Painting Gallery 26

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Navy Pier, Chicago

Located on Lake Michigan, just East of Chicago’s Downtown, Navy Pier has been a Chicago landmark since it first opened in 1916. Originally designed as both a shipping and recreational facility, the Pier also served as a military training site during two world wars, a venue for concerts and exhibitions, and the temporary home for a once-fledgling University of Illinois’ Chicago campus. As the Pier fell into disuse during much of the 1970s and 1980s, the State of Illinois and Chicago embarked on a joint plan whereby, in 1989, ownership of the Pier was transferred to the Metropolitan Pier and Exposition Authority, the same body which oversees Chicago’s McCormick Place. The Authority moved swiftl to redesign Navy Pier into one of the country’s most unique recreation and exposition facilities. Navy Pier now showcases a unique collection of restaurants and shops in addition to unequaled recreational and exhibition facilities -- in a setting like no other. — Navy Pier Chicago

South Bank, Thames River, London

Among the close associates of the Impressionists were several painters who adopted their methods to some degree. These include Giuseppe De Nittis, an Italian artist living in Paris who participated in the first Impressionist exhibit at the invitation of Degas, although the other Impressionists disparaged his work.[18] Federico Zandomeneghi was another Italian friend of Degas who showed with the Impressionists. Eva Gonzal?s was a follower of Manet who did not exhibit with the group. James Abbott McNeill Whistler was an American-born painter who played a part in Impressionism although he did not join the group and preferred grayed colours. Walter Sickert, an English artist, was initially a follower of Whistler, and later an important disciple of Degas; he did not exhibit with the Impressionists. In 1904 the artist and writer Wynford Dewhurst wrote the first important study of the French painters to be published in English, Impressionist Painting: its genesis and development, which did much to popularize Impressionism in Great Britain.

Spring in Hunterdon County, New Jersey

Since the early 1960’s, the citizens of Hunterdon County have expressed their concerns about preserving the rural and agricultural character of the County. This desire has developed, over the past four decades, into a land preservation movement throughout the County. In recent years, partnerships have formed with private, municipal, County, State, and non-profit organizations, to preserve open space by various means throughout Hunterdon County. These continued partnerships will result in providing areas for future generations, in which to view nature, and enjoy quiet moments along a stream or river.It will provide places where residents and visitors can fish, hunt, play golf, participate in team and individual sports, and enjoy other recreational pursuits. The diverse natural features of our Hunterdon County parklands include rocky cliffs, fields, forests, streams, rivers, marshes, and ponds. Come and visit our beautiful County and enjoy some of nature’s best offerings in the State of New Jersey. — The Hunterdon County Park System

Bust in a Garden

Impressionists took advantage of the mid-century introduction of premixed paints in lead tubes (resembling modern toothpaste tubes), which allowed artists to work more spontaneously, both outdoors and indoors. Previously, painters made their own paints individually, by grinding and mixing dry pigment powders with linseed oil, which were then stored in animal bladders.[12]

Walk in the Park

In 1863, the jury rejected Manet's The Luncheon on the Grass (Le d?jeuner sur l'herbe) primarily because it depicted a nude woman with two clothed men at a picnic. While nudes were routinely accepted by the Salon when featured in historical and allegorical paintings, the jury condemned Manet for placing a realistic nude in a contemporary setting.[3] The jury's severely worded rejection of Manet's painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists.