Discovering the C. Herman and Mary Virginia Terry Collection at the Georgia Museum of Art
This gift of 14 paintings greatly expanded the museum's holdings of major artists like John Singer Sargent and Winslow Homer.
By Georgia Museum of Art
This selection offers a snapshot of some of the art world’s most important movements, genres, and artists
Misty Day, Venice (1869) by John Leslie BreckGeorgia Museum of Art
Mary Virginia Terry and her late husband C. Herman Terry are among the most generous donors in the history of the University of Georgia. Its business school bears their name, and they have supported faculty chairs, the general scholarship fund at the university, and the College of Pharmacy.
Two Girls on a Hillside (1879) by Winslow HomerGeorgia Museum of Art
The Terrys' legacy continues through this gift of paintings and works on paper to the Georgia Museum of Art. This selection offers a snapshot of some of the art world’s most important movements, genres, and artists, from the late nineteenth century to the late twentieth century.
View from the Holley House, Cos Cob (1901) by John Henry TwachtmanGeorgia Museum of Art
John Henry Twachtman taught summer painting courses to artists in Cos Cob, Connecticut. This small oil shows his ability to use color and form to express the atmosphere of a specific time and place.
Autumn Scene (1910/1913) by Maurice PrendergastGeorgia Museum of Art
Maurice Prendergast helped expose American audiences to modern French artists. This landscape reflects the influence of European modernism in its saturated colors and large, chunky brushstrokes.
The Mill Dam, Cos Cob (1903) by Childe HassamGeorgia Museum of Art
Impressionism emerged in Paris in the 1870s. Its revolutionary nature comes to life in landscapes by French and American painters.
Saint Palais (1895) by Armand GuillauminGeorgia Museum of Art
Armand Guillaumin was a founding member of the impressionists and a friend of Vincent van Gogh. He won the lottery in 1891 and was able to devote himself to painting.
Impressionist artists captured the fleeting effects of natural light with soft colors and rapid and broken brushstrokes. Bold colors and contrasts became a trademark of the modern art period that followed, setting new grounds and taste for audiences in Europe and the United States.
The Mill Pond (1919) by Ernest LawsonGeorgia Museum of Art
A lover of plein air painting and bright, pure colors, Ernest Lawson is often called a “true impressionist.” He favored the winter landscape of the Hudson River Valley, likely the location of this painting.
River Landscape (1910) by Ernest LawsonGeorgia Museum of Art
Two Girls on a Hillside (1879) by Winslow HomerGeorgia Museum of Art
Winslow Homer was 26 before he took up painting, virtually teaching himself. He often painted the activities of contemporary American women, here portraying a popular leisurely outdoor outing.
Misty Day, Venice (1869) by John Leslie BreckGeorgia Museum of Art
The son of a navy captain, John Breck became close friends with famed French impressionist Claude Monet. This work shows a scene from Venice, a popular spot for other American painters.
The Mill Dam, Cos Cob (1903) by Childe HassamGeorgia Museum of Art
Childe Hassam produced numerous views of the city and countryside during his successful career. This one shows the artists’ colony at Cos Cob, Connecticut.
Zinnias, Petunias and Delphinium in a Yellow Pottery Crock (1879/1952) by Laura Coombs HillsGeorgia Museum of Art
The tradition of still life, rooted in models of Dutch and Flemish painting, also continued to inspire artists.
The Good Life XXVIII (1979) by John Stuart IngleGeorgia Museum of Art
John Stuart Ingle is known for his realistic still-life watercolors. He insisted that his work was not photorealist but informed by his visual intuition.
Zinnias, Petunias and Delphinium in a Yellow Pottery Crock (1879/1952) by Laura Coombs HillsGeorgia Museum of Art
Laura Coombs Hills was an accomplished miniature painter who, due to failing eyesight, turned her attention to creating larger pastel still lifes at the age of sixty.
Carriage in St. Augustine (1900/1956) by Gifford BealGeorgia Museum of Art
Gifford Beal was known for his excellent use of color and his willingness to experiment and change his style, which he did several times over his long career.
The Portal of S. Giorgio Maggiore, Venice (1903) by John Singer SargentGeorgia Museum of Art
Between 1898 and 1913, John Singer Sargent visited Venice almost every year, attracted by the city’s beauty and unique landscape. He produced many spontaneous watercolors outdoors, like this one.
View of Paris from the Banks of the Seine (1869/1928) by Albert LebourgGeorgia Museum of Art
Albert Lebourg began his career as an architect but quickly decided to pursue landscape painting. He took up impressionism with a passion. The broken brushstrokes capture a fleeting contemporary moment.
You are all set!
Your first Culture Weekly will arrive this week.