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keywordPath%3DBENF
Painting
Pond Scene with Heron
Thomas W. Nason, (Dracut, Massachusetts, January 7, 1889 - March 2, 1971, New London, Connecticut
Nason, Thomas W.
January 7, 1889 - March 2, 1971
Primary
12 in. x 16 in.
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overall
horizontal
image only
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overall
Frame
ink wash
ink wash
Lyme Art Colony
n.d.
0
0
Art Object, Nomenclature
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Painting
View of a pond with trees, breaches leaning towards water. Heron sits peacefully in center.
2011.14.1
item
Florence Griswold Museum
3/19/2012
00/00/00
http://127.0.0.1:5000/Media/images/Macintosh HD/Users/benjamincolman/Downloads/IMG_2035.JPG
Painting
San Pedro Guadeloupe
Edward F. Rook, (New York, New York, September 21, 1870 - October 25, 1960, Old Lyme, Connecticu
Rook, Edward F.
American
September 21, 1870 - October 25, 1960
Primary
30 1/4 in. x 36 in.
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overall
Horizontal
image only
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overall
Frame
oil
oil
Lyme Art Colony
ca. 1901-02
Art Object, Nomenclature
<!--4DIF (GetSelectedRecordNumber(72) # 1)--> : A Boolean argument was expected.churches<!--4DIF (GetSelectedRecordNumber(72) # 1)--> : A Boolean argument was expected.paintings
Painting
Distorted perspective view of hillside and church
2011.14.2
item
Florence Griswold Museum
3/20/2012
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/2011/2011_14_2.JPG
Untitled (Still life with teapot)
Edward F. Rook, (New York, New York, September 21, 1870 - October 25, 1960, Old Lyme, Connecticut)
Rook, Edward F.
American
September 21, 1870 - October 25, 1960
Primary
10 3/4 in. x 13 3/4 in.
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overall
horizontal
image only
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overall
Frame
oil
oil
Lyme Art Colony
n.d.
0
0
Art Object, Nomenclature
<!--4DIF (GetSelectedRecordNumber(72) # 1)--> : A Boolean argument was expected.paintings<!--4DIF (GetSelectedRecordNumber(72) # 1)--> : A Boolean argument was expected.still lifes
View of cup (left) teapot (center) and jar (rear) painted in vibrant shades of blue
2011.14.3
item
Florence Griswold Museum
3/20/2012
00/00/00
http://127.0.0.1:5000/graphics/blank.gif
Painting
Untitled (Landscape with Figure)
Henry Ward Ranger, (Syracuse, New York, January 29, 1858 - November 7, 1916, New York, New York)
Ranger, Henry Ward
American
January 29, 1858 - November 7, 1916
Primary
12 in. x 16 in.
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overall
horizontal
image only
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overall
frame
oil
oil
Lyme Art Colony
n.d.
0
0
Art Object, Nomenclature
<!--4DIF (GetSelectedRecordNumber(72) # 1)--> : A Boolean argument was expected.natural environment<!--4DIF (GetSelectedRecordNumber(72) # 1)--> : A Boolean argument was expected.paintings
Painting
Landscape featuring man in recently logged forest. In French style frame iwth closed corners. Estate stamp at lower right with inventory number B472. Shown at the National Academy of Design, shown as a Ranger Fund Picture, Condititon : Very Good
National Academy Design Stamp, Ranger Fund Picture --in original frame, well executed figure in the center of plein air study.
Jeffrey Andersen
2011.15
item
Florence Griswold Museum
3/20/2012
2011_15
Painting
Embark Picture
Completed
11/12/2012
http://127.0.0.1:5000/Media/images/EmbarkPictures/2011/2011_15.jpg
Painting
Still Life with Magnolias
Elmer MacRae, (New York City, 1875 - 1953, Greenwich, CT)
MacRae, Elmer
American
1875 - 1953
Male
Primary
25 1/4 in. x 25 1/4 in.
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overall
Frame
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square
image only
oil
oil
1915
1915
1915
Art Object, Nomenclature
<!--4DIF (GetSelectedRecordNumber(72) # 1)--> : A Boolean argument was expected.paintings<!--4DIF (GetSelectedRecordNumber(72) # 1)--> : A Boolean argument was expected.still life
Painting
An artist of many “isms,” Elmer MacRae’s 1915 floral still life shows him at his most modern. Previously MacRae studied and painted with the American Impressionist John Twachtman at the art colony in Cos Cob, Connecticut. He turned his attention to floral painting in the early twentieth century, influenced by Japanese woodblock prints, which he collected, and Japanese calligraphic brushwork learned from Genjiro Yeto, an artist at the colony. MacRae’s Japonisme remains evident in Magnolias, but the additional influence of the Post-Impressionist artists, like Cézanne and Gauguin, manifests strongly in this work’s audacious colors and myriad decorative shapes. As one of the primary organizers of the 1913 Armory Exhibition, MacRae helped to usher European Modernism into the American art world, where it was alternately embraced and reviled by artists, critics, and audiences.
2012.2
item
Florence Griswold Museum
3/29/2012
2012.2.jpg
Image and frame
Temporary jpeg
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/2012/2012.2.jpg
Painting
Life Class in DuMond's Studio
Robert H. Nisbet, (Providence, Rhode Island, 1879 - 1961)
Nisbet, Robert H.
American
1879 - 1961
Primary
12 1/2 in. x 7 1/2 in.
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vertical
image only
oil
oil
0
0
Art Object, Nomenclature
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Painting
Image of the rear view of a male nude model done in a life study class--the model's right arm extends over his head
2012.6
item
Florence Griswold Museum
10/25/2012
2012_6
painting
Embark Picture
completed
11/12/2012
http://127.0.0.1:5000/Media/images/EmbarkPictures/2012/2012_6.jpg
Painting
Fishing on the Connecticut River
Dwight Tryon, (1849 - 1925)
Tryon, Dwight
American
1849 - 1925
Primary
24 1/4 in. x 34 1/2 in.
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Horizontal
image only
oil
oil
American Barbizon
ca. 1881
1876
1886
Art Object, Nomenclature
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Painting
This painting of a local scene was competed by Hartford artist Dwight Tryon. This work is atypical of Tryon’s work and shows him in a different stage of his career—pre-tonalism. Tryon frequently visited the Wadsworth Atheneum and painted what he saw there, he later went to France and absorbed the principles of Barbizon painting. The brushy techniques suggest a modern gesture in which the ground is allowed to show through. In 1891 Tryon returns to the US and settles in Glastonbury CT where he grew up. He sold his works at the Kellogg and Brown bookstore. This work shows the artist transitioning from one mode of painting to another. He is experimenting with Hudson River School techniques, as well as Barbizon style in the trees and muted tone, and with Impressionist brush strokes. This work is unique in that it shows us what is going on in a young artist's mind. Tryon enjoyed fishing and boating, and here selects as his subject a motif that closely intersected with his leisure-time passion.
2012.12
item
Florence Griswold Museum
1/16/2013
00/00/00
http://127.0.0.1:5000/Media/images/IMAGE DIRECTORY/2012/2012_12.jpg
Painting
Old Lyme, Connecticut
Frederic W. Ramsdell, (Manistee, Michigan, 1865 - May 1915)
Ramsdell, Frederic W.
1865 - May 1915
Primary
30 1/2 in. x 25 in.
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image only
oil
oil
Lyme Art Colony
1908
1908
1908
Art Object, Nomenclature
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Painting
Frederic Ramsdell was the brother of donor Edith Scott’s grandmother. The work has a dreamy tonalist quality with touches of strong color that is characteristic of the artist. Ramsdell identified the location depicted as Old Lyme and dated the picture 1908. The artist came to Old Lyme in 1906, where he owned a home known as Deacon Hall on Grassy Hill Road until his death in 1915. He was a good friend of Florence Griswold, who owned one of his paintings at the time of her death. He was not a prolific painter and his family still owns some of his work.
2012.7
item
Florence Griswold Museum
1/31/2013
2012_7Before conservation
painting
completed
10/24/2012
http://127.0.0.1:5000/Media/images/EmbarkPictures/2012/2012.7 Ramsdell before conservation.tiff
2012_7 Ramsdell before inptg
Painting
Conservation
completed
10/18/2012
http://127.0.0.1:5000/Media/images/EmbarkPictures/2012/2012.7 Ramsdell before inptg.jpg
2012.7 Ramsdell before trt.
painting
conservation
completed
10/18/2012
http://127.0.0.1:5000/Media/images/EmbarkPictures/2012/2012.7 Ramsdell before conservation.tiff
The Birches
Wilson Henry Irvine, (Byron, Illinois, February 28, 1869 - August 21, 1936, Lyme, Connecticut)
Irvine, Wilson Henry
American
February 28, 1869 - August 21, 1936
Primary
24 x 18 in.
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overall
vertical
image only
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overall
Frame
oil
oil
1907
1907
1907
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View of a wooded area tall Birch trees in foreground, small hill to the left of the trees
2014.6.1
item
Florence Griswold Museum
7/8/2014
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/2014/2014_6_1.jpg
Painting
Dawn, Sandy Hook, Connecticut
Martin Lewis, (Castlemaine, Australia, 1881 - 1962)
Lewis, Martin
1881 - 1962
Male
Primary
34 1/2 x 44 1/2 in.
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Frame
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Horizontal
image only
oil
oil
Realist
ca. 1933
1928
1938
Art Object, Nomenclature
<!--4DIF (GetSelectedRecordNumber(72) # 1)--> : A Boolean argument was expected.daily life<!--4DIF (GetSelectedRecordNumber(72) # 1)--> : A Boolean argument was expected.paintings
Painting
Australian-born Martin Lewis made his way to America as a young man and became one of the leading printmakers of the twentieth century. Lewis is best known for his etchings, aquatints, engravings, and drypoints of New York City’s bustling street life, images that often share a noirish sensibility with the work of Edward Hopper with their occasional emphasis on solitude.
During the Depression, Lewis moved to Connecticut, where he lived in Newtown between 1932 and 1936. There, he focused on Regionalist depictions of rural life, as well as on the ways the city reaches into the country through networks of commuter rail and suburban development. "Dawn, Sandy Hook, Connecticut" presents one such landscape: a phalanx of nearly identical houses ends at a raw patch of ground crossed by two commuters leaving home as dawn breaks in the sky to the left. Like his subjects, Lewis himself commuted into New York, where he and artists George Miller and Armin Landeck ran a shortlived “School for Printers” in 1934. The composition exhibits Lewis’s characteristically strong sense of design informed by his period of study and travel in Japan in the 1920s. Here, the bold contrast between light and dark is enlivened by his stark but poetic palette of blues, purples, and creams.
Prints dominate Lewis’s oeuvre, but he painted and sketched extensively and was praised in his lifetime for his versatility and flawless command of technique in each media. While some of his oils and watercolors relate to prints, the catalogue raisonné of Lewis’s prints does not include any compositions based on "Dawn, Sandy Hook, Connecticut," indicating that it is not a study but a full-fledged work in its own right. Lewis was represented by Kennedy Gallery in the late 1920s and 1930s.
"Dawn, Sandy Hook, Connecticut" touches on essential themes of life during the Depression and speaks to the reality of Americans dividing themselves between the city and the country that is a leitmotif for Connecticut artists.
2015.12
item
Florence Griswold Museum
2/18/2016
00/00/00
http://127.0.0.1:5000/Media/images/EmbarkPictures/2015/2015_12.jpg