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100: The Buffalo Fine Arts Academy, 1862-1962

Author

Townsend, J. Benjamin

Publisher

Buffalo Fine Arts Academy

Buffalo, New York

Type

Collection catalogue

Year

1962

This publication explored the first hundred years of The Buffalo Fine Arts Academy's history. The richly illustrated book features commentary by art historian and critic J. Benjamin Townsend.

Related Artworks

Elegy to the Spanish Republic XXXIV — Robert Motherwell

Elegy to the Spanish Republic XXXIV , 1953-1954

Exuberance — Hans Hofmann

Exuberance , 1955

A vibrant array of colorful geometric forms abut and overlap one another in the abstract kaleidoscopic patterning that covers this large, vertically oriented canvas. The colors range from red, blue, green, and orange, to pink, black, maroon, and white. A thin red painted line separates the bulk of the composition from a border of red, yellow, blue, and green rectangles alternating with white. — Morgan Russell

Synchromy in Orange: To Form , 1913-1914

A series of three-dimensional geometric forms balance on two forked legs in the front and a third leg in the back. Overall, the sculpture abstractly mimics the human form: a vertical half circle at the top serves as a head and is connected to the rest of the work by a long vertical rectangle that resembles a neck. Two additional long rectangles at the center of the work sit alongside further half circles that resemble a shoulder and two hips. — David Smith

Tanktotem IV , 1953

Chemin bordé d'herbe (Path Bordered by Grass) — Jean Dubuffet

Chemin bordé d'herbe (Path Bordered by Grass) , 1956

Femme et oiseaux dans la nuit (Woman and Birds in the Night) — Joan Miró

Femme et oiseaux dans la nuit (Woman and Birds in the Night) , 1945

Odalisque — Conrad Marca-Relli

Odalisque , 1957

Curved Form — Barbara Hepworth

Curved Form , 1956

Our Lady of All Protections — Richard Peter Stankiewicz

Our Lady of All Protections , 1958

First Avenue — Georges Mathieu

First Avenue , 1957

Thick jagged brushstrokes come together in an abstract composition covering this large-scale, horizontally oriented painting. Fields of red, and strokes of yellow, blue and black punctuate the largely white surface. — Willem de Kooning

Gotham News , 1955

Growth — Hans Uhlmann

Growth , 1952

Bianco 1955 — Alberto Burri

Bianco 1955 , 1955

T 1951-3 — Hans Hartung

T 1951-3 , 1951

Seated Woman with Arms Extended — Kenneth Armitage

Seated Woman with Arms Extended , 1953-1957

Untitled — Edward Higgins

Untitled , 1959

Abstract in Red, No. 3 — Victor Pasmore

Abstract in Red, No. 3 , 1960

Composition — Serge Poliakoff

Composition , 1953

Japanese War God — Eduardo Luigi Paolozzi

Japanese War God , 1958

1954 — Clyfford Still

1954 , 1954

Die Knieende (Kneeling Woman) — Wilhelm Lehmbruck

Die Knieende (Kneeling Woman) , 1911

A young boy wearing a brimmed hat, green jacket, long black pants, and brown leather boots sits on a wooden crate at the side of a red brick road. He holds an apple in his left hand, and there are a couple newspapers at his feet. The brick wall behind the boy is covered in layers of printed posters. — Thomas Le Clear

Buffalo Newsboy , 1853

Buffalo Harbor from the Foot of Porter Avenue — Lars Gustaf Sellstedt

Buffalo Harbor from the Foot of Porter Avenue , 1871

Green Sculpture II — Herbert Ferber

Green Sculpture II , 1954

Things Fussing Around the Moon — Joan Brown

Things Fussing Around the Moon , 1959

Harlequin (Project for a Monument) — Pablo Picasso

Harlequin (Project for a Monument) , 1935

A bright yellow cow, seen from the rear, sits in a grassy field on the left side of this horizontally oriented canvas. On the right, a reddish path leads into a dense woodland, and above the cow on the left, a narrow rectangle of pink sky emerges behind rolling green hills. Short red flowers are visible in the foreground, and a single, scraggly tree juts out of the ground in the upper-left corner. The colors are soft and bright, suggesting a warm, sunny day. — Milton Avery

Bucolic Landscape , 1945

Patina — György Kepes

Patina , 1959

Portrait of Miss Evans — Thomas Gainsborough

possibly by Gainsborough Dupont

Portrait of Miss Evans , 1786-1790

A young boy dressed in a plain brown jacket over a blousy white top, shown from the waist up, fills most of this painting. He clutches a short lighted stick in his right hand, and a pair of black bat-like wings sprout from his upper back. He turns his head to gaze somberly down and to the left. Behind him, heavy clouds loom over a city street with low wooden buildings and two pedestrians. The painting style is soft and atmospheric using mostly muted brown tones. — Joshua Reynolds

Cupid as Link Boy , 1774

The young woman who is the subject of this portrait is show seated and from the waist up. She looks directly at the viewer and a small smile plays over her red lips. Brown ringlets softly frame her face and are elaborated pinned at the top of her head. She wears a white silky dress, cut low around her shoulders, as well as a long golden chain necklace and a golden bracelet set with a red gem on her right wrist. — Sir Thomas Lawrence

Portrait of Miss Rosamond Croker , 1827

The artist stenciled a single number into each rectangular field of this colorful, eleven by eleven grid except for the top left, which is blank and dominated by bluish paint. Moving from left to right and top to bottom, he stenciled in the numbers zero to nine in numerical order, beginning again with zero after each nine. Embedded newspaper fragments add texture to the blue, orange, red, yellow, and white pigmented wax paint that covers the canvas. — Jasper Johns

Numbers in Color , 1958-1959

The caryatids are a series of eight white marble sculptures of women that hold up porch roofs on the exterior of the museum like columns. Each woman is draped in a heavily pleated robe resembling the costumes of ancient Greece and carries a different object symbolizing a different discipline. For instance, one woman holds a painters palette and brushes, symbolizing painting, while her neighbor bears a small model of the Winged Victory of Samothrace, symbolizing sculpture. — Augustus Saint-Gaudens

Eight Caryatid Figures , 1906-1907

Pictured in pastel colors and shades of gray, a man with a straw hat relaxes in a hammock. Lines crisscrossing the canvas break his body, face, and surroundings into irregular geometric shapes. One of his hands holds the far side of the hammock, the other hand hangs out of it, lazily holding a book. His leg hangs out of the hammock and rests on a nearby chair. — Albert Gleizes

L'Homme au hamac (Man in a Hammock) , 1913

L'objet invisible (Mains tenant le vide) [Invisible Object (Hands Holding the Void)] — Alberto Giacometti

L'objet invisible (Mains tenant le vide) [Invisible Object (Hands Holding the Void)] , 1934 (cast executed 1935)

Der Rächer (The Avenger) — Ernst Barlach

Der Rächer (The Avenger) , 1914 (cast executed after World War II)

Freya — Gerhard Marcks

Freya , 1949

3-61-MT — Nassos Daphnis

3-61-MT
, 1961

Man Walking (Version I) — Alberto Giacometti

Man Walking (Version I) , 1960

East Barrier — Jack Tworkov

East Barrier , 1960

Cortez — William Turnbull

Cortez , 1960

A large playful sculpture made of thin sheets of black metal forming a partially open cone that stands on its circular base. A thin metal rod is balanced across the cone’s pointed top. Numerous interconnected wires and rods, each of which ends in a small white metal circle, hang from one side of the rod. The weight of the many wires and circles on one side of the central rod is counterbalanced and held in equilibrium by a single red circle on the rod’s other end. — Alexander Calder

The Cone , 1960

Blue Painting — William Scott

Blue Painting , 1960

Calm Before the Storm — Kumi Sugai

Calm Before the Storm , 1961

Kroll — John Chamberlain

Kroll , 1961

A rectangular white canvas sits horizontally. In the top-right corner, there is a large black circle; a large red circle of roughly equal size is adjacent to the black dot, toward the center of the canvas. Beneath these dots are energetic and erratic swirls of black paint with splatter and drips on their edges. — Adolph Gottlieb

Dialogue I , 1960

Couleur-douleur (Color-Sadness) — Zoltan Kemeny

Couleur-douleur (Color-Sadness) , 1960

Hialeah — Alfred Leslie

Hialeah
, 1961

Lecteur I.K.B. 1960 (No. 1) — Yves Klein

Lecteur I.K.B. 1960 (No. 1) , 1960

Lecteur I.K.B. 1960 (No. 2) — Yves Klein

Lecteur I.K.B. 1960 (No. 2) , 1960

Lecteur I.K.P. 1960 — Yves Klein

Lecteur I.K.P. 1960 , 1960

Untitled — Lee Bontecou

Untitled , 1960

Red Window — Phillip B. Leavitt

Red Window
, 1960

Malanggan I — Hubert Berke

Malanggan I , 1959

New England, October — Grace Hartigan

New England, October , 1957

The Final Veteran — Larry Rivers

The Final Veteran , 1960

Delfina — Jack Youngerman

Delfina , 1961

Four short oxidized steel legs elevate a small, taupe-colored rock a couple inches off the ground. Additional lengths of oxidized steel extend either vertically or in a trapezoidal shape above the rock. Several additional abstract steel elements are attached to this framework, including one that looks like an origami crane and another at the very top of the sculpture that looks like a bird in flight with its head pointed toward the ground. — David Hare

Sunrise , 1954-1955

Bust of Henry W. Rogers — William Henry Rinehart

Bust of Henry W. Rogers
, 1869

Self Portrait of the Artist in his Studio — Lars Gustaf Sellstedt

Self Portrait of the Artist in his Studio , 1871

No image available,
but we're working on it

Lars Gustaf Sellstedt

Portrait of Millard Fillmore , ca. 1850

This realistic and atmospheric image of an Italian coastal landscape features a lone sailboat on a bright sunlit horizon, jagged mountains forming the edge of a bay, three misty rock stacks rising out of the sea in the distance, and men and women in the foreground gathered around fishing boats and nets on a golden sandy shore. Large fluffy clouds fill the sky, darkening the beach and first mountain peak on the left of the bay. — Albert Bierstadt

The Marina Piccola, Capri , 1859

Catskill Creek, New York — James McDougal Hart

Catskill Creek, New York
, 1855

The Marvelous Sauce — Jehan Georges Vibert

The Marvelous Sauce , ca. 1890

This painting provides a view down into a flat meadow where a farmer tends a couple of cows. Beyond lush forests, ravines, and a far-off hamlet, the coming storm dominates the horizon. Softly-painted slate gray clouds fill the upper half of the painting. The most ominous of these are on the left, rolling over hills above and beyond the farmer. Two birds fly amid this darkening tumult. A break in the clouds near the painting’s center illuminates the scene. — George Inness, Sr.

The Coming Storm , 1878

Bringing Home the Cattle - Coast of Florida — Thomas Moran

Bringing Home the Cattle - Coast of Florida , 1879

Bust of Proserpine — Hiram Powers

Bust of Proserpine
, ca. 1839

Portrait of John Joseph Albright — Edmund Charles Tarbell

Portrait of John Joseph Albright , 1914

Portrait of Edward B. Green — William M. Hekking

Portrait of Edward B. Green
, 1937

Innocentia — Ivan Meštrović

Innocentia , 1908

La Vierge d'Alsace — Emile Antoine Bourdelle

La Vierge d'Alsace , not dated (cast executed 1921)

Torso — Aristide Maillol

Torso , not dated

Mindanao — Victor Vasarely

Mindanao , 1952-1955

A tall and slender rectangular blue canvas stands vertically. On top of a blue ground, Reinhardt painted small horizontal rectangles in various other shades of blue, placed randomly, making the painting appear somewhat like a quilt. The darker blue patches are more concentrated at the top and bottom, leaving the middle to appear more calm. — Ad Reinhardt

No. 15 , 1952

Chimera — Mirko

Chimera , ca. 1953-1960

A woman in an elaborately ruffled pink dress with a large feathered fan enters an ornately decorated ballroom filled with party-goers on the arm of a much older gentleman. She looks left and outward beyond the viewer, while the attention of nearly all other male figures in the scene is directed at her. The textures of various surfaces and fabrics are painted with rich detail and texture, especially the pink dress ruffles gathered on a plush red ottoman at the bottom of the frame. — James Tissot

L'Ambitieuse (Political Woman) , 1883-1885

La toilette — Pablo Picasso

La toilette , 1906

This abstracted portrait of woman’s head and neck sits on a light grey stone cube. Its polished bronze surface is highly reflective. The head is an elongated egg shape, and its features are highly simplified and stylized. Two deeply cut arches, which meet at a sharp point at the bottom center of the head, define the woman’s dramatic brow line and her eyelids. A teardrop form extending from the left side of the face suggests a hand resting against her cheek. — Constantin Brancusi

Mademoiselle Pogany II , 1920

Portrait de Mme Simart — Jean-Auguste-Dominique Ingres

Portrait de Mme Simart , 1857

Portrait of Anna Marie Merkel — Isamu Noguchi

Portrait of Anna Marie Merkel , 1929

Two elderly Caucasian ladies and a young girl sit in a dark parlor. Each has her own seat, looks in a different direction, and seems inwardly focused. The matrons wear black lace dresses. The red-haired young girl at center wears a white dress with a deep blue sash, a golden locket, and turquoise stockings. She holds in her lap a book opened to a picture of a floral still life picture resembling the vase of flowers in the background. — George Wesley Bellows

Elinor, Jean and Anna , 1920

Church at Old Lyme, Connecticut — Childe Hassam

Church at Old Lyme, Connecticut , 1905

Abstract blocks of chartreuse, white, brown, flat grey, and marbled grey clearly outlined in black define the space and contents of this somber, semi-representational picture. Several items are perched on a mantlepiece, which is supported by a decorative ionic capital on the right side. From left to right these objects include a gray and brown pitcher, two pieces of fruit, and a yellow guitar with five black strings. Behind these items is what appears to be a piece of sheet music. — Georges Braque

Still Life on a Mantelpiece , ca. 1923

London, Large Thames View I — Oskar Kokoschka

London, Large Thames View I , 1926

Abstract shapes filled with solid areas of red, blue, white, and black paint float in a loosely linked cluster in the middle of this small beige canvas. Many of the shapes loosely resemble buildings, including a red structure with blue windows and tall black smokestacks at center, which sits beneath a white rectangle featuring the letters L and R in blue. A white shape with red edges at bottom resembles at boat while a patch of blue at bottom left may suggest water. — Stuart Davis

New York Waterfront , 1938

Composition No. 11, 1940-42--LONDON, with Blue, Red and Yellow — Piet Mondrian

Composition No. 11, 1940-42--LONDON, with Blue, Red and Yellow , 1940-1942

Adoration of Christ — studio of Lorenzo di Credi

Adoration of Christ
, ca. 1510

Portrait of Colonel William Taylor — Ralph Earl

Portrait of Colonel William Taylