 1825-1826
258. IMAEUR_120810_215.JPG: Thomas Gainsborough Wooded Landscape with Mounted Peasants, 1772
259. IMAEUR_120810_270.JPG: Follower of Hieronymus Bosch Christ in Limbo, c 1575
260. IMAEUR_120810_291.JPG: Hieronymus Bosch Ecce Homo, c 1510
261. IMAFAS_120810_005.JPG: The following pictures are from the page 2012_IN_IMA_Fashion IN -- Indianapolis -- Indianapolis Museum of Art -- Fashion Exhibit (70 photos from 2012)
  Norell Blass Halston Sprouse An American Legacy
262. IMAFAS_120810_009.JPG: Norell Blass Halston Sprouse An American Legacy An American Legacy: Norell Blass, Halston & Sprouse highlights the achievements of celebrated fashion designers Norman Norell, Bill Blass, Halston, and Stephen Sprouse, all of whom hailed from Indiana. This exhibition offers a fresh look at these innovative designers and their lasting influence on American fashion and international style. Ranging in date from the 1940s to the late 20th century, the garments on display represent each designer's unique artistic approach to decorating the human body. Established in 1973 with the donation of five pieces from the estate of Norman Norell, the IMA's American fashion design collection now includes over 500 works from Norell, Blass, and Halston alone. An American Legacy features more than 50 of the most outstanding garments from this collection, augmented with major loans from the archives of Stephen Sprouse. It is the first group exhibition devoted to the work of these groundbreaking and prolific designers.
263. IMAFAS_120810_013.JPG: evening ensemble Designer Halston | American | 1932-1990 Creation date about 1980 Responding to the glitz and glamour of the 1980s, Halston began adding elaborate beading to his graceful evening ensembles, many of which were made in India. This fabulous lavender silk evening ensemble with an exquisite beaded jacket is characteristic of Halston's later designs. The jacket is encrusted with bugle beads and sequins, interspersed with long strands of bugle beads. The hem of the jacket and the cuffs are lined with additional strands of beads, creating a dense fringe. The accompanying floor-length silk halter-top dress, based on the form of a tulip, features a wrapped skirt and matching sash.
264. IMAFAS_120810_027.JPG: day dress Artist Norell, Norman | American | 1900-1972 Creation date about 1957 This lavish summer day dress features a fitted sleeveless bodice with a modified scoop neckline, which is lower in the back than in the front. The neckline and armholes are adorned with appliqu�d cut-out flowers, a feature that was often seen in garments by Chanel and other French couturiers of the time. A crisp single layer petticoat with horsehair supports the bouffant skirt. The hourglass silhouette is reminiscent of Dior's New Look, which he introduced in 1947.
265. IMAFAS_120810_030.JPG: cape suit Artist Norell, Norman | American | 1900-1972 Creation date 1957-1958 This well-tailored cape suit is made up of a tunic-length cape and a matching straight skirt. Norell's mastery of cut and construction is evident in the architectural silhouette of the cape, where arched seams in the front and back of the piece create a sculptural effect. This new type of suit became popular for striking a balance between comfort and elegance, which was a combination highly prized by American women. Its dramatic shape also concealed any imperfections of figure.
266. IMAFAS_120810_033.JPG: day dress Norell, Norman | American | 1900-1972 Creation date 1958 Typical of late ‘50s silhouettes, this two-piece dress has an exaggeratedly loose tunic top that pairs with a below-the-knee pencil skirt. It represents the greatest degree that Norell designs strayed from the shape of the body. The tunic concept was a style that Balenciaga introduced in 1955, and it reoccurred in many seasons. His special cut and construction -- in which the yoke and sleeves were cut in one piece, similar to this tunic top -- were widely copied. The fabric was possibly made by Ascher Studios in England, which supplied many couturiers in the 1950s and 1960s. The two large black buttons in the front and back were also inspired by Balenciaga's purist concepts.
267. IMAFAS_120810_036.JPG: day dress Artist Norell, Norman | American | 1900-1972 Creation date 1960 This dress from the last Traina-Norell collection of 1960 displays a strong Chanel influence. In the spring of 1955, Coco Chanel introduced suits with flapped pockets outlined with piping in a contrasting color. In this dress Norell used black silk shantung piping to outline the front panel, the flaps of the two patched pockets, the collar, and the cuffs to create a dramatic contrast. The dress was worn by Betty Furness during her on-camera appearances at the 1960 presidential conventions -- and in 1967 by Furness's daughter, when she held the Bible during her mother's swearing-in ceremony as the first consumer adviser to President Johnson.
268. IMAFAS_120810_040.JPG: day coat Designer Blass, Bill | American | 1922-2002 Creation date early 1970s Blass was renowned for his precise tailoring, which is exhibited in this perfectly aligned and brilliantly constructed coat. Highly graphic, the design of this striking fabric is reminiscent of the sinuous lines in Art Nouveau. The fabric was custom-made for the coat; the addition of a placket that conceals buttons underneath allows the pattern to flow without interruption.
269. IMAFAS_120810_046.JPG: evening dress Designer Blass, Bill | American | 1922-2002 Creation date Summer 1963 This summer dress, which was worn by the American actress Betty Furness, is remembered as the dress of that year. A best seller, the dress was featured in a Harper's Bazaar advertisement for Maurice Rentner and made available at Henri Bendel, L.S. Ayres in Indianapolis, and Dayton's department store in Minneapolis. Although its silhouette is simple, this dress features a molded bodice and a complex contour waistline -- a design element perfected by the couturier Crist�bal Balenciaga in the late 1950s. The dress exemplifies Blass's commitment to working with only the finest European fabrics. The multicolored printed linen used in this garment came from D. Porthault, a French textile firm specializing in luxury linens that opened its first boutique in New York in 1960.
270. IMAFAS_120810_049.JPG: Cocktail Dress Designer Blass, Bill | American | 1922-2002 Creation date 1981 The cocktail dress, which had disappeared from fashion when pants took over in the 1970s, was revived by designers like Blass in the early 1980s. This feminine summer cocktail dress is beautifully constructed in black and cream georgette. The backless one-shoulder bodice is fitted and secured by a single bias cord extending from the left shoulder to the right back. Throughout his career, Blass's use of ruffles was particularly effective. The dress is adorned with an array of asymmetrical, diagonally positioned bias ruffles that create a whimsical yet sexy look.
271. IMAFAS_120810_054.JPG: Bill Blass evening dress, 1981 Worn by Nancy Reagan
272. IMAFAS_120810_067.JPG: coat Designer Blass, Bill | American | 1922-2002 Creation date about 1968 Blass, perennially inspired by the male wardrobe, tailored this piece in lush machine-embroidered velvet, embellished with silver bugle bead trim. The coat is constructed with a Nehru collar, a component borrowed from Indian fashion, and the fabric used recalls Indian or Mughal influence. Further illustrating the impact of non-Western styles on his design, Blass pads the hemline, which is a construction detail frequently seen in kimonos.
273. IMAFAS_120810_068.JPG: evening ensemble (pajama) Designer Blass, Bill | American | 1922-2002 Creation date 1980s In the 1970s and 1980s, a number of fashion designers produced two-piece ensembles for both day and evening wear that were modeled after 1930s pajamas. The style was simple, but the fabrics they chose were usually interesting and unexpected. In the 1980s Blass reintroduced the use of bright colors -- orange, emerald, hot pink, and yellow -- for formal and day wear. Reminiscent of a Mexican "Hacienda" dress, the blouse and wide-legged pants are constructed in companion prints, both abstract and executed in bold colors. The blouse has wide elbow- length sleeves set in deep armholes with a rounded notch collar. The collar, shoulder seams, and cuffs are adorned with precise pleating.
274. IMAFAS_120810_073.JPG: evening dress Artist Norell, Norman | American | 1900-1972 Creation date 1966 The father of American ready-to-wear, Norman Norell, was celebrated for his well-proportioned suits and clean, precisely tailored silhouettes. He was considered one of the foremost American designers of his time, on a par with the French designers. By 1944, Norell had launched the straight-cut chemise dress, a silhouette that became popular in the 1920s. This cocktail dress is encrusted with glittering rhinestones. Bugle beads are used to create a fringe around the hem of the dress and along the cuffs.
275. IMAFAS_120810_076.JPG: coat Artist Norell, Norman | American | 1900-1972 Creation date 1968 -1970 Beautifully conceived and well-constructed coats were important and reoccurring in Norell's work. One of Norell's classic looks is the cape-collared coat. As was typical of late 1960s styles, the oversized collar resembles a capelet. The shape of the coat follows the contour of the body and calls attention to the upper part of the torso, which is gracefully rounded to stand away from the neck -- a feature that became a hallmark of his designs.
276. IMAFAS_120810_079.JPG: dress Artist Norell, Norman | American | 1900-1972 Creation date 1968-1971 Norell's legendary reputation for perfection is evident in this deceptively simple day dress. The carefully fitted torso and molded waist are accentuated by the dramatic full skirt of blue and beige fabric. With every movement of the wearer, the skirt flares out to create an optically engaging effect. In another example of Norell's precision in cut and construction, the skirt's beige fabric was cut on the straight grain, using a technique called slashing. Navy blue fabric inserts were then added. The lining of the skirt is constructed with blue and beige fabric in a similar manner.
277. IMAFAS_120810_083.JPG: evening coat Artist Norell, Norman | American | 1900-1972 Creation date 1953-1954 In his Fall 1953 collection, which became known as "Cupola" (or Dome), Christian Dior introduced coats and jackets with a wide, rounded barrel shape. This elegant Norell coat reflects the popularity of the Dior style, which was widely copied around the world. Made from Indian brocade of silk and metallic thread, the coat has threequarters- length raglan sleeves and is decorated with jewel-like buttons. The barrel style was short-lived, and by the mid-1950s prominent waistlines were again a strong design feature of dresses and coats.
278. IMAFAS_120810_089.JPG: evening dress Norell, Norman | American | 1900-1972 Creation date Summer 1948 By 1947, with the end of wartime shortages in Europe, French couturiers such as Dior and Balenciaga introduced elegant feminine collections that incorporated yards of fabric. Soft, rounded shoulders replaced masculine- style padded ones, and dresses with long, full skirts and cinched-in waists became all the rage. The skirt of this utterly feminine summer evening dress uses fourteen feet of fabric. The fine cotton organdy is decorated with cotton cording, which is sewn down by hand in a meandering floral motif. The oversized obi-like sash further accentuates the splendor of this dress.
279. IMAFAS_120810_092.JPG: day dress Norell, Norman | American | 1900-1972 Creation date mid-1940s In 1940, after 12 years of designing for Hattie Carnegie, Norell joined clothing manufacturer Anthony Traina and launched one of the most successful fashion lines in the United States. Norell was the first American fashion designer to have his own name on a dress label. This classic shirtwaist dress, executed in a geometric diamond pattern of bold colors, is an early example of Norell's emphasis on designing simple, elegant, and well-made clothes. The short-sleeved fitted bodice with lightly padded shoulders has self-fabric button closures in the front, as well as a side zipper. The neckline is finished with a narrow band that ties in a bow at the front.
280. IMAFAS_120810_103.JPG: Stephen Sprouse dress, 1977
281. IMAFAS_120810_130.JPG: evening dress Designer Attributed to Halston | American | 1932-1990 Creation date 1970s Halston created beautiful caftans that were both comfortable and flattering to a variety of body types. This piece exemplifies Halston's aesthetic by exhibiting his commitment to the use of fine fabrics, expertly devised layering, and distinctive surface treatment. This caftan evening dress is composed of two layers of silk chiffon dyed in a gradated blueish gray to dark blue. The piece sparkles as the wearer moves, owing to the strategically placed rhinestones attached to the different layers.
282. IMAFAS_120810_133.JPG: evening dress Designer Halston | American | 1932-1990 Creation date 1972 In the 1970s Halston and Andy Warhol collaborated on many projects. Warhol based the print of this dress on his series of successful poppy flowers, introduced in the 1960s. The dress is made from a single length of fabric. One end is placed under the arm, the corners joined at the shoulder. The fabric is then wrapped around the back and under the other arm and attached at the shoulder. Seams are at the center front and back.
283. IMAFAS_120810_136.JPG: evening dress and stole Designer Halston | American | 1932-1990 Creation date early 1980s Fueled by the desire to eliminate non-functional details, Halston's minimalist approach to design led him to create clothing without the use of buttons, zippers, or pockets. Constructed of two layers of chiffon, this stunning evening dress closes with one hook on either side of the neckline. The floor-length columnar dress is complemented by a long, dramatic stole that significantly changes the visual effect of the ensemble depending on how it is worn.
284. IMAFAS_120810_140.JPG: evening dress 'Clouds' Designer Halston | American | 1932-1990 Creation date 1982-83 After a visit to Japan in 1980, Halston sought out the Japanese textile designer Reiko Sudo (b. 1953) for collaboration. Sudo's hand-painted designs soon replaced the perennially popular tie-dyed prints that were characteristic of Halston's collections. Taking its inspiration from organic forms and nature, the original cloud print for this dress was hand-painted on silk by Sudo and later reprinted. Iridescent clear sequins cover the entire surface of the dress, giving it a subtle luster and sheen.
285. IMAFAS_120810_143.JPG: evening dress Designer Halston | American | 1932-1990 Creation date about 1977 Halston perfected a technique for cutting and constructing elegant, columnar-style dresses. A signature look, the "tube" dress first appeared in his Spring 1974 collection, and he created multiple variations in future seasons. Upon first glance, Halston's designs seem simple, but his refined construction techniques are quite complex. Cut on the bias, this dress is composed of one length of fabric expertly measured, cut, wrapped, and sewn with a seam spiraling around the body.
286. IMAFAS_120810_145.JPG: evening dress Designer Halston | American | 1932-1990 Creation date about 1971 Inspired by traditional non-western dress such as the sari and the serape, Halston created flowing, shapeless garments that caressed the body. The floor-length serape is tie-dyed in a feather-shaped motif that forms a large arch on the background. The shoulder areas are tie-dyed in an abstract spider web pattern.
287. IMAFAS_120810_148.JPG: evening coat Designer Halston | American | 1932-1990 Creation date late 1970s Halston was greatly influenced by the skill and engineering exhibited in works by the French couturier Madeleine Vionnet and the American fashion designer Charles James. Halston created a number of garments based on and inspired by landmark pieces in James's 1930s collections. Reminiscent of traditional Chinese jackets, this exquisite, made-to-order quilted evening jacket is most likely based on a coat James created in 1937. Halston used fabric cut entirely on the bias and custom quilting to miter padded channels, creating what appears to be a straight-grain garment.
288. IMAFAS_120810_193.JPG: 1775 1770s American War of Independence (1775-1783) The Declaration of Independence (1776) Panniers (side hoops worn as undergarments) were used to extend the width of skirts from side to side. Sleeves were long and narrow and dress were heavily decorated.
289. IMAFAS_120810_196.JPG: 1805 1800-1820s Napoleon crowned himself Emperor in 1804 The American-British War of 1812 (1812-1815) The empire or high waistline rose to just below the bust. Women rarely wore corsets. The chemise dress had a slender and natural silhouette. The sleeves were long tubes or shorts puffs.
290. IMAFAS_120810_203.JPG: 1835 1830-1840s The Industrial Revolution (1780s-1840s) First patent of the sewing machine (1846) The waistline returned to its natural level and corsets with several petticoats were worn. Sleeves ballooned out from the shoulders and reached their greatest volume in 1835. They were known as "gigot" or "leg-o-mutton."
291. IMAFAS_120810_208.JPG: 1860 1850s-1860s Darwin Origin of Species (1859) The American Civil War (1861-1865) Emancipation Proclamation (1862) A dress support known as a cage crinoline, invented in 1850, made skirts large and round. Sleeves evolved into large open cuffs, known as "pagoda."
292. IMAFAS_120810_213.JPG: 1885 1870s-1880s Montgomery Ward (1872), Sears and Roebuck (1887) opened and mail order catalogs were popular The bustle was used to support skirt volume, which was now pushed to the back. Dresses incorporated asymmetrical draping and extensive pleating. Narrow sleeves and high collars became popular.
293. IMAFAS_120810_222.JPG: 1895 1890s Women's suffrage movement Motor cars (1896) The silhouette emphasized femininity. Skirts were conical. Waists were small, collars high and large "leg-o-mutton" sleeves were popular. Bustle pads were used to add a subtle emphasis on the back.
294. IMAFAS_120810_228.JPG: 1905 1900s The Russo-Japanese War (1904-1905) Einstein's Theory of Relativity (1905) Corsets were used to create an S-shaped silhouette. The S-shape emphasized a low, full bust, known as a "mono-bosom," that was pushed forward, and a small waist, with hips that were pushed backwards.
295. IMAFAS_120810_233.JPG: 1912 1910s Ballet Russo (1909) The sinking of the Titanic (1912) World War I (1914-1918) The silhouette was like a lampshade. The corset was loosened and then abandoned. Free-hanging panels and draped layers embellished the silhouette. Fashion was influenced by elements of "Orientalism."
296. IMAFAS_120810_238.JPG: 1925 1920s American women gained voting rights (1920) International Exposition of Modern Industrial and Decorative Art (Art Deco) (1925, Paris) The silhouette was tabular. The waistline dropped to the hips and the bust was flattened. Hemlines gradually rose, reaching the shortest length just below the knew (1926).
297. IMAFAS_120810_243.JPG: 1935 1930s Crash of the US stock market (1929) and Great Depression, World War II (1939-1945) The ideal silhouette was long with broad shoulders. Hemlines dropped to mid-calf or to the floor. Fashion trends included bias-cut fabrics for evening dresses and tailored suits for day wear.
298. IMAFAS_120810_248.JPG: 1955 1950s The Korean War (1950-1953), Rise of US economy, Birth of the Baby Boomers (1946-1964) The feminine silhouette emphasized small shoulders, cinched waists and round hips. Petticoats were used to add volume to skirts. Fashion was influenced by Christian Dior's "New Look" (1947).
299. IMAFAS_120810_255.JPG: 1968 1960s The Vietnam War, American Civil Rights Movement President John F. Kennedy assassinated (1963) Dr. Martin Luther King Jr. assassinated (1968) Fashion was radical and changed quickly. Women began to wear pantsuits and the shift or A-line dress. Blue jeans and t-shirts were also popular.
300. IMAGAR_120810_001.JPG: The following pictures are from the page 2012_IN_IMA_Garden IN -- Indianapolis -- Indianapolis Museum of Art -- Garden (64 photos from 2012)
301. IMAGAR_120810_086.JPG: Oldfields Gate on Woodstock Drive, 1930s: This gate marks one of the entrances to Oldfields, the estate of Indianapolis businessman, collector, and philanthropist JK Lilly Jr. The Oldfields residence was completed by 1913 for Hugh McKennan Landon, a banker who had been vice-president of the Indianapolis Water Company. Landon expanded the estate's landscape and gardens in the 1920s with the aid of landscape architect Percival Gallagher, an associate of the Olmsted Brothers firm of Brookline, Massachusetts. JK Lilly Jr. purchased Oldfields from Landon in 1932.
302. IMAGAR_120810_094.JPG: Oldfields from Woodstock Drive, about 1913
303. IMAGAR_120810_108.JPG: Oldfields, about 1918
304. IMAGAR_120810_178.JPG: The greenhouse from near Woodstock Drive, 1930s
305. IMAGAR_120810_200.JPG: Oldfields residence, 1930s
306. IMAGAR_120810_207.JPG: Path to the Oldfields formal garden, 1930s
307. IMAGAR_120810_241.JPG: Oldfields' formal garden, mid-1920s
308. IMAGAR_120810_282.JPG: Oldfields' allee fountain and sculpture, 1930s
309. IMAGAR_120810_300.JPG: Dora Hare Gordine Mother and Child
310. IMA_120810_024.JPG: Alyson Shotz "Geometry of Light"
311. IMA_120810_054.JPG: Wall Drawing No. 652, 1990 Sol LeWitt
312. IMA_120810_082.JPG: Caroline Marmon Fesler For many years her energy and thoughtful guidance stimulated the growth of the museum and school. The warmth of her spirit and the abundance of her gifts are always present. 1968
313. IMA_120810_099.JPG: Alyson Shotz Movement in Time, 2012
314. IMAANC_120809_01.JPG: The following pictures are from the page 2012_IN_IMA_Ancient IN -- Indianapolis -- Indianapolis Museum of Art -- Ancient Art (12 photos from 2012)
315. IMAASI_120809_02.JPG: The following pictures are from the page 2012_IN_IMA_Asia IN -- Indianapolis -- Indianapolis Museum of Art -- Asian Art (60 photos from 2012)
316. IMAASI_120809_11.JPG: Utagawa Kunisada Ohara Takematsu, 1860
