LC Art Collection

Color Reproductions (N-Z)

Art (click on image to see larger view)	Name	Artist	Location	Catalog #	Information
	Native American	-	West Hall to Auditorium	-	-
	Native American	-	West Hall to Auditorium	-	-
	Near The Cradle	Cherlet, Franz (1852-1928) French	room 05	19	Class of January, 1912 This etching blends the golden tones of brown into the warmth of the simple home. The blue of the child's dress adds freshness in the promise of youth.
	The New Learning	Cooper, F. Cadogan	Hall between room 104 to 105	72	Class of January, 1915 The colorful court of Henry VII is a vivid background for the black gown of Erasmus the scholar. In this picture of a fifteenth century scene, the scroll in the center is of interest.
	Nibelheim	Hendrick, Hermann (1856-1931) German	Hall, corner to room 332	53	Class of June,1913 In the sharp contrast to the bright gardens of heaven is Nibelheim, the dark, underground home of Alberich, the dwarf, who stole the Rheingold. In the gloomy light from the forge the ugly tyrant stares greedily at the magic ring fashioned by Mime, the artful goldsmith, who holds it on his sword. This baleful ring, which brings unhappiness to all who possess it, is the center of interest.
	The Night Watch Guard	Rembrandt, Van Rijn (1607-1669) Dutch	Hall from room 323 to 325	298	This, the largest canvas painted by Rembrandt, is more than a picture. It is a dramatic rendering of a company of militia, a mass of moving figures; a bright light and a profound darkness. Illuminated faces, shadows, gloom, and darkness are harmonized and contrasted with striking boldness and unsurpassed art. The picture is not a study of individual officers and therefore proved a blow to their vanity. It ruined Rembrandt's profession as a portrait painter, but it is today acknowledged to be a masterpiece.
	The Norns (The Fates)	Hendrick, Heroomann (1856-1931)	Hall from room 334 to 338	61	Class of June,1913 The slender thread of destiny, woven and measured by the Norns or Fates, is the center of interest. They weave in the shades of night. When the thread breaks, they know that the end of the gods is near. In theme and composition, the picture is somber and weird.
	November	Gorter, A. M. (1866-?)	room 117	45	Class of January, 1915 This picture is an interesting study in color. The black structure of bare trees adds a sharp contrast to the delicate light that hints of the bleakness of approaching winter.
	October Days	Vincent, Harry A. (1867-1931) American	room 201	283	The bright, cool shades in this October light show the growth in landscape painting from the earlier French schools.
	An Old Castle	Liebman, Alexander	hall from room 133 to 135	89	The old castle on top of the hill dominates the scene and looks down on the cottages along the river.
	On the High Seas	Peterson, Hans	-	292	This picture has the verve that gives spirited expression to sea and ship. The grayness in the tones of color indicates the blustering day. This characteristic is also brought out by the full-blown sails.
	Origin of Parties: Picking the Red and White Rose in the Old Temple Garden	Payne, Henry A.	Hall between room 104 to 105	73	Class of January, 1915 Original in Houses of Parliament, London This picture shows an incident that transpired a little before the outbreak of the War of the Roses. During the reign of King Henry IV there were two parties in the royal court: the Lancastrians and the Yorkists. The former, favoring the queen and Somerset, wore a red rose as badge; the latter, favoring the Duke of York, wore a white rose. In this painting representatives of the two factions are picking the red and the white roses in Temple Gardens.
	Oral Tradition	Alexander, John W. (1856-1915) American	Library / room 002	249	Class of June, 1919 In this picture of an oriental story-teller relating the tale to absorbed hearers, Alexander develops man's further awakening. In implied lines the inspired speaker point to an unseen horizon where momentous events took place beyond the wall the circumscribes him. Shadows in the foreground repeat this note of the unseen. The yellow light in the distance carries the mind afar to the imagined scene of traditional action.
	Paysage Hollandais, Amsterdam (Dutch Landscape)	Gabriel, P. C. (1828-1903) Dutch	Hall from room 121 to 123	42	Class of January, 1915 The windmill in this Holland landscape is the center of interest by position and by the converging lines of the canal directing attention to it. Blue and green clouds in the sky are reflected in the water. Through the use of this balance a bland atmosphere of quiet restfulness is obtained.
