My Mule Was in on the Joke Joslyn Art Museum

Collection Highlights

American

Artist Unknown (American, 19th Century), The Greenhow Children , ca. 1818, oil on canvass, 60 1/2 x 73 3/iv in. Gift of Miss Emily Keller, 1942.112 The Greenhow Children represents a marked difference from before American portraiture, seen in the comfortable setting and breezy poses of the subjects. MORE DETAILS

George Bellows (American, 1882-1925), Jewel Declension, California , 1917, oil on forest, 20 10 24 in.; 50.eight x lx.96 cm Museum purchase, 1959.164 In Jewel Coast the brilliant dejection and greens of the sky and swirling water accentuate the sculptural presence of the massive yellow rock that dominates the foreground. The event is a muscular, impressionistic, view of the landscape, well suited to Blare's talents. More DETAILS

Thomas Hart Benton (American, 1889–1975), The Hailstorm , 1940, tempera on canvas mounted on console, 33 x 40 inches, 83.82 ten 101.6 cm Gift of the James A. Douglas Memorial Foundation (1971), 1952.11; Art © T.H. Benton and R.P. Benton Testamentary Trusts/UMB Depository financial institution Trustee/Licensed by VAGA, New York, NY, An artist fully in touch on with contemporary art and aesthetic theory, Benton's anti-intellectual, nationalistic blowing held special entreatment in Depression-era America. The Hailstorm, with its rural theme, vibrant colors, tilted perspective, lanky figures, and undulating landscape, is quintessential Benton; with its hallmark mule and rolling countryside, information technology represents archetypal Missouri. MORE DETAILS

Albert Bierstadt (American, born Germany, 1830–1902), Tempest on the Matterhorn , 1886, oil on sail, 53¾ x 82½, 136.5 x 212.1 cm Gift of Mrs. Ben Gallagher, 1966.620 Bierstadt accompanied several regime-sponsored expeditions to the American West, and his resulting panoramas strongly influenced the post-Civil War generation's perception of the region. Based on sketches he fabricated during one of his trips abroad, Storm on the Matterhorn handsomely demonstrates the artist'south dear of the sublime as well as the technical skill and imaginative ability that and then greatly appealed to the viewers of his 24-hour interval. More than DETAILS

George Caleb Bingham (American, 1811–1879), Watching the Cargo by Night , 1854, oil on canvas, 24 x 29 in.; threescore.96 10 73.66 cm Souvenir of Foxley & Co, 1997.33 Bingham, a largely self-taught artist, lived most of his life in Missouri. His pictures about always comport political messages. This painting is from a menstruation in which Bingham experimented with night scenes, beautifully playing the effects of firelight and moonlight against the central figure and the night heaven. MORE DETAILS

Thomas Birch (American, 1779–1851), St. Eustatia , n.d., oil on sheet, 20 ten 30 in.; 50.8 x 76.2 cm Museum purchase, 1964.618 The painting St. Eustatia is of an isle well-nigh Puerto Rico in kingdom of the netherlands Leeward Islands in the Lesser Antilles. During the Napoleonic Wars, these were British territories, but they were returned to the Dutch in 1816 afterward the wars. Birch may have relied on prints for his formulation of the scene. More DETAILS

Emil Bisttram (American, born Hungary, 1895–1976), Taos , 1933, watercolor, 17 x 23 in.; 43.eighteen x 58.42 cm Souvenir of George Barker, 1963.626 Bisttram first visited Taos in 1930 and later settled there, enthralled by the quality of light and natural beauty of New Mexico. Although his style varied from realist to abstract, he considered himself a modernist and experimented with abstract forms and brighter colors. More DETAILS

Ralph Albert Blakelock (American, 1847–1919), A Mount Stream , 1872–80, oil on canvas, 12 x 10 in.; 30.48 x 25.4 cm Gift of Mrs. Harold Gifford, 1961.241 Like other late-nineteenth-century landscape painters, Blakelock rejected the Hudson River School's objective approach in favor of a subjective one, preferring nature's mystery over its topographical features. Blakelock was also a great technical innovator, applying paint with palette knives and pumice stones and inventing his own varnishes. More than DETAILS

attributed to Mather Brown (American, 1761–1831), John Smart, English Miniature Painter , ca. 1784, oil on canvas, 24 10 20 in.; 60.96 x 50.eight cm Museum Purchase, 1937.34 This work is a issue of Mather Brown's instruction from the Royal University in London: loosely painted and vigorous, information technology differs dramatically from the more detailed and flatter images beingness produced in America at the same time. More than DETAILS

Mary Cassatt (American, active in France,, 1844–1926), Woman Reading , 1878–79, oil on canvas, 38 3/4 x 31 inches Museum buy, Joslyn Endowment Fund, 1943.38 Mary Cassatt settled permanently in Paris in 1874, where she became the nigh universally recognized female painter associated with Impressionism.  Cassatt took an active interest in and explored their new approaches to colour theory, brushwork, and figure-ground relationships. More DETAILS

William Merritt Chase (American, 1849-1916), Sunlight and Shadow , 1884, oil on canvas, 65¼ x 77¾, 165.74 ten 194.iii cm Gift of the Friends of Art, 1932.4 Hunt personified the late-nineteenth-century international artist. Although he early on proficient the Munich style of painting, Sunlight and Shadow marked a transition in Chase's career. The bold brushwork and anecdotal bailiwick are hallmarks of the Munich Schoolhouse, just the plein-air colors, subtle light contrasts, and flat shapes are indebted to Impressionism. MORE DETAILS

Thomas Cole (American born England, 1801–1848), Stony Gap, Kaaterskill Clove , 1826–27, oil on panel, 17 7/8 x 25 3/8 in.; 45.4 x 64.45 cm Mr. and Mrs. Edwin S. Miller Bequest Fund, 1951.661 Hoping to encourage a distinctive American aesthetic, Cole endorsed the formation of the National Academy of Design and, afterwards his first visit to the Catskills in 1825, became the nominal leader of America'southward first Anglo-European art movement: the Hudson River Schoolhouse. MORE DETAILS

John Steuart Back-scratch (American, 1897-1946), Manhunt , 1931, oil on sheet, xxx x 40 1/iv in.; 76.2 10 102.24 cm Museum buy, 1979.142 Curry, best known for his dramatic paintings of Kansas and Wisconsin farm life, belongs to the tradition of American Scene painters. These artists felt American artists should depict American subject matter. Manhunt, painted early in Curry'south career, portrays a form of lynching prevalent in the S later Reconstruction. MORE DETAILS

Elliott Daingerfield (American, 1859–1932), The Watering Trough , ca. 1890, oil on canvas, 24 ½ x 34 ½ in.; 62.23 10 87.63 cm Gift of Mrs. C.N. Dietz, 1934.25 Throughout his career, Daingerfield painted moody, introspective works reflecting a late-nineteenth-century interest in mysticism and personal spiritualism. The Watering Trough consists of alternating layers of dry out colors covered by thin coats of varnish. The flick's fashion and its French peasant subject area matter advise a date around 1890, before Daingerfield began to paint overtly religious themes. MORE DETAILS

Frank Duveneck (American, 1848–1919), Portrait of an Old Histrion , due north.d., oil on canvas, 22 ¾ x 18 in.; 57.79 10 45.72 cm Museum Purchase, 1938.xx Duveneck's particular brand of unflinching realism was hugely influential on his followers, who included John Twachtman and William Merritt Chase, as well as later generations of American artists. This portrait was well-nigh probable completed during one of Duveneck'due south stays in Paris in the 1880s and 1890s. More DETAILS

Thomas Eakins (American, 1844-1916), Professor John Laurie Wallace , 1885, oil on canvas, l¼ x 32½ , 127.64 x 82.v cm Gift of the James A. Douglas Memorial Foundation (1971), 1941.24 Today regarded as one of America'south greatest painters, in his time Eakins was often at the center of artistic controversy. His work was consistently deplored for its excessive realism. Favoring the strong light-and-dark contrasts perfected by seventeenth-century Spanish masters, Eakins fix his subjects in dim interiors, employing night pigments and rapid, sweeping brushstrokes to capture their mood. MORE DETAILS

Erastus Salisbury Field (American, 1805–1900), Portrait of Mrs. Andrew (Hulda) Judson , 1830s, oil on canvas, 34 ¾ 10 29 in.; 88.27 x 73.66 cm Souvenir of Mrs. Rollin B. Judson, 1972.twoscore Field was an itinerant portraitist from Massachusetts who studied painting briefly under Samuel F. B. Morse in New York. The characteristically apartment patterns reminiscent of folk fine art and the hand-stenciled frame are typical of Field's portraits from the 1830s. This portrait is from a trio painted of the Judson family in the mid 1830s, all of which are now in Joslyn's collection. MORE DETAILS

