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AIC: American Art (Bot)

AIC: American Art (Bot)

@aicamerican.bsky.social

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Sharing artworks from the Art Institute of Chicago's American Art department. Automated thanks to @andreitr.bsky.social and @botfrens.bsky.social

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AIC: American Art (Bot) @aicamerican.bsky.social · 2h

Ma-Si-Ni-So.Cheyenne https://www.artic.edu/artworks/69547/

Gift of Edward E. Ayer

AIC: American Art (Bot) @aicamerican.bsky.social · 16h

Waste Bowl, part of Tea and Coffee Service https://www.artic.edu/artworks/58407/

Gift of the Antiquarian Society through Mrs. George B. Young

AIC: American Art (Bot) @aicamerican.bsky.social · 16h

On the War Trail https://www.artic.edu/artworks/136034/

Canadian-born Alexander Phimister Proctor began his career as a sculptor of animals and, along with Edward Kemeys, achieved recognition for the works he created for Chicago’s 1893 World’s Columbian Exposition. During five years of study in France afterward, however, Proctor shifted his interests to large-scale figural studies, particularly of the American West. On the War Trail is a reduced version of a monumental bronze commissioned for the Civic Center in Denver, Colorado. Dignified and erect, with the Native American’s spear thrust defiantly outward, horse and rider provide a striking antidote to the dejected, broken subject of James Earle Fraser’s The End of the Trail (1991.325).

Bequest of Arthur Rubloff

AIC: American Art (Bot) @aicamerican.bsky.social · 19h

Self-Portrait (No. 17) https://www.artic.edu/artworks/104275/

In 1981 Albright began a series of drawn and painted self-portraits at the invitation of the Galleria degli Uffizi, Florence, which for four centuries has collected other significant examples of this motif. For the next two years, ending with his death in 1983, the artist, energized by this great honor, created around 24 small self-portraits in various media, a series that constitutes a summation of his vision and technical prowess.

Gift of Mrs. Ivan Albright

AIC: American Art (Bot) @aicamerican.bsky.social · 21h

Chest of Drawers https://www.artic.edu/artworks/120526/

J. Peter McCormick Fund

AIC: American Art (Bot) @aicamerican.bsky.social · 1d

Punch Bowl https://www.artic.edu/artworks/117475/

Chinese officials limited all international trading to the city of Canton, and segregated the fan kwae (foreign devils) into a 15-acre area outside of the city wall. Decorated in grisaille, or monochrome, the exterior of this punch bowl shows the 13 trade buildings, known as hongs (foreign factories), that lined this restricted area. Each building was associated with a particular country, and they doubled as counting houses and living quarters, where agents resided during the fall trading season. In this view of the hongs, the American factory lies between those of the United Kingdom and the Netherlands, suggesting that this was an early rendering, made before the United States permanently established its factory next to Sweden’s.

Restricted gift of the Antiquarian Society

AIC: American Art (Bot) @aicamerican.bsky.social · 1d

Procession of Il Redentore, Venice https://www.artic.edu/artworks/70550/

Friends of American Art Collection

AIC: American Art (Bot) @aicamerican.bsky.social · 1d

Poet's Pitcher https://www.artic.edu/artworks/144346/

AIC: American Art (Bot) @aicamerican.bsky.social · 1d

Ram https://www.artic.edu/artworks/94142/

Gift of Mr. and Mrs. Louis Cheskin

AIC: American Art (Bot) @aicamerican.bsky.social · 1d

Table https://www.artic.edu/artworks/102765/

Gift of William McCormick Blair

AIC: American Art (Bot) @aicamerican.bsky.social · 2d

Tall Case Clock https://www.artic.edu/artworks/8292/

Gift of the Antiquarian Society through Mr. and Mrs. Frank H. Woods in memory of her mother Mrs. Edward Harris Brewer

AIC: American Art (Bot) @aicamerican.bsky.social · 2d

Plate https://www.artic.edu/artworks/2773/

Gift of Mrs. E. C. Chadbourne

AIC: American Art (Bot) @aicamerican.bsky.social · 2d

Tankard https://www.artic.edu/artworks/55119/

Restricted gift of the Antiquarian Society through the Mr. and Mrs. Edwin A. Seipp Fund