317. IMADEC_120809_001.JPG: The following pictures are from the page 2012_IN_IMA_Decor IN -- Indianapolis -- Indianapolis Museum of Art -- Decorative Arts (41 photos from 2012)
318. IMAEUR_120809_002.JPG: The following pictures are from the page 2012_IN_IMA_Europe IN -- Indianapolis -- Indianapolis Museum of Art -- European Art (298 photos from 2012)
319. IMAEUR_120809_007.JPG: Pablo Picasso Ma Jolie, 1913-1914
320. IMAEUR_120809_032.JPG: Marc Chagall The Flight Into Egypt (or Harlequin Family), about 1943
321. IMAEUR_120809_057.JPG: Henri Matisse Woman Seated in an Armchair, about 1922
322. IMAEUR_120809_080.JPG: Paul Cezanne House in Provence, 1886-1890
323. IMAEUR_120809_085.JPG: Paul Gauguin Landscape near Arles, 1888
324. IMAEUR_120809_091.JPG: Vincent van Gogh Landscape at Saint-Remy, 1889
325. IMAEUR_120809_108.JPG: Paul Gauguin Still Life with Profile of Laval, 1886
326. IMAEUR_120809_117.JPG: Paul Gauguin Christmas Night (The Blessing of the Oxen)
327. IMAEUR_120809_175.JPG: Georges Seurat The Channel of Gravelines, Petit Fort Philippe, 1890
328. IMAEUR_120809_180.JPG: Lucien Pissaro Interior of the Studio, 1887
329. IMAEUR_120809_226.JPG: Mary Cassatt Head of Margot, about 1902
330. IMAEUR_120809_235.JPG: Pierre Auguste Renoir Little Girl with a Hat, 1894
331. IMAEUR_120809_241.JPG: Claude Monet The Church of San Giorgio Maggiore, Venice, 1908
332. IMAEUR_120809_246.JPG: Pierre Auguste Renoir Bouquet in a Vase, 1878
333. IMAEUR_120809_325.JPG: Jean-Baptiste Carpeaux The Negress, modeled 1868
334. IMAEUR_120809_426.JPG: Thomas Gainsborough Wooded Rocky Landscape with Mounted Peasant, Drover and Cattle, and Distant Building, around 1786
335. IMAEUR_120809_434.JPG: Joseph Mallard William Turner The Fifth Plague of Egypt, 1800
336. IMAEUR_120809_439.JPG: Benjamin West Woodcutters in Windsor Park, 1795
337. IMAEUR_120809_445.JPG: George Romney Anne, Marchioness Townshend, about 1780
338. IMAEUR_120809_468.JPG: Carlo Innocenzo Carlone Glorification of the Cross, c. 1718
339. IMAEUR_120809_662.JPG: Rembrandt van Rijn Self-Portrait, c. 1629
340. IMAEUR_120809_688.JPG: Peter Paul Rubens Triumphant Entry of Constantine into Rome, 1620-1622
341. IMAEUR_120809_729.JPG: Titian Portrait of a Man, c 1508-10
342. IMAEUR_120809_788.JPG: Pietro della Vecchia St. Dominic and the Devil, c 1630
343. IMAUSA_120809_002.JPG: The following pictures are from the page 2012_IN_IMA_USA IN -- Indianapolis -- Indianapolis Museum of Art -- American Art (138 photos from 2012)
344. IMAUSA_120809_015.JPG: In Loving Memory of Benjamin Harrison Erected by his wife Mary Lord Harrison 1904
345. IMAUSA_120809_022.JPG: James Carroll Beckwith Portrait of William Merritt Chase, 1881-1882
346. IMAUSA_120809_029.JPG: James Montgomery Flagg Portrait of Booth Tarkington, 1916
347. IMAUSA_120809_048.JPG: John Sloan Red Kimono on the Roof, 1912
348. IMAUSA_120809_062.JPG: George Wesley Bellows Portrait of a Boy, 1921
349. IMAUSA_120809_084.JPG: Rockwell Kent Winter Landscape, 1909
350. IMAUSA_120809_100.JPG: Hugh M. Poe Herman and Verman, 1924
351. IMAUSA_120809_105.JPG: Edward Hopper Hotel Lobby, 1943
352. IMAUSA_120809_114.JPG: Thomas Hart Benton Henry Look Unhitching, about 1942
353. IMAUSA_120809_123.JPG: Norman Rockwell The Love Song, 1926
354. IMAUSA_120809_146.JPG: Cecil F. Head Builders, 1934
355. IMAUSA_120809_165.JPG: Constance Coleman Richardson The Streetlight, 1930
356. IMAUSA_120809_177.JPG: Reginald Marsh Hauptmann Must Die, 1935 The newspaper headline refers to the sentencing of the convicted kidnapper of Charles Lindbergh's baby.
357. IMAUSA_120809_184.JPG: Georgia O'Keeffe Pelvis with Distance, 1943
358. IMAUSA_120809_195.JPG: Georgia O'Keeffe Grey Hills, 1941
359. IMAUSA_120809_200.JPG: Georgia O'Keeffe Jimson Weed, 1936-1937
360. IMAUSA_120809_207.JPG: Paul Manship The Flight of Europa, 1925
361. IMAUSA_120809_254.JPG: Reginald Marsh Merry-Go-Round, 1930
362. IMAUSA_120809_258.JPG: Childe Hassam New York Spring 1931, 1931
363. IMAUSA_120809_264.JPG: Edward Hopper Night Shadows, 1921
364. IMAUSA_120809_293.JPG: Albert Bierstadt Alaska, c 1889
365. IMAUSA_120809_297.JPG: George Inness The Rainbow, c 1878-1879
366. IMAUSA_120809_313.JPG: Edward Moran The Valley in the Sea, 1862
367. IMAUSA_120809_334.JPG: Gilbert Stuart Portrait of a Family, c 1795-1796
368. IMAUSA_120809_340.JPG: Gilbert Stuart Marianne Ashley Walker, 1799
369. IMAUSA_120809_347.JPG: John Singer Sargent Portrait of James Whitcomb Riley, 1903
370. IMAUSA_120809_351.JPG: Thomas Eakins The Pianist (Stanley Addicks), 1896
371. IMAUSA_120809_358.JPG: Augustus Saint-Gaudens Portrait of Robert Louis Stevenson, modeled 1887-1888, cast 1910
372. IMAUSA_120809_382.JPG: Frederic Edwin Church Our Flag, 1864
373. IMAUSA_120809_399.JPG: Julian Scott A Break: Playing Cards, 1881
374. IMAUSA_120809_405.JPG: Thomas Mickell Burnham The Young Artist, 1840
375. IMAUSA_120809_414.JPG: Winslow Homer The Boat Builders, 1873
376. IMAUSA_120809_435.JPG: Gari Melchers Joan of Arc
377. IMAUSA_120809_561.JPG: Childe Hassam Cliff Rock -- Appledore, 1903
378. IMA_120809_02.JPG: The following pictures are from the page 2012_IN_IMA IN -- Indianapolis -- Indianapolis Museum of Art (34 photos from 2012)
  Robert Indiana Love, 1970
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Wikipedia Description: Indianapolis Museum of Art
From Wikipedia, the free encyclopedia

The Indianapolis Museum of Art (known colloquially as the IMA) is an encyclopedic art museum located in Indianapolis, Indiana, United States. The museum, which underwent a $74 million expansion in 2005, is located on a 152-acre (0.62 km2) campus on the near northwest area outside downtown Indianapolis, northwest of Crown Hill Cemetery.

The Indianapolis Museum of Art is the ninth oldest[note 1] and eighth largest encyclopedic art museum in the United States.[note 2] The permanent collection comprises over 54,000 works, including African, American, Asian, and European pieces. Significant areas of the collection include: Neo-Impressionist paintings; Japanese paintings of the Edo period; Chinese ceramics and bronzes; paintings, sculptures, and prints by Paul Gauguin and the Pont-Aven School; a large number of works by J. M. W. Turner; and a growing contemporary art collection. Other areas of emphasis include textiles and fashion arts as well as a recent focus on modern design.

In addition to its collections, the museum consists of 100 Acres: The Virginia B. Fairbanks Art and Nature Park; Oldfields, a restored American Country Place era estate once owned by Josiah K. Lilly, Jr.; and restored gardens and grounds originally designed by Percival Gallagher of the Olmsted Brothers firm. The IMA also owns the Miller House, a Mid-Century modern home designed by Eero Saarinen and located in Columbus, Indiana. The museum's holdings demonstrate the institution's emphasis on the connections among art, design, and the natural environment.

Founded in 1883 by the Art Association of Indianapolis, the first permanent museum was opened in 1906 as part of the John Herron Art Institute. In 1969, the Art Association of Indianapolis changed its name to the Indianapolis Museum of Art, and in 1970 the museum moved to its current location at Michigan Road and 38th Street north of downtown Indianapolis. Among the Art A ...More...
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