	Peace Celebration at Strassburg	Orr, Lewis (1879-) American	Hall from room 345 to 345	313	Critics use brilliancy as the word that best describes Orr's work. As in this etching, "he compels attention through sweep and swing". He is distinguished by the "fact that he is approximately the fourteenth American artist to have work admitted to the Luxembourg Gallery, that he has a greater number of works there than any other of the American group, and that one of his etchings, 'The canal de Monnaie', probably was the first work of fine art by a living American to be purchased for the National Musee de Louvre". His technique mainly is pure line work.
	Peasant Family Scene		room 104A
	Per Aspera Ad Astra (Through Difficulties to the Stars)	Dieffenbach, K. W. German	room 038	330	Original at Capri, Italy Disturbance and flight mark the movements of ducks, frog, hound, and monkey in their fright at the daring leap of the horse encouraged by his confident rider.
	Per Aspera Ad Astra (Through Difficulties to the Stars)	Dieffenbach, K. W. German	room 038	331	Original at Capri, Italy The masses leap into a triangular design and run and whirl.
	Per Aspera Ad Astra (Through Difficulties to the Stars)	Dieffenbach, K. W. German	room 038	332	Original at Capri, Italy The design and feeling of animation in this picture are united to interpret the buck's disposition as he leads the doe and fawn, followed by dancing figures.
	Per Aspera Ad Astra (Through Difficulties to the Stars)	Dieffenbach, K. W. German	room 038	334	Original at Capri, Italy Balance and rhythm sustain the youthful rope walkers. Note the use of the triangle in the composition.
	Per Aspera Ad Astra (Through Difficulty to the Stars)	Dieffenbach, K. W. German	room 038	335	Original at Capri, Italy In this picture rhythmic daring is emphasized
	Per Aspera Ad Astra (Through Difficulty to the Stars)	Dieffenbach, K. W. German Contemporary	archives room	336	Original at Capri, Italy The accent in this picture is upon the girl with the wand as she tries to break the spell of the piper. The monkey aids her; the goose continues; the crow hesitates.
	Philosophy	Chavannes, Puvis de (1824-1898) French	1st floor south-east stairway	268	Puvis de Chavannes is one of the 19th century's most famous painters of mural decoration. In his prodigious pictures of the pantheon, the Sorbonne, Amiens, Lyon, Marseille, Poitiers the personages, like the architectural subjects, seem to animate themselves in the mists as in an epic dream.
	Phoenicians Trading with Early Britons	Leighton, Frederic (1830-1896) English	room 201 / Balcony Entrance	68	Class of January, 1915 Original in Houses of Parliament, London Barter, in early history, is illustrated in this picture. The Phoenicians are exchanging trinkets and manufactured goods with the Britons for tin, needed in early welfare for armor and weapons.
	The Picture in the Large Mirror	Kuhn, Joseph German	room 119	301	This Impressionist painting with its figures posed before a large mirror, suggests an ornamental setting in a French drawing room. Gilded frames and polished wood enhance the effect. The light, reflected from the white dress, the mirror, and the flossy floor, is predominantly cool and restrained. The figure itself gives the same sense of serves. Perhaps the painting is slightly too thin, too wanting in vitality, to be great art. Its main value resides in its decorative color.
	Picture Writing	Alexander, John W. (1856-1915) American	Library / room 002	251	Class of June, 1919 Original hangs in the Congressional Library, Washington, DC Alexander believed that mortality and beauty are inseparable in the highest forms of artistic expression. In this scene, in which the Indian is recording by picture-writing his unlettered story of war and the chase, the artist emphasizes the sinuous form; the bright, bold, and harmonious in color; and the theme that the highest happiness consists in living the beautiful life of self-forgetfulness.
	Place de Venice	Labrouche, Pierre	Hall from room 319 to 321	85	Class of June 1916 With almost photographic exactness the artist painted these old, marble, hand-carved palaces of Venice to produce the illusion of solidity and beauty.
	Pierre et Jean (St. Peter and St. John)	Burnand, Eugene (1850-1951) Swiss	Hall from room 223 to 225	14	Class of January, 1913 Through the illumined faced and the dynamic figures of the two apostles of Jesus, this realistic portrayal records a powerful, spiritual experience. The balance in the arrangement sharply contrasts the personalities of John and Peter, seen in great movement.
	Prince Rhodekanakis	Van Dyke, Sir Anthony (1599-1614) Flemish	Hall from room 343 to 345	140	Original at Vienna This picture shows a typical, rather trite portrait pose. Notice again the interest of the painter in details of costume.
	The Prophet Jeremiah	Michelangelo (1475-1554) Italian	Hall from room 211 to 213	391	Jeremiah, a figure of nobility and power, sits lost in reflection, his mood that of despondency. The composition forms an oval. Into this the large figure is drawn with strong, down-drooping lines. The spiritual colors express the hope found in his prophecies, filled through these are with warning and denunciation.
	The Prophets (from Creation) 1.Joel, reading a scroll. 2. Zacharias, turning over the leaves of a book. 3. Isaiah, with his arm resting on a book is absorbed in divine inspiration. 4. Delphic Sibyl, with open scroll.	Michelangelo (1475-1564) Italian	Hall from room 331 to stairs	100	Memorial to J. Herman Beare, Head of the English Department for three years. Original on ceiling of Sistine Chapel in the Vatican, Rome Joel, reading the scroll, has an expression of absorbed interest. The painter did not derive his great figures form nature. He made them from his fund of accumulated knowledge, inventing new proportions and attitudes. Yet the figures are not mere examples of anatomic skill. They are interrelated forms charged with vitality and inspired by the noblest outpourings of the soul. Zacharias, turning the leaves of a book, seems engaged in an endless, intellectual undertaking. Isaiah, his arm resting on a book, pivots in a sudden movement. He turns as if a divine inspiration had roused him from reverie. The design in a harmonious whole. The figure shows the solidity of human architecture.
	The Prophets (from Creation), 1.Cumean Sibyl, opening a book, 2. Daniel, writing, 3. Libyan Sibyl, 4. Jonah, just delivered from the whale.	Michelangelo (1475-1564) Italian	Hall from room 331 to stairs Memorial to Grace Grant McIlvanie, Librarian in the school, 1903-1908	101	Original on ceiling of Sistine Chapel in the Vatican, Rome The Cumean sibyl, in Italy, according to legend, asked the gods for immortality, but failed to ask for eternal youth; hence her aged form and face. As she reads, her lips seen to move. Daniel writes in the heat of divine inspiration. Every movement is of great moment. His motions suggest enthusiasm and youthful energy. The Libyan sibyl displays freedom of movement combined with vigor as she turns to grasp a huge volume. Jonah, symbol of immortality, has come forth from the whale, and with his fingers counts the forty days that still remain before the destruction of Nineveh.
	The Prophets (from the Creation) 1. Jeremiah, lost in sorrowful reverie, 2. Persian Sibyl, reading, 3. Ezekiel, with half open scroll, 4. Erythean Sibyl, with open scroll.	Michelangelo (1475-1564) Italian Original on ceiling of Sistine Chapel in the Vatican, Rome	Hall from room 331 to stairs Memorial to James Fenimore Cooper, a former teacher in the school.	99	In the Renaissance, Michelangelo became the supreme artist of all time. Primarily a sculptor, not considering painting "his art", he reluctantly accepted the commission thrust upon him by Pope Julius II to cover the ceiling of the Sistine with paintings in fresco. Michelangelo besought the pope to employ Raphael. But after entering upon the enterprise, he discovered that his imagination was unleashed and that "his world might be extended into illimitable space, retaining the strength and certainty of sculpture and enriched by color". To cover ten thousand square feet of ceiling is an enormous undertaking; to organize this area into a structural unit is the work of one who from the depth of his soul is an artist. The design called for three hundred and forty-three figures. About two hundred and twenty-five range in height from ten to eighteen feet. In the decorations of the Sistine he has bequeathed the greatest, single hand work of art that man had produced. The intricate, architectonic system combines single figures and groups of figures, whose actions symbolize the creation of the world, man's first disobedience, and the prophecies of redemption. The prophets are grouped as follows: The powerful Jeremiah, seated in at attitude of serious reflection, exemplifies Michelangelo's nobility of conception. The two spirits behind the prophet seem to sympathize with him. Alternating with the prophets are the sibyls, the prophetesses of classical antiquity, who have prophesied the birth of a Christ. The Persian sibyl, aged and near-sighted, is reading. Ezekiel's form expressed the urge of an impetuous questioning that arose while the prophet was reading the scroll, now half open. The spirit seems to be pointing out One who is to come. The Erythrean sibyl, from Babylonia, is a beautiful, draped form. The sibyls are exalted figures that "know no other kin", as if they were self-creators. Above, a spirit uses the torch to set the oil in the lamp afire. All movement is directed toward the finger on the scroll.
	Protestant Reformation: Latimer Preaching Before Edward VI at St. Paul's Cross	Bord, Ernest	Hall between room104 to 105	69	Class of January, 1915 Original hangs at the House of Parliament, London This painting illustrates a scene on the theme of the Protestant Reformation. Hugh Latimer, English bishop and Protestant reformer, is preaching to Edward VI. Latimer was the favorite teacher of King Edward, who, being ill, had a pulpit placed in his garden that he might listen to Latimer's sermons.
	Queen Elizabeth's Visit to the First Royal Exchange	Crofts, Ernest (1847-1911) English	room 201 / Balcony Entrance	75	Class of January, 1915 Original in Houses of Parliament, London This picture shows Queen Elizabeth on a visit to the Royal Exchange, founded in 1560 by Sir Thomas Gresham for the merchants who had previously had to transact their business on the streets. Surrounded by courtiers and guards and mounted on a white horse, the Queen is welcomed before the large, brick building. She was so pleased that she caused a herald to proclaim with trumpet that "Gresham's Exchange" was The Royal Exchange.
	Queen Elizabeth Going Aboard the Hind	Brangwyn, Frank (1867-?)	room 201 / Balcony Entrance	239	Original hangs at Lloyds of London This is a gay and colorful historical picture. Brangwyn reproduces not only the historical event, but also the adventure and romance of Elizabethan England.
	Quiet Afternoon	Corot, Jean Baptiste-Camille (1796-1875) French	Hall from room 033 to 035	256	Class of January, 1919 Like all of Corot's pictures, this is in subdued and fused colors. It typifies the virginal quality of his landscapes.
	The Rains-Tiger	John Seerey-Lester	room 104D	-	-
	Reading Hermit	Koninck, Solomo (1629-1678) Dutch	Hall from room 029 to 031	82	Original in Dresden Gallery Koninck, a pupil of Rembrandt, shows his master's influence in handling light and in interpreting character.
	Return of the Sardine Boats	Le Gout, Gerard (1876-?) French	Hall from room 131 to 133	43	Class of June,1913 This color etching expresses and emotion aroused by the beauty of a sunset along the French waterfront. The fishing vessels gliding in from the sea into the shadows of the night denote the end of the days work; silhouetted against the sky, they add pictorial interest to the scene. The charm of the picture is enhanced by the mellow glow of color, which, with the shadows and reflections, awakens a feeling of reverie in the observer.
	Reunion of the Officers of St. Andrew	Hals, Franz (1580-1666) Dutch	Hall from room 219 to 221	411	Original in Haarlem Museum, Holland The superiority of this masterpiece consists in loveliness of color, characterization of the figures, and complete simplicity of attitude and gesture. Hals's superb craftsmanship invests his pictures with liveliness and spontaneity.
	Rheingold	Hendrick, Hermann (1856-1931) German	Hall, corner to room 332	51	Class of June,1913 This is a skilful handling of the beginning of the tragic story of the Rheingold, hidden in the bed of the river and happily guarded by the Rhine daughters, three water sprites. Notice Asgard, the rainbow, and the mysterious, golden reflection in the gray-green water at twilight. The arrangement of the planes indicates that the struggle will include earth and heaven, or men and gods.
	Richard Wagner 1813-1883	-	Hall from room 334 to 338	210	Class of January, 1913 This German composer created the modern music drama. Note that keenness, refinement, and kindness are prominent in the face of this great musician, whose life was full of disappointments. His immortal creations have enriched the world.
	The Rising Storm