BGuthrie Photos: VA -- Norfolk -- Chrysler Museum of Art -- Painting (pre-18th Century)

VA -- Norfolk -- Chrysler Museum of Art -- Painting (pre-18th Century):

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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. CHRYP1_150531_050.JPG: The Rise of Humanism: Take a moment to look around. The cast of characters has begun to change. The biblical figures who dominated the art of the Middle Ages are still here, but they are joined by the gods and heroes of classical Greece and Rome, like the hero Achilles on your left and the god of music Apollo on your right. Born in Italy, the Renaissance inspired a new breed of European thinker whose interest interest in the "divine letters" of the Bible expanded to include the "humane letters" -- the history, literature, and philosophy -- of the pagan past. Artists embraced this new "humanist" approach, not only depicting classical themes, but also forging a new style inspired by the harmony and balance of classical art. This style bloomed in early 16th-century Italy with the High Renaissance masterpieces of Leonardo da Vinci, Raphael, and Michelangelo, and it quickly spread throughout Europe. The classical equilibrium of High Renaissance art was short-lived. By the 1530s, artists began to explore a more complex aesthetic of exaggerated grace and deliberate artifice. That style, called Mannerism, remained in force to the end of the 16th century.
2. CHRYP1_150531_067.JPG: Giovanni de Lutero, called Dosso Dossi Learned Man of Antiquity, ca 1540
3. CHRYP1_150531_085.JPG: The Triumph of the Church: Why are so many figures here looking up? Because they are in the throes of miraculous visions from above. Consider Bernardo Strozzi's painting of Saint Justina. At the terrifying moment of her martyrdom, she is euphoric, her eyes fixed on an angel descending from the clouds to reward her for her faith. Similar emotional images abound in this gallery and the next, as saints and other devoted mortals gaze heavenward, serving as crucial links between ourselves and the divine. Dramatic works like these typify the art of the Catholic Church in the 1600s and reflect its newfound sense of religious zeal. After decades of struggle against Protestantism, the Church of Rome emerged with renewed confidence and vigor, and it promoted a robust artistic style that conveyed its sense of grandeur and triumph. As seen in these galleries, that style, known as the Baroque, came to dominate the art of Catholic Europe.
4. CHRYP1_150531_117.JPG: The Artist as Specialist: Responding to the taste of the Catholic Church and well-educated patrons, earlier European artists devoted themselves to lofty subjects from the Bible, history, and classical myth. But by 1600, artists had broadened their repertoire to include subjects reflecting aspects of everyday life. The desire to create portraits, genre scenes, landscapes, and still lifes came in part from the emerging middle class, who demanded art that reflected their lives. As subject matter diversified, many artists began to specialize in one or more of these secular themes, hoping to carve out a place for themselves in an increasingly competitive market. Some, like Nicolas de Largilliere, became famous for their portraiture, while others, like Pierre Patel (nearby on the left), gained renown as landscape painters. The results of this specialization are evident here, as these artists became masters of new subjects.
5. CHRYP1_150531_143.JPG: Peter Paul Rubens Portrait of a Man with Sword, ca 1598-99
6. CHRYP1_150531_176.JPG: The Progress of Love: A farm boy flirts with a kitchen maid. Bacchus encounters a sleeping nymph and instantly falls in love. Psyche struggles to prove her devotion to Cupid, the messenger of love. Images of love about throughout this gallery, reflecting a taste for romance that permeates much of European art in the 1700s. This was especially true in France, where artists associated with the court of the royal Regent Philippe d'Orleans (1674-1723) devised a lively, witty style devoted above all to the theme of love. Called Rococo, this lighthearted, delicate, and slyly sensual style was given visible form by brilliant painters, Francois Boucher and Charles-Joseph Natoire among them. It became the dominant artistic style of King Louis XV's reign (1715-1774) and the preferred manner of his chief mistress, the pleasure-loving Madame de Pompadour.
7. CHRYP1_150531_199.JPG: Nicolas Regnier Saint Sebastian, ca 1620
8. CHRYP1_150531_203.JPG: Anthony van Dyck Saint Sebastian, ca 1623
9. CHRYP1_150531_208.JPG: Restoration Work in Progress: Although nearly 400 years old, this painting of Saint Sebastian by the Flemish artist Anthony van Dyck is in remarkably good condition. The painting was last cleaned and restored, however, almost 60 years ago. Over time is has accumulated a layer of grime, and the protective layer of varnish has become brown and murky. TO give our visitors the opportunity to watch the cleaning and restoration of this painting, our conservators Mark Lewis and Ellis Nigro will carry out this project in the gallery. If you want to learn more about conservation and watch this dramatic transformation take place, join us here on select Fridays.
10. CHRYP1_150531_233.JPG: Giovanni Battista Beinaschi Neptune and Nerids, mid 1600s
11. CHRYP1_150531_245.JPG: Pieter Mulier the Younger, called Tempesta Landscape with the Journey of Rebekah, ca 1687-90
12. CHRYP1_150531_266.JPG: The Age of Revolution: The French Revolution (1789-99) ended centuries of royal rule, but ushered in a turbulent era when democratic efforts often collapsed under despotic rulers. It also introduced a new artistic style, one that rejected the flamboyant art associated with the monarchy for a more austere and morally uplifting manner inspired by the art and culture of ancient Greece and Rome. Artists once again drew their subjects from pagan history and myth, clothing figures not in contemporary dress, but in broad swaths of classical drapery. Europe's sculptors, and the Americans they inspired, created works that evoked the classical balance and noble simplicity of ancient statuary, often in pure white marble. As seen throughout this gallery, the new style, called Neoclassicism, celebrated the order and rationality associated with ancient civilizations and brought its glory to bear on the chaos of the 19th-century world.
13. CHRYP1_150531_273.JPG: Giovsnni Paolo Panini The Piazza Farnese Decorated for a Celebration in Honor of the Marriage of the Dauphin, 1745
14. CHRYP1_150531_290.JPG: Benjamin West Mary, Wife of Henry Thompson of Kirby Hall, as Rachel at the Well, 1775
15. CHRYP1_150531_294.JPG: The Blessings of Liberty: Art in the Early United States: Although Virginia's 1776 Declaration of Rights set the state on a path toward political independence from Great Britain, creating a distinctly American artistic identity was not simple. Despite guarantees for freedom of religion, press, property ownership, and other "blessings of liberty," European taste continued to dominate the creative spirit of the young republic. For example, the Norfolk Mace, topped by an elaborate crown, symbolized British rule and tradition while also honoring and helping unify a new local community. This gallery shows that art-making in North America around the time of the Revolutionary War was a complicated international process. While the wealthy imported fine objects from abroad, painters and craftsmen on this side of the Atlantic strove to achieve equal skill and sophistication. Amid this variety of artworks, furnishings, and manufactured goods, American families faced exciting but complex choices as they determined the unique visual character of their households.
16. CHRYP1_150531_296.JPG: Charles Peale Polk George Washington, ca 1791-93
17. CHRYP1_150531_300.JPG: Chinese copy after John James Barralet and Jean Simon Chaudron The Apotheosis of Washington, ca 1802
18. CHRYP1_150531_306.JPG: Gilbert Stuart American, 1755-1828 Captain Skeffington Lutwidge
19. CHRYP1_150531_315.JPG: Facing Prosperity: The Evolution of American Portraiture: Since colonial times, Americans have used portraits to communicate family ties and social status. By the early 1800s, economic growth gave a wide spectrum of the population the means to decorate their homes with familiar faces and to show off their finest apparel and accessories. Sophisticated artists with European training catered to the portrait cravings of the urban elite, while ambitious self-taught painters offered more affordable services in small towns throughout the country. The variety of faces in this gallery shows that portrait painting was a booming business across antebellum America, from New England to New Orleans. The best of these not only present handsome and recognizable likenesses, but also offer clues to the sitters' ancestry, professions, political allegiances, religious values, and sense of style. Even as photography studios spread across the United States in the 1840s, robust demand for painted portraits helped the genre remain a cornerstone of the American art market throughout the century.
20. CHRYP1_150531_321.JPG: Thomas Gainsborough Miss Montagu, ca 1774
21. CHRYP1_150531_325.JPG: Wife and Children of Major Marsh and Servants, ca 1790 American
22. CHRYP2_150531_001.JPG: Idelle Weber Color Lesson VI, 1983-1984
23. CHRYP2_150531_006.JPG: Franz Kline Hot Jazz, 1940
24. CHRYP2_150531_011.JPG: Roy Lichtenstein Live Ammo (Ha! Ha! Ha!), 1962
25. CHRYP2_150531_017.JPG: Technique: Copying and Reworking: Cartoons and comic books served as the source material for Roy Lichtenstein beginning in 1961. Contrary to popular belief, however, Lichtenstein's work (along with work by Tom Wesselmann and James Rosenquist) relies on careful draftsmanship and original drawings. Never copying a source image in its entirety, Lichtenstein combined elements from several comic strips to produce his final compositions. Only after working out his images through small sketches did he enlarge them for his monumental canvases. To do so, Lichtenstein began using an opaque projector the year after he completed the Chrysler's painting. Even then, he only projected his own sketches onto the larger canvas, never the source images.
26. CHRYP2_150531_021.JPG: Al Capp Daisy Mae Got L'il Abner, 1974 Pop artists blurred the line between commercial art and fine art. While artists like Roy Lichtenstein and Andy Warhol drew inspiration from comic books and advertising imagery, the comic strip artist Al Capp produced large-scale paintings and prints base don his popular Li'l Abner. Created in 1934, Capp's comic strip centered on the unusual residents of the imaginary town of Dogpatch, Kentucky, and the exploits of the dashing, yet unintelligent Li'l Abner. This scene depicts one of the most talked about events of 1952 (it made the cover of Life magazine that year): L'il Abner's marriage to Daisy Mae.
27. CHRYP2_150531_029.JPG: Andy Warhol Portrait of Jack Tanzer, 1976
28. CHRYP2_150531_033.JPG: Robert Indiana Fire Bridge, 1964-65
29. CHRYP2_150531_038.JPG: Tom Wesselmann Bedroom Painting, No. 15, 1968-70
30. CHRYP2_150531_042.JPG: Joan Semmel Corner Elbow, 1977
31. CHRYP2_150531_045.JPG: Chuck Close Phil Crosshatch, 2010
32. CHRYP2_150531_053.JPG: Contemporary Art and Identity: Several works in this gallery explore racial, sexual, and cultural identity. Displaying a range of artistic techniques, strategies, and aesthetic choices, these works examine both the strength and vulnerability of the human body, and they investigate how race, gender, and sexuality have shaped politics and personal identity. These ideas grew out of the social upheavals of the 1960s and the radical reconsideration of history as a progressive narrative led by white men. Leading artists from that period, including Joan Semmel, Benny Andrews, and Elizabeth Catlett, can be found throughout this gallery. Their provocative explorations of race and gender cleared the way for later artists who use irony and satire to create edgy works, as seen with Robert Colescott's Saturday Night Special (I Seen It On TV). Other artists, including Terry Adkins and Jeffrey Gibson, draw on related themes, but use abstract forms to reference personal experiences. In every case, a range of works in this gallery challenge us to think differently about who we are.
33. CHRYP2_150531_056.JPG: Robert Colescott Saturday Night Special (I Seen It On TV), May 1988
34. CHRYP2_150531_061.JPG: Alex Prager Face in the Crowd #10, 2013
35. CHRYP2_150531_065.JPG: Whitfield Lovell Freedom, 2001
36. CHRYP2_150531_072.JPG: Martin Wong Down for the Count, 1985
37. CHRYP2_150531_079.JPG: Elizabeth Murray Stirring Still, 1997
38. CHRYP2_150531_086.JPG: William Louis Sonntag Massanutten Mountains, Shenandoah River, 1865
39. CHRYP2_150531_094.JPG: John Wesley Jarvis Commodore Daniel Todd Patterson, ca 1815
40. CHRYP2_150531_122.JPG: Edward Hicks The Declaration of Independence, 1776
41. CHRYP2_150531_124.JPG: Edward Hicks Washington at the Delaware, ca 1849
42. CHRYP2_150531_134.JPG: Asher Brown Durand God's Judgment Upon Gog, ca 1851-52
43. CHRYP2_150531_145.JPG: Grand Ambitions: American Storytelling in Paint and Marble: Like the angel Gabriel in Thomas Cole's giant gospel painting, American artists in the 1800s had big stories to share. The opening of this country's first art academies and museums encouraged them to tackle complex subjects from history, literature, and religion. While newspaper critics analyzed the moral lessons within each narrative, a growing population of well-read, middle-class citizens admired these pictures and statues for their richness of detail. These works encouraged viewers' senses and encouraged them to linger and imagine the emotions of each character. To achieve new levels of skill and sophistication, Cole and his most ambitious colleagues studied in Europe, especially Italy, following in the footsteps of the Old Masters. While some sculptures chose to settle abroad, many painters returned to the United States to explore domestic subjects and scenes from daily life. This gallery unites the foreign and the familiar to show the variety of tales that nurtured Americans' appetite for art in the years leading up to the Civil War.
44. CHRYP2_150531_148.JPG: George Caleb Bingham Washington Crossing the Delaware, 1856-71
45. CHRYP2_150531_158.JPG: Thomas Cole The Angel Appearing to the Shepherds, 1833-34
46. CHRYP2_150531_170.JPG: John George Brown Pull for the Shore, 1878
47. CHRYP2_150531_185.JPG: James Edward Buttersworth Columbia, Dauntless, and Sappho Rounding the Sandy Hook Lightship, 1871
48. CHRYP2_150531_194.JPG: Albert Bierstadt Minnehaha Falls, 1886
49. CHRYP2_150531_201.JPG: This Land is Our Land: Art and Nature in the Nineteenth Century: Mount Washington, seen towering in the background of Albert Bierstadt's The Emerald Pool, is more than a geological landmark. Originally called Agiocochook by the Abenaki Indians, the peak was renamed to honor General George Washington in 1784, associating it with the newly independent nation's democratic ideals. As surveyors, soldiers, and settlers explored the continent in the 1800s, paintings and photographs helped Americans lay claim to Mount Washington and every corner of the vast continent. Images of the land symbolized the young and rapidly growing nation's seemingly limitless potential. But national ambitions -- seen in the creation of new farms, cities, factories, and mines -- soon threatened many scenic spaces. Meanwhile, visible borders cut across fields and forests, making uncomfortable divisions between rich and poor, free and enslaved, and settler and native. As concerns rose about these tense realities, pristine images like those in this room became increasingly popular -- at once celebrating the country's beauty and power while recognizing the land's fragility.
50. CHRYP2_150531_218.JPG: Worthington Whittredge The Woods of Ashokan, 1886
51. CHRYP2_150531_224.JPG: Jasper Francis Cropsey The Old Mill, 1876
52. CHRYP2_150531_232.JPG: Thomas Hill Early Morning, Yosemite Valley, 1884
53. CHRYP2_150531_236.JPG: Winslow Homer Song of the Lark, 1876
54. CHRYP2_150531_241.JPG: George Fuller Turkey Pasture in Kentucky, 1878
55. CHRYP2_150531_246.JPG: Winslow Homer Girl with a Four-Leaf Clover, ca 1875
56. CHRYP2_150531_249.JPG: Winslow Homer Farmer with a Pitchfork, ca 1874
57. CHRYP2_150531_254.JPG: Samuel F.B. Morse Mrs. Robert Young Hayne (Rebecca Brewton Motte Alston), ca 1820
58. CHRYP2_150531_259.JPG: Harriet Cany Peale Ideal Portrait, ca 1843-48
59. CHRYP2_150531_263.JPG: Charles Bird King John C. Calhoun, Secretary of War, 1820
60. CHRYP2_150531_267.JPG: Rembrandt Peale Portrait of a Lady (Harriet Cany Peale), ca 1840
61. CHRYP2_150531_275.JPG: Timothy H. O'Sullivan McLean's House, Appomattox Court-House, Virginia, Where the Capitulation was Signed between Generals Grant and Lee, April 1865
62. CHRYP2_150531_282.JPG: Residence of CSA President Jefferson Davis, Richmond, Virginia, 1865
63. CHRYP2_150531_290.JPG: Reunion and Refinement: American Art After the Civil War: In his first Inaugural Address in 1861, President Abraham Lincoln appealed for Americans to keep the nation intact by nurturing their noblest qualities. Over the following decades, art helped heal the wounds of the Civil War and rebuild the the United States as one family. Some artists, such as Eastman Johnson, bravely explored the new challenges of emancipation and immigration. Others used beauty and sentiment to polish the tastes and character of the American people and to present this period as an age of wealth and social harmony. In domestic settings, art had the power to strengthen the bonds of family and citizenship, simultaneously reconstructing and refining the nation. Prosperity and technology made handsome paintings, sculpture, and silver abundant and affordable. Some households selected decor purely for its aesthetic qualities, "art for art's sake." Others valued depictions of everyday situations that conveyed familiar moral messages.
64. CHRYP2_150531_293.JPG: John George Brown Waiting for William, 1879
65. CHRYP2_150531_297.JPG: John La Farge Still Life with Eggplant and Flowers, 1865
66. CHRYP2_150531_305.JPG: Thomas Hovenden Dem Was Good Ole Times, 1882
67. CHRYP2_150531_315.JPG: Eastman Johnson Fiddling His Way, 1866
68. CHRYP2_150531_318.JPG: Eugene Fromentin Arab Falconer, 1863
69. CHRYP2_150531_323.JPG: Sir William Beechey Portrait of Sir Thomas Livingstone Mitchell, ca 1838
70. CHRYP2_150531_331.JPG: Eugene Delacoix Arab Horseman Giving a Signal, 1851
71. CHRYP2_150531_340.JPG: Franz von Stuck Beethoven, ca 1900
72. CHRYP2_150531_346.JPG: Gustave Dore Dante's Inferno: The Third Circle of Hell (Gluttons), 1861
73. CHRYP2_150531_352.JPG: The Romantic Spirit: Exotic visions of far-flung places bathed in brilliant light and color. Anguished images of men and women caught in the grip of despair. Spirited depictions of wild animals and untamed nature. These are the subjects of the Romantics -- artists in the 1800s who proclaimed the superiority of intense emotions, vibrant colors, and their uniquely inspired artistry. Motivated by the revolutionary spirit then taking hold of much of Europe, they abandoned traditional artistic subjects, creating dramatic images drawn from recent history as well as from medieval and contemporary literature. Their quest for novel experiences and exotic subjects led many to Morocco, Egypt, and the Holy Land. Others explored the internal landscapes of the mind, charting a world of gauzy fantasies and dark dreams.
74. CHRYP2_150531_356.JPG: Leon-Jean-Bazile Perrault The Orphans, 1888
75. CHRYP2_150531_361.JPG: Hugues Merle The Lunatic of Etretat, 1871
76. CHRYP2_150531_373.JPG: Sir Joseph Noel Paton Home, ca 1855-56
77. CHRYP2_150531_377.JPG: Charles-Emile Jacque Shepherd and His Flack, 1880
78. CHRYP2_150531_395.JPG: Briton Riviere War Time, 1874
79. CHRYP2_150531_400.JPG: Charles-Francois Daubigny The Beach at Villerville at Sunset, 1873
80. CHRYP2_150531_406.JPG: The Rural Ideal: The lives of country folk living in harmony with the land became popular subjects for artists after dramatic political changes swept across the European continent. In France in particular, the Revolution of 1848 toppled King Louis Philippe and unleashed a wave of populist feeling among artists. Turning away from the cosmopolitan elite, they found new heroes in the country's hard-working folk. The peasant became the embodiment of French virtues -- honesty, industriousness, and piety -- that seemed to have vanished in the gritty streets of urban Paris. The 1848 Revolution also marked the advent of a new artistic style, Realism, which aimed for direct, unadorned vision of "modern truth." Some of these artists settled in the village of Barbizon deep in the Fountainebleau forest, where they discovered an ideal outlet for their earthly style in scenes of rural life and the landscape. Other artists in Great Britain looked to the country's yeomen -- farmers, shepherds, and soldiers -- to find an abiding image of national virtue.
81. CHRYP2_150531_409.JPG: Theodore Rousseau A Clearing in the Forest of Fountainbleau, ca 1860-62
82. CHRYP2_150531_413.JPG: Daniel Ridgway Knight Harvest Scene, 1875
83. CHRYP2_150531_428.JPG: The Academy and the True Style: From Bible stories and classical myths to romantic images of Egypt and Japan, late 19th-century French art offered a dazzling range of subjects. Its style, however, was often uniformly conservative. Even as late as the 1880s, the Academies des Beaux-Arts upheld the tenets of Neoclassicism as France's "True Style" -- a grand tradition that tied the modern country to the artistic glory of its pre-Revolutionary past. The nation's most prestigious arts schools continued to conform to these standards, teaching students to make tightly polished, realistic works based on meticulously rendered drawings and classical ideals. These academic artists often controlled the Salon -- the Academy's annual public exhibition of contemporary art -- and excluded work by the Impressionists and other so-called radicals. Scholars once viewed the history of the era as a bitter battle between the Academy's hardline conservatives and progressives like the Impressionists, with the latter emerging triumphant at century's end. Today we see it more as a highly creative give-and-take between the powerful forces of tradition and innovation -- a rich commingling of influences that laid the groundwork for the modern art of our time.
84. CHRYP2_150531_430.JPG: Adolphe William Bouguereau Orestes Pursued by the Furies, 1862
85. CHRYP2_150531_446.JPG: Jules-Joseph Lefebvre Une Japonaise (The Language of the Fan), 1882
86. CHRYP2_150531_467.JPG: Thomas Couture Pierrot the Politician, 1857
87. CHRYP2_150531_474.JPG: Ernest Lawson Harlem River, Winter, 1910
88. CHRYP2_150531_481.JPG: Edward Willis Redfield The Road to Pleasantville, ca 1924
89. CHRYP2_150531_489.JPG: John Henry Twachtman October, ca 1901
90. CHRYP2_150531_492.JPG: Frederick Carl Frieseke The Window, ca 1915
91. CHRYP2_150531_496.JPG: Frank Weston Benson The Landing, 1904
92. CHRYP2_150531_500.JPG: Maurice Brazil Prendergast Figures in a Park, 1914
93. CHRYP2_150531_505.JPG: Joseph Rodefer DeCamp Farewell, ca 1910
94. CHRYP2_150531_509.JPG: Susan Watkins Marguerite, ca 1906
95. CHRYP2_150531_516.JPG: Robert Henri Gypsy with Guitar (Gitano), 1906
96. CHRYP2_150531_523.JPG: George Benjamin Luks The Wedding Cake, ca 1910-15
97. CHRYP2_150531_536.JPG: George Wesley Bellows Emma at the Piano, 1914
98. CHRYP2_150531_541.JPG: George Wesley Bellows The Brook, 1909
99. CHRYP2_150531_545.JPG: Leon Kroll In the Hills, 1920-21
100. CHRYP2_150531_553.JPG: Gari Melchers MacPherson and MacDonald, 1918
101. CHRYP2_150531_558.JPG: John Singer Sargent The Countess of Lathom, 1904
102. CHRYP2_150531_563.JPG: Courting Modernity: American Art around 1900: In 1904, John Singer Sargent's portrait of the Countess of Lathom hung in splendor at Lathom Hall, one of England's finest country estates. Like his affluent patrons, Sargent enjoyed a cosmopolitan lifestyle and transatlantic travel. Many American artists of his generation, including women, trained in European academies and with the French Impressionists. Aristocrats and captains of industry financed their careers. Such elegance and indulgence often reached extremes, and by 1925 the Lathom heirs were bankrupt and forced to sell their home and art collection. Amid these shifting fortunes, some artists began rejecting refined subjects in favor of the everyday world of modern city life. As tensions between high tastes and unpleasant realities grew, American painters and sculptors developed unique visual styles and public personas to compete within a vibrant and diverse art market.
103. CHRYP2_150531_566.JPG: William Merritt Chase Susan Watkins, ca 1914
104. CHRYP2_150531_571.JPG: Francisco Gras The Return from Mass, Valencia, Spain, ca 1920
105. CHRYP2_150531_575.JPG: Paul Signac The Lagoon of Saint Mark, Venice, 1905
106. CHRYP2_150531_580.JPG: Maximilien Luce The Footbath, 1894
107. CHRYP2_150531_589.JPG: Henri Edmond Cross Excursion, 1895
108. CHRYP2_150531_598.JPG: Impressionism:
  Do not paint too much after nature. Art is an abstraction; derive this abstraction from nature while dreaming before it, and think more of the creation which will result... -- Paul Gauguin
  When Paul Gauguin wrote these words to a fellow artist, he espoused the core ideas of Impressionist and Post-Impressionist art. Until the late 19th-century, state-supported academies regulated artistic taste in France, preferring classically inspired scenes rendered in a polished, realistic style. The Impressionists rejected these standards with their depictions of landscapes and modern daily life. Especially interested in fleeting moments and in the changing effects of light, they developed a new style by painting from direct observations in pure, bright colors, and by adopting unusual forms and perspectives, often inspired by Japanese prints. By the time the Impressionists organized their first independent exhibition in 1874, a new generation already saw their work as outdated. Although this new group, called the Post-Impressionists, maintained the Impressionists' belief in the artificiality of pictures, they dismissed the spontaneity and naturalism of their work. Instead, some sought to include more symbolism in their paintings while others explored new theories of structure and color meant to increase their emotional and aesthetic effect. This room is filled with the results of these new and, at the time, revolutionary attitudes.
109. CHRYP2_150531_612.JPG: Susan Watkins Lady in Yellow, ca 1906
110. CHRYP2_150531_617.JPG: James Jacques Joseph Tissot The Artists' Wives, 1885
111. CHRYP2_150531_629.JPG: Claude Monet View of Vernon, 1886
112. CHRYP2_150531_636.JPG: Edgar Degas Dancer with Bouquets, ca 1895-1900
113. CHRYP2_150531_645.JPG: Frederick Childe Hassam At the Florist, 1889
114. CHRYP2_150531_651.JPG: Mary Cassatt The Family, ca 1892
115. CHRYP2_150531_658.JPG: Henri Fantin-Latour Portrait of Leon Maitre, 1886
116. CHRYP2_150531_662.JPG: Alfred Sisley Apple Trees in Flower, 1880
117. CHRYP2_150531_667.JPG: Eugene Boudin Beached Boats at Berck, 1879
118. CHRYP2_150531_672.JPG: Paul Cezanne Bather and Rocks, ca 1860-66
119. CHRYP2_150531_677.JPG: Johan Barthold Jongkind Along the Ourcq, 1866
120. CHRYP2_150531_682.JPG: Camille Pissarro The Maidservant, 1875
121. CHRYP2_150531_689.JPG: Edouard Manet The Little Cavaliers, ca 1860
122. CHRYP2_150531_706.JPG: F. Luis Mora Window Shopping, 1934
123. CHRYP2_150531_716.JPG: Beyond the Tangible: The Roots of Abstraction in American Art: Avant-garde styles like Cubism and Surrealism emerged from Europe in the early 1900s, shocking American audiences from their first tastes of abstraction. Admiring the work of Cezanne, Matisse, and Picasso, American painters and sculptors began experimenting with flatness, color and rhythm. "Abstract art," wrote painter Ashile Gorky, "enables the artist to perceive beyond the tangible, to extract out of the finite. It is the emancipation of the mind. It is an explosion into unknown areas." The freedom of abstraction challenged each American artist to find a uniquely personal blend of vision and imagination. Using traditional categories like still life, landscape, and portraiture, they invented new worlds in which objects, animals, and machines often served as symbols or studies in pure form. By challenging the rules of representation and blurring the lines between reality and dreams, these artists opened the door for even more radical images, ideas, and questions, as found in the modern and contemporary galleries.
