Provenance

The Gerald Peters Gallery

Private Collection c/o The Gerald Peters Gallery
The Gerald Peters Gallery

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Far below us, a river winds through a valley lined with hazy mountains in this horizontal landscape painting. In the distance, the line of mountains emerges from the left, near the top of the canvas, and marches down toward the center, growing lighter and mistier in the distance. Streaks of olive-green growth drape down their sides, and pale sunlight from the upper right warms their craggy faces, which are painted in tones of peach, tan, taupe, and parchment white with pewter-gray fissures. The mountains move across the canvas and angle way from us, to our right. There, they are overlapped, just off center, by a tree-covered slope that emerges from the right. At its foot is a steel-gray river that winds from the lower right toward the center of the composition. The land sweeps down from the left side, spreading out into meadows that meet the river. They are carpeted in moss green with streaks and patches of rust-brown earth and scattered with clusters of trees painted in tones of celery, olive, and pine green. Closest to us and near the lower left corner of the painting, is a man, tiny in scale, on a flat bluff. He wears a white coat and trousers, and sits hunched on a stool facing our left. He looks toward a grove of trees with pea-green leaves and ginger-brown trunks that tower over him, along the left edge of the composition. He has turned away from a painting on an easel that stands just beyond him, and an open wooden box that sits on the ground behind him. A closed, seafoam-green parasol also lies nearby. Just beyond the lip of the bluff and down in the valley are creamy white dots that suggest livestock. Farther back, near the foot of the mountains, a cluster of buildings sit near the tree line in the meadow. Wispy white clouds drift through the light azure-blue sky. The artist signed and dated the painting in the lower left corner, “THOS.MORAN.1864 OP.8.”
Thomas Moran, The Juniata, Evening, 1864, oil on canvas, Gift of Max and Heidi Berry and Ann and Mark Kington/The Kington Foundation, 2010.107.1

The Juniata, Evening

Thomas Moran · 1864 · oil on canvas ·  Accession ID  2010.107.1

Six bunches of harvested corn close to us lead back to two people planting fields, which in turn lead back to a red barn and white house in this horizontal landscape painting. The shocks of corn are tied into rounded, pyramidal shapes on a ground streaked with brown dirt and green growth. In the center of the composition and in the distance, a person on a horse-drawn wagon hands a sack or other object down to a person standing at the back of the wagon. Vibrant green hills roll back to red and white structures to the left and a row of dark green trees on the horizon to the right. In the top third of the painting, a wave of white clouds seems to crest against a jewel-blue sky. The curves of the land are slightly exaggerated, giving the painting a stylized look. The artist signed and dated the painting in the lower left corner, “Benton 48.”
Thomas Hart Benton, Corn and Winter Wheat, 1948, oil on canvas, Gift (Partial and Promised) of Helen Lee Henderson in memory of Helen Ruth Henderson, Founder, HRH Foundation, 2001.122.1

Corn and Winter Wheat

Thomas Hart Benton · 1948 · oil on canvas ·  Accession ID  2001.122.1

The image shows a series of angular and curved lines enclosed within a rectangular border, forming an abstract composition. The central shapes suggest the outline of a face with a triangular nose, circular eyes, and an arched line resembling a hairstyle. The lines draw connections to familiar facial features, with blue and red accents hinting at eyes and lips. The abstract nature of the image leaves room for interpretation, yet it clearly represents a stylized human face within its unique geometric forms.
Max Weber, Mask, 1919-1920, color woodcut on laid paper, Gift of Jack and Margrit Vanderryn, 2015.114.47

Mask

Max Weber · 1919-1920 · color woodcut on laid paper ·  Accession ID  2015.114.47