Chicago Connections
6 artworks from 6 artists across 6 galleries
The tour is ordered to begin from the Michigan Avenue entrance. If you are starting in the Modern Wing, simply do your tour in reverse order.
Take a tour of works intrinsically linked to the Windy City, or made by artists who call or called Chicago home.
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The Song of the Lark
Jules Breton
Gallery 222, second level, Arts of Europe: Painting and Sculpture Galleries
This painting by Jules Adolphe Breton was among the first to enter the Art Institute's collection when the museum opened in 1893. It quickly became one of the most popular paintings at the museum. By the 1920s, reproductions were hanging on classroom walls across the United States. In 1934, it was named “America’s Best Loved Picture” in a contest sponsored by the Chicago Daily News."Song of the Lark is a favorite of actor Bill Murray. He claims it saved his life when he was still a struggling young comic in Chicago."
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Lakota Honor - Sees The Horses Woman - SuWakan Ayutan Win
Rhonda Holy Bear, Wakah Wayuphika Win, Making with Exceptional Skills Woman
Gallery 160, first level, Arts of the Americas Galleries
Rhonda Holy Bear uses her art to create cross-generational connections. This sculpture portrays a Lakota widow honoring her fallen husband by wearing his regalia. Her belt of honors showcases her own accomplishments as a woman, wife, and mother. The figure features 32 different Lakota artisitic techniques, such as beading and quillworking."This exceptional and intricate work by Chicago artist Rhonda Holy Bear is a portrait of the artist’s paternal grandmother, Josephine Sees the Horses Woman, who was born in 1872 and whose father was killed in the Battle of the Little Big Horn."
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This, My Brother
Charles White
Gallery 262, second level, Arts of the Americas Galleries
Charles White believed art could be a force in promoting equality for African Americans. This painting draws its title from a 1936 novel about a rural white miner who experiences a political awakening and joins the proletarian struggle against capitalism. White transformed the protagonist into a Black man who breaks free from a mountain of rubble, a hopeful image of the possibility of social change."Like many artists of his generation, Chicagoan Charles White believed that art could be an influential force in the struggle to promote racial equality for African Americans. He stated, 'Paint is the only weapon I have with which to fight what I resent.'"
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Ceres
John Bradley Storrs
Gallery 271, second level, Arts of the Americas Galleries
John Storrs, a native Chicagoan, created this smaller version of the art deco–inspired figure he designed for the top of the Chicago Board of Trade Building. In his efforts to make the sculpture symbolic of the building’s purpose, Storrs turned to the Classical subject of Ceres, the Roman goddess of grain, alluding to the board’s activity as the world’s biggest grain exchange."Though Storrs moved to Paris in 1911 and spent much of his career there, he actually grew up in Chicago and studied at the Chicago Academy of Fine Arts and the School of the Art Institute of Chicago."
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Stamnos (Mixing Jar)
Chicago Painter
Gallery 151, first level, Arts of the Greek, Roman and Byzantine Worlds Galleries
Among the first objects purchased for the museum's collection, this ancient Greek jar was originally used to mix water and wine. Painted in the red-figure style (so called because the figures remain the natural red of the clay), this vessel portrays the women followers of Dionysos, the Greek god of wine. Remarkably this millennia-old vase retains its original lid."The ancient Greek painter who painted this vase is referred to as the Chicago Painter because this work, long part of the museum's collection, showcases all the hallmarks of his style: calm, elegant figures and a soft, free form."
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The Trogens
Gladys Nilsson
Gallery 289, second level, Contemporary Galleries
A rare and important early example of reverse painting on Plexiglas, The Trogens reflects Gladys Nilsson's interest in the themes of hidden realities. The work recalls the iconic story of the Trojan horse from Homer’s The Odyssey, suggesting that artifice can belie true meaning and that things are not always as they appear."In the mid-1960s Nilsson was a member of the Hairy Who, a group of graduate students from the School of the Art Institute whose unconventional exhibitions at the Hyde Park Arts Center on the city's South Side transformed the art landscape of Chicago."