124. CHRYP2_150531_718.JPG: (top) Thomas Hart Benton The Arts of Life in America: Unemployment, Radical Protest, Speed, 1932 (bottom) Walt Kuhn American Beauty, 1934
125. CHRYP2_150531_725.JPG: Joseph Christian Leyendecker Sculling Crew, 1932
126. CHRYP2_150531_730.JPG: Thomas Hart Benton Picnic, 1944
127. CHRYP2_150531_736.JPG: John Steuart Curry After the Tornado, 1930
128. CHRYP2_150531_742.JPG: The Faces and Spaces of Modern America: Following the violence and confusion of World War I, many American artists turned away from European subjects and styles to find domestic sources of inspiration. Encouraged by the 1920s economic boom, they celebrated local industry, productivity, and culture. Nonetheless, shadows of economic disparity and racial inequality haunted even the most optimistic scenes from fine art, photography, and magazine illustration. Like the dark and curtained townhouse windows in Edward Hopper's New York Pavements, hints of anxiety subtly disrupt these visions of progress. The 1929 stock market crash and subsequent years of depression channeled artistic energy even more directly toward Americans' everyday lives. Government-sponsored photography projects and public murals chronicled these troubles and helped maintain the nation's creative momentum. Some artists worked in a direct and documentary style, while others used simplification or exaggeration of color, shape, and perspective to enhance the psychological impact of their works. Together Regionalist painting and its surrounding collection of artistic currents help us explore an exciting but unstable period of growth and modernization for the United States.
129. CHRYP2_150531_745.JPG: Edward Hopper New York Pavements, 1924
130. CHRYP2_150531_750.JPG: Hale Woodruff Negroes with Jackson at New Orleans, ca 1942
131. CHRYP2_150531_754.JPG: Hale Woodruff Sergeant Carney and the Death of General Shaw, ca 1942
132. CHRYP2_150531_758.JPG: Hale Woodruff The Death of Crispus Attucks, ca 1942
133. CHRYP2_150531_761.JPG: Hale Woodruff Battle of Lake Erie, ca 1942
134. CHRYP2_150531_767.JPG: Reginald Marsh Down at Jimmy Kelly's, 1936
135. CHRYP2_150531_772.JPG: Walt Kuhn American Beauty, 1934
136. CHRYP2_150531_777.JPG: Thomas Hart Benton The Arts of Life in America: Unemployment, Radical Protest, Speed, 1932
137. CHRYP2_150531_784.JPG: Henri Matisse: Harmonious Color:
  Seek the strongest color effect possible -- the content is of no importance. When I put a green, it is not grass; when I put a blue, it is not the sky.
  With provocative statements like these, Henri Matisse led a revolutionary group of young French painters who focused on the expressive power of pure color. Understanding color as a rapturous event, they freed it from its age-old task of matching reality and granted it an independent, evocative power. When the group first exhibited their shockingly colorful canvases in Paris in 1905, outraged viewers dismissed them as "les fauves," "the wild beasts." Despite the uproar, Matisse and his fellow Fauves quickly emerged as some of the most influential artistic innovators of the early 20th century. Matisse himself would become a major force in modern art, his legacy rivaled only by Pablo Picasso. Henri Matisse: Harmonious Color traces the arc of the artist's long career, from the explosive Fauve masterpieces of his early years through his late works of the 1940s and '50s. While his aesthetic interests evolved across the decades, he continuously explored the opulence and sensuality of brilliant color. This is the second in a series of exhibitions -- Collection Conversations -- that explores modern European and American masterpieces from the National Gallery of Art in Washington DC, and the Chrysler. The series continues throughout 2015 and will include exhibitions devoted to the art of Arshile Gorky and Georgia O'Keeffe. The Chrysler is grateful to the National Gallery of Art for its participation in Collection Conversations and its willingness to lend so generously from its collection.
138. CHRYP2_150531_787.JPG: Henri Matisse Open Window, Collioure, 1905
139. CHRYP2_150531_791.JPG: Henri Matisse Bowl of Apples on a Table, 1916
140. CHRYP2_150531_796.JPG: Henri Matisse Still Life, ca 1905
141. CHRYP2_150531_800.JPG: Henri Matisse Still Life with Pineapple, 1924
142. CHRYP2_150531_804.JPG: Henri Matisse Pianist and Checker Players, 1924
143. CHRYP2_150531_812.JPG: Henri Matisse Woman Seated in an Armchair, 1940
144. CHRYP2_150531_816.JPG: Henri Matisse Still Life with Sleeping Woman, 1940
145. CHRYP2_150531_820.JPG: Art Nouveau: New art for a new century. Art Nouveau emerged at the end of the 19th century in opposition to the official world of academic art. Seeking to break from tradition, a new generation of artists rejected the prevalent taste for highly ornamental objects that reworked earlier styles. Inspired by the unpredictability of nature and the vivid colors and bold forms found in Japanese art, they began producing organic forms embellished with sinuous curves, naturalistic hues, and daringly asymmetrical forms, as seen throughout this room. This new style found a wide and largely supportive audience when it was promoted at the Exposition Universelle of 1900 in Paris. Yet its popularity ultimately led to the style's demise. Interested in the handcrafted quality of their work, most Art Nouveau designers avoided mass production, but the increasing demand for their work drove many to create cheaper works, abandoning the movement's original ideals. Although short-lived, Art Nouveau's efforts to make a deliberate and decisive break from the past would become a hallmark of modern art.
146. CHRYP2_150531_828.JPG: Rockwell Kent Sundown, 1921
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Wikipedia Description: Chrysler Museum of Art
From Wikipedia, the free encyclopedia

The Chrysler Museum of Art is an art museum in the Ghent district of Norfolk, Virginia. The museum was originally founded in 1933 as the Norfolk Museum of Arts and Sciences. In 1971, automotive heir, Walter P. Chrysler, Jr. (whose wife, Jean Outland Chrysler, was a native of Norfolk), donated most of his extensive collection to the museum. This single gift significantly expanded the museum's collection, making it one of the major art museums in the Southeastern United States. From 1958 to 1971, the Chrysler Museum of Art was a smaller museum consisting solely of Chrysler's personal collection and housed in the historic Center Methodist Church in Provincetown, Massachusetts. Today's museum sits on a small body of water known as The Hague in the Ghent district, near downtown Norfolk.

The Collection:

The New York Times described the Chrysler collection as "one any museum in the world would kill for." Comprising over 30,000 objects the collection spans over 5000 years of world history. American and European paintings and sculpture from the middle ages to the present day form the core of the collection.

The museum's most significant holdings include works by Tintoretto, Veronese, Peter Paul Rubens, Diego Velazquez, Salvator Rosa, Gianlorenzo Bernini, John Singleton Copley, Thomas Cole, Eugene Delacroix, Edouard Manet, Paul Cezanne, Gustave Dor�, Albert Bierstadt, Auguste Rodin, Mary Cassatt, Paul Gauguin, Georges Rouault, Henri Matisse, Georges Braque, Edward Hopper, Jackson Pollock, Andy Warhol, Richard Diebenkorn, and Franz Kline.

The Chrysler Museum is home to the final sculpture of the Baroque master Gianlorenzo Bernini, a marble bust of Jesus created as a gift for the artist's benefactor, Queen Christina of Sweden.The Museum also houses one of the world's greatest collections of glass (including outstanding works by Louis COmfort Tiffany), distinguished holdings in the decorative arts, and a fine and growing collection of photography. The arts of the ancient world, Asia, Africa, and Pre-Columbian America are also well represented.

Programs and Exhibitions:

The Museum recognizes a responsibility to assist its visitors in getting the most out of their visit. A full range of guided tours, lectures, films, concerts, family days, travel programs, and publications are designed both to make the Museum a lively and engaging place to provide information on the works displayed and their historical context. The Chrysler is particularly proud of its school tour program. Each year over 100 volunteer docents welcome over 60,000 students from Hampton Roads for tours at the Museum itself and for living history experiences at the historic houses.

Each year the Chrylser presents an average of 15 special exhibitions. These bring to Norfolk outstanding artworks from around the world. Recent offerings have ranged from Myth, Magic, and Mystery: One Hundred Years of American Children's Book Illustration, to Rembrandt and the Golden Age of Dutch Painting: Works from the National Gallery of Art, the Art of Andy Warhol, Photographs of the Civil Rights Movement, M.C. Escher, Ancient Gold Jewelry from the Dallas Museum of Art, Art of Glass, A Fair Wind: Maritime Paintings by WInslow Homer, and Rodin: Sculpture from the Iris and B. Gerald Cantor Collection.

The Jean Outland Chrysler Library:

With a collection of 80,000 volumes, the Jean Outland Chrysler Library is one of the largest and most important art libraries in the South. The collection covers the entire history of world art, with special emphasis on material relevant to the Chrysler's Permanent Collection. The library subscribes to several hundred art-related journals, has an extensive collection of current and historical auction catalogues, and exchanges publications with 400 art museums world wide. There are also extensive vertical files on artists and art-related topics.

The library named in honor of Jean Outland Chrysler, wife of the late Walter P. Chrysler, Jr., who played a leading roled in its formation and expansion. The collection is based on the original holdings of the Norfolk Museum of Arts and Sciences library. In 1977, the library of the London art dealer M. Knoedler & Co. was purchased, adding major historical reference volumes, periodicals, and rare annotated slaes catalogues. The Library also houses the Museum archives, a rich source of local history that includes Mark Twain's original typescript of a speech he delivered at the Jamestown Tricentennial Exposition of 1907. A collection of papers from the Moses Myers family provides unique insights into the life of an important Tidewater merchant during the nation's early history.

The A. Kempton d'Ossche Art Video Collection is a fast-growing Library resource. The collection covers a variety of artists and art topics.

Historic Houses:

In addition to its main building in downtown Norfolk, the Chrysler Museum of Art also administers two important Historic Houses.

The Moses Myers House in downtown Norfolk is not only an unusually elegant example of Federal period architecture, but almost unique in America as it retains 70% of its original contents. The house and its furnishings provide a wonderful opportunity for visitors to experience first-hand the life of a prosperous Jewish merchant and his family during the early years of the 19th century. Moses Myers moved to Norfolk in 1787 with his wife Eliza. Five years later he purchased a large lot, where he erected a home for his family. Today the house contains an important collection of American, English, and French furniture, along with glass, silver, and ceramics, and portraits by Gilbert Stuart, Thomas Sully and John Wesley Jarvis. All were commissioned or acquired by members of the Myers family.

The Norfolk History Museum at the Willoughby-Baylor House: The Norfolk History Museum at the newly-refurbished WIlloughby-Baylor House (ca. 1794) illuminates the wide range and richness of the history of the entire region by providing enganging thematic offerings and surveys, including the decorative arts of Norfolk, the story of Norfolk at various stages in its long history as an international port and maritime center, the area's impressive naval and military heritage, and the area's historic building and residences at different periods in history.
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