AIC: American Art (Bot) @aicamerican.bsky.social · 2d

Serving Spoon https://www.artic.edu/artworks/100235/

Americana Endowment Fund

AIC: American Art (Bot) @aicamerican.bsky.social · 2d

Sky above Clouds IV https://www.artic.edu/artworks/100858/

Painted in the summer of 1965, when Georgia O’Keeffe was 77 years old, this monumental work culminates a series inspired by the artist’s experiences as an airplane passenger during the 1950s. Working in Abiquiu, New Mexico, O’Keeffe began around 1963 to capture the endless expanses of clouds she had observed from airplane windows during trips all over the world. Beginning with a relatively realistic depiction of small white clouds on a three-by-four-foot canvas, she progressed to more stylized images of the motif on larger surfaces. O’Keeffe wrote:
"I painted a painting eight feet high and twenty-four feet wide—it kept me working every minute from six a.m. till eight or nine at night as I had to be finished before it was cold—I worked in the garage and it had no heat—Such a size is of course ridiculous but I had it in my head as something I wanted to do for a couple of years."
In 1970 Sky above Clouds IV was scheduled to be included in a retrospective of O’Keeffe’s work at the Whitney Museum of American Art, New York, the Art Institute of Chicago, and the San Francisco Museum of Art. After being shown in New York and Chicago, the painting was determined to be too large to enter the doors of the museum in San Francisco. It thus remained on loan to the Art Institute for more than a decade, while the artist and public-minded collectors of her art arranged for it to join the museum’s permanent collection.
The special relationship between O’Keeffe and the Art Institute began in 1905, when she enrolled as a student at the School of the Art Institute. Her first museum retrospective was organized here in 1943. Later, as the executor for the estate of her husband, the pioneering American photographer and art dealer Alfred Stieglitz, O’Keeffe presented the Art Institute with an important group of modernist works, including a number of her own, many of which are on view in the galleries of American art. She continued to make significant additions to this bequest until her death, at age 98, in 1986.

Restricted gift of the Paul and Gabriella Rosenbaum Foundation; gift of Georgia O'Keeffe

AIC: American Art (Bot) @aicamerican.bsky.social · 3d

Summer in the Catskills https://www.artic.edu/artworks/68784/

Edward B. Butler Collection

AIC: American Art (Bot) @aicamerican.bsky.social · 3d

Bottle https://www.artic.edu/artworks/120281/

Gift of Stanton and Judith Brody

AIC: American Art (Bot) @aicamerican.bsky.social · 3d

Pin and Pendant https://www.artic.edu/artworks/52761/

Gift of Mrs. Theodore D. Tieken

AIC: American Art (Bot) @aicamerican.bsky.social · 3d

The Coast of Labrador https://www.artic.edu/artworks/100489/

William Bradford devoted the bulk of his career to painting Arctic scenes like The Coast of Labrador. Rendered in minute detail and suffused with light, the artist’s Arctic compositions share stylistic motifs with John Frederick Kensett’s Luminist views of the Rhode Island coast. Bradford first traveled to Labrador between 1854 and 1857; it was not until 1861, however, that the region became his main source of inspiration. He returned to Labrador repeatedly over the next eight years. Signed and dated 1866, this painting probably derives from a number of sketches he accumulated during an 1865 journey, and it attests to Bradford’s interest in the diverse light effects and rocky landscape of the Arctic.

Ada Turnbull Hertle Fund

AIC: American Art (Bot) @aicamerican.bsky.social · 3d

Tah-Do-Ni-Pper—Commanche Cache Oklahoma https://www.artic.edu/artworks/69527/

Gift of Edward E. Ayer

AIC: American Art (Bot) @aicamerican.bsky.social · 4d

Clock https://www.artic.edu/artworks/154490/

In addition to skyscraper-inspired furniture such as the Art Institute’s tall, stepped cabinet (see 1998.567), Paul Frankl designed small objects intended to be strategically placed throughout the home in order to create unified, modern interiors. This electric clock was heralded as thoroughly modern, both inside and out. Not only was it featured as an exemplary modern decorative object in contemporary publications, it was also advertised as affordable and “nontarnishable” in order to appeal to a wide consumer base.

Gift of Susan and Jerome Kahn through the Antiquarian Society

AIC: American Art (Bot) @aicamerican.bsky.social · 4d

Covered Cup https://www.artic.edu/artworks/53055/

Period accounts refer to this form as either a Bishop or a Grace cup. Bishop was a drink made with wine, lemon, and sugar mixed with spiced port. The term Grace refers to the mealtime prayer, after which the cup was passed around the table. The cup’s form is a later interpretation of the 17th-century caudle cup and the early-18th-century covered cup, examples of which are on display in the galleries.

Gift of Mrs. Philip D. Sang in memory of Philip D. Sang

AIC: American Art (Bot) @aicamerican.bsky.social · 4d

Pair of Side Chairs https://www.artic.edu/artworks/14401/

Gift of Wayne F. Miller

AIC: American Art (Bot) @aicamerican.bsky.social · 4d

Marble-slab Table https://www.artic.edu/artworks/110753/

Gift of Emily Crane Chadbourne

AIC: American Art (Bot) @aicamerican.bsky.social · 4d

The Mill Pond https://www.artic.edu/artworks/151108/

A distinctive landscape painter of the 19th century, George Inness excelled at capturing the poetics and mood of his environs, finding spiritual resonances in nature, from its grand vistas to its quiet nooks. The Mill Pond depicts a sylvan setting, in which a small figure rows a boat in the pond at middle distance. Brilliant pigments of orange, green, and blue electrify an otherwise tranquil scene. Through color and atmosphere rather than line or detail, Inness communicated an intensity of vision, fueled by an individual encounter with nature.

Edward B. Butler Collection