Gorham Manufacturing Company, Providence, Rhode Island (American, founded 1831), Beaux-Arts Punch Bowl , 1839, argent; silvery gilt, 11 1/iv h, 17 one/iv in. diameter; 28.half dozen h, 43.eight cm; 213 ounces Gift of a Former Nebraskan, 2007.25 MORE DETAILS

William M. Harnett (American, born Ireland, 1848–1892), Le Figaro , 1880, oil on canvas, six vii/8 ten v vii/8 in.; 17.46 ten 14.92 cm Museum Buy, 1961.89 Harnett was the greatest practitioner of American trompe fifty'oeil (fool-the-eye) painting during the nineteenth century. These paintings are not merely nonetheless lifes, but portraits. Here, the French paper and pipe tobacco, discarded as if in mid-smoke, indicate a male person of international and intellectual pursuits. MORE DETAILS

Childe Hassam (American, 1859–1935), April Showers, Champs Elysees, Paris , 1888, oil on canvass, 12½ x 16¾, 31.75 ten 42.55 cm Museum purchase, 1946.xxx The civic renaissance initiated in the 1870s turned the city's outdoor cafés and avenues into fashionable meeting places for Paris' bourgeoisie, and Hassam's April Showers illustrates the phenomenon: a well-dressed woman observes the bustle of pedestrians and carriages on Paris' near famous boulevard. The unrestrained patches of muted color faithfully capture the furnishings of a gray, rainy day in the city, a favored theme of Hassam's throughout his life. More DETAILS

Robert Henri (American, 1865-1929), Portrait of Fi , 1907, oil on canvas, 24 i/four x 20 1/8 in.; 61.6 x 51.12 cm Museum purchase, Irving West. Benolken Memorial Fund, 1957.14 Champion of the masses and struggling artists, Henri, "the smashing white knight of American art," forged a group of painters into The Eight, influential pioneers of realism who clamored for reform non just in art only in the entire structure of the blowsy American academy arrangement. In his own art Henri peculiarly enjoyed painting children, their range and character taken from the breadth of his travels. Rapidly executed and capturing the spontaneity of youth, these minor portraits business relationship for a large role of his oeuvre. More than DETAILS

Winslow Homer (American, 1836–1910), Trooper Meditating Beside a Grave , ca. 1865, oil on canvas, 16 x 8 inches, 40.64 x 20.32 cm Gift of Dr. Harold Gifford and Ann Gifford Forbes, 1960.298 Homer worked equally an illustrator, providing visual reportage of the Civil War to American magazines. Different others who translated their sketches of the state of war into large-calibration, ballsy paintings, Homer opted to portray the more personal consequences of battle. Here, a Marriage soldier contemplates the grave of a fallen comrade, the memorials of others scattered in the groundwork. MORE DETAILS

Daniel Huntington (American, 1816-1906), Roman Ruins in Southern Italy , 1848, oil on canvas, 43 ½ ten 63 ¼ in.; 110.5 x 160.66 cm Souvenir of J.L. Brandeis and Sons Co., 1952.97 Huntington mostly concentrated on portraiture, historical scenes, and allegories rather than landscape, making Joslyn'due south landscape somewhat of an exception. The work was most likely begun during the creative person'south stay in Rome between 1842 and 1845, where numerous artists gathered to study works of classical antiquity and practice their draftsmanship. MORE DETAILS

Henry Inman (American, 1801–1846), Portrait of William Drummond Stewart , 1844, oil on canvas, thirty x 25 inches, 76.two x 63.5 cm Museum purchase, 1963.617 Henry Inman, an accomplished American portraitist, was engaged by Stewart to paint this likeness, considered past many to exist one of Inman's finest. The ruddy complexion suggests Stewart's love of outdoor life, while his cock posture, Roman olfactory organ, and the rich fur neckband imply his aristocracy and wealth More than DETAILS

George Inness (American, 1825–1894), Budgeted Tempest , 1864, oil on canvas, ten x 14 in.; 25.four x 35.56 cm Gift of Mr. and Mrs. John F. Merriam, 1972.59 Similar many artists — both American and European — in the second half of the nineteenth century, Inness became increasingly concerned with light, temper, and mood at the expense of solid form. This stylistic trend has been labeled "tonalism." Here, trees and grass dissolve into a dense brume; yet this piece of work is less atmospheric than many of the artist'due south subsequently paintings. More than DETAILS

