Educator Resource Search Results

Displaying records 1 - 10 of 28.
Audio Lecture: Painting Forensics: Investigating Northern Renaissance Art
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Molly Faries, Indiana University, reviews recent studies on old master paintings made possible by new infrared reflectograms and other technologies.
Audio Lecture: Painting Forensics: Investigating Northern Renaissance Art
UV Image: Madder lake pigment revealed
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A photograph of Two Boys Watching Schooners, taken with ultraviolet light, reveals intense orange-pink fluorescence on the rocks and in the figures. Conservators commonly use ultraviolet...
Framing Profile: Nudes in Sea, 1940
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While the frame around Nudes In Sea bears the same ivory tone Marin employed early in his career, he did not paint the flat angular section with any colors that relate to the palette of the...
Framing Profile: <em>Nudes in Sea</em>, 1940
Framing Profile: Cape Split, Maine, 1941
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The frame for Cape Split, Maine differs from the one seen on Nudes in Sea in three respects. The first is that the outer astragal has been removed from the profile design. The...
Framing Profile: <em>Cape Split, Maine</em>, 1941
Infrared Detail: Two figures in original design
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Infrared examination of A Garden in Nassau reveals that the watercolor originally included two older boys perched atop the wall to the left of the wooden gate; they were attempting to reach...
Framing Profile: Ragged Island, Maine, 1914
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The frame used on Ragged Island, Maine has a very simple appearance that reflects the spare styles being used in the early twentieth century, a reaction to the predominantly European...
Framing Profile: <em>Ragged Island, Maine</em>, 1914
Framing Profile: Sailboat, Brooklyn Bridge, New York Skyline, 1934
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The extension of painting activity into the frames was taken up fervently in the oil Sailboat, Brooklyn Bridge, New York Skyline. The profile here is similar to that used on the two...
Framing Profile: <em>Sailboat, Brooklyn Bridge, New York Skyline</em>, 1934
Framing Profile: Tree and Sea, Maine, 1919
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Marin’s step-frame approach appears on four of the five frames in the Art Institute’s holdings from this period, and typifies the design profile most associated with him today. This approach, as one...
Framing Profile: <em>Tree and Sea, Maine</em>, 1919
Framing Profile: Sea, Green and Brown, Maine, 1937
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The final frame in the museum’s holdings from this period is that of Sea, Green and Brown, Maine. In this case, the artist may have felt that the slanted molding with astragals was not...
Framing Profile: <em>Sea, Green and Brown, Maine</em>, 1937
Framing Profile: The Green Sea—Movement—Stonington, Maine, 1921
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Marin’s aesthetic concerns evolved through the 1920s, as seen in his handling of The Green Sea—Movement—Stonington, Maine, which was adhered to a gilded mount and then fitted in a spare...
Framing Profile: <em>The Green Sea—Movement—Stonington, Maine</em>, 1921

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