Chauncey Bradley Ives (American, 1810–1894), Shepherd Boy and Kid , 1859, marble, 56 ten 24 x 19 in.; 142.24 x lx.96 ten 48.26 cm Gift of the Joslyn Art Museum Clan in laurels of its Fiftieth Anniversary, 2001.xvi Shepherd Boy and Kid, Ives' last great antebellum sculpture, exemplifies his characteristic affiliation of Neoclassicism and nineteenth-century Naturalism. The figure's pose is inspired by classical sculpture and his flute and the kid are an allusion to the Greek god Pan, while the skilful representation of diverse textures—curly sheep wool confronting shine skin—speaks of the artist's close observation of nature. MORE DETAILS

Eastman Johnson (American, 1824–1906), Kid with a Rabbit , 1879, oil on panel, 14 x eleven ¾ in.; 35.56 ten 29.85 cm Museum Purchase, 1946.32 Eastman Johnson specialized in intimate scenes of everyday life, paintings that, as the horrors of the Civil War dominated the national agenda, satisfied America'southward nostalgia for a simpler fourth dimension. In the 1870s Johnson painted several portraits of his daughter, Ethel, with her favorite pet. These paintings are considered some of the most sophisticated Johnson produced. More DETAILS

Charles Bird King (American, 1785–1862), Portrait of Shaumonekusse (L'Ietan), an Oto Half-Chief , northward.d., oil on sail, 29½ 10 24½ inches, 74.93 x 62.23 cm Gift of M. Knoedler & Co., New York, 1978.267 An achieved professional person portraitist, King is all-time known today for his depictions of Native American dignitaries who came to Washington to confer with government officials. Shaumonekusse was a fellow member of a distinguished delegation of Kansas, Missouri, Omaha, Oto, and Pawnee men who traveled to Washington in 1821. More than DETAILS

Walt Kuhn (American, 1877-1949), Woman With a Black Necklace , 1928, oil on canvas, 30 x 25 in.; 76.2 x 63.5 cm. Gift of Mr. Charles Simon, 1979.139 In Woman with Blackness Necklace, the bright reds, greens, and blacks of her form against the deep bluish background accept a surprising weight and solidity, despite the lack of modeling. Even the black beads of her necklace wait more than similar dense lumps of coal than $.25 of costume jewelry. Accordingly, Kuhn gives his portrait of this strangely gaudy woman, who is probably a gypsy, a magnetic, powerful physical presence. MORE DETAILS

Paul Manship (American, 1885–1966), Indian Hunter and Pronghorn Antelope , 1917, plaster painted in bronze, Indian: 57½ high,127 cm; antelope: 62 high, 157.48 cm Gift of the artist, 1956.391.i-ii I of the outstanding American sculptors of the early 20th century, Manship's work bridged the traditional and the modernistic. Its characteristic polish and streamlined stylization is often associated with the evolution of Art Deco, a ascendant style in 1920s American architecture and design. InIndian Hunter and Pronghorn Antelope, embodying the full season of Manship's refined works, the sleek, silhouetted pair emphasizes the power and grace of flowing line. MORE DETAILS

Homer Contrivance Martin (American, 1836–1897), On the Upper Hudson , mid 1860s, oil on canvas, 27 x 40 ¼ in.; 68.58 x 102.24 cm Mr. and Mrs. Edwin S. Miller Heritance Fund, 1953.82 On the Upper Hudson belongs to the second moving ridge of Hudson River painting. While information technology displays traditional topographical accuracy, high vantage point, and detailed foreground, the thin washes of paint and loose brushstrokes used to communicate the haze settled over the lake, as well every bit the less detailed background, announce a new interest in temper and natural lite. More DETAILS

Thomas Moran (American, born England, 1837–1926), The Pearl of Venice , 1899, oil on canvas, 25 1/8 10 45 1/eight in.; 63.82 x 114.62 cm Gift of Mary McArthur Kingdom of the netherlands, Betty McArthur Heller, and Mickey McArthur, 1982.6 Moran portrayed Venice on many occasions, second only in number to his paintings of the G Canyon. Luminous color and rich atmosphere lend a romantic allure to the Catholic basilica Santa Maria della Salute, the "Pearl of Venice" that rises on the shores of the G Canal. More than DETAILS

Wright Morris (American, 1910-1998), Juke Box, Southern Indiana 1950 , c. 1940/1981, paper; gelatin silver impress, ed. 35/l, nine 1/2 x 7 1/2 in.; 24.ane x 19 cm Museum purhcase, Collectors' Selection Vii, 1997, 1997.4.ix MORE DETAILS

William Sidney Mount (American, 1807–1868), The Blackberry Girls , 1840, oil on panel, 15 7/8 x 13 7/8 in.; 40.32 x 35.24 cm Museum Buy with Funds Provided by Susan Storz Butler, 2001.one The Blackberry Girls demonstrates Mount's interest in seventeenth-century Dutch genre painting and directly observation of nature — confirmed hither by the exquisite foreground particular and the sophisticated tonal range of the background — while the arcadian delineation of rural peasantry reveals the young nation's optimistic agrestal ideology. More DETAILS

James Peale (American, 1749–1831), Portrait of Katherine Francis , 1807, oil on canvas, 31 x 25 ½ in.; 78.74 x 64.77 cm Museum Purchase, 1982.2 This depiction of Katherine Francis evidences James' early work as a miniaturist: the fragile lace bodice is rendered with breathtaking delicacy and detail. The high coloring, backlighting, and attention to particulars are all features of Neoclassicism, so the ascendant European artistic trend. More than DETAILS

Severin Roesen (American, born Germany, ca.1815–ca.1872), Fruit Still Life with Compote of Strawberries , n.d., oil on canvass, 16 ten xx in.; xl.64 x l.8 cm; Museum purchase with funds from the Gilbert M. and Martha H. Hitchcock Foundation, 2002.ten Upon his arrival in New York around 1848, Roesen apace adopted characteristically "American" style elements: classical balance, intense realism, and simplicity of form and limerick. These he fused into brilliantly colored and brightly illuminated nevertheless lifes in which the painted objects appear almost aggressively physical and present. MORE DETAILS

John Vocalist Sargent (American, 1856-1925), Portrait of Mrs. A. Lawrence Rotch , 1903, oil on sail, Lent anonymously, L-1987.5 John Singer Sargent was considered the leading portrait painter of his generation. Subsequently securing a commission, he would ofttimes review a client's wardrobe to pick suitable attire. More than DETAILS

John Sloan (American, 1871–1951), Sunset, West Twenty-third Street (23rd Street, Roofs, Sunset) , 1906, oil on canvas, 24 3/viii x 36¼, 61.91 x 92.1 cm 25th Ceremony Buy, 1957.15 Sloan considered himself a member of the urban working course and plant views of life in lower Manhattan's markets or dorsum alleys to exist interesting and relevant for a mass audience. In keeping with the spirit of the times, his urban vision is characterized by frank observation, humor, and compassion. A study of an undistinguished cityscape, Sunset, Due west Twenty-third Street displays Sloan's power to transform an ordinary setting into an image of dazzler and tranquillity. MORE DETAILS

Edwin Lord Weeks (American, , 1849–1903), Entrance to a Mosque, Delhi , n.d., oil on canvas, 9 10 13 in.; 48.26 x 33.02 cm Gift of Mrs. C.N. Dietz, 1934.78 Equally a student, Weeks traveled throughout North Africa in search of subject matter, settling in Tangiers for two years. By 1882 he had fabricated his first visit to India and shortly thereafter began exhibiting scenes of that country at the annual Salons. Despite making Paris his home, Weeks was considered the leading American Orientalist and contributed manufactures and illustrations of his travels to such American magazines every bit Harper's. MORE DETAILS

Edwin Lord Weeks (American, 1849–1903), Indian Barbers, Saharanpore , ca. 1895, oil on canvas, 56 ¼ x 75 in.; 142.88 ten 190.5 cm Gift of the Friends of Art Collection, 1932.22 In Indian Barbers, set in a city in northwest Republic of india, the amusing scene fits the Victorian taste for incidents of everyday life. Weeks' limerick delineates the simple facts while conveying the scene'south exoticism, which is heightened by the dazzling light. More than DETAILS

Grant Wood (American, 1891–1942), Stone Metropolis, Iowa , 1930, oil on woods panel, 30¼ ten 40, 76.84 x 101.half-dozen cm Gift of the Art Plant of Omaha, 1930.35; Fine art © Manor of Grant Forest/Licensed by VAGA, New York, NY Of the leading American Regionalist painters of the 1930s, Wood was regarded equally the quiet philosopher-creative person. His reassuring, representational paintings embodied enduring American myths about the perfection of rural life. Rock City, Iowa, his first major landscape, epitomizes Wood's commentary about change that was frequently threaded through his traditional subjects. A boomtown gone bosom, Stone City seems to have gone back to a purer purpose of grazing animals and growing crops. MORE DETAILS

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Source: https://www.joslyn.org/collections-and-exhibitions/permanent-collections/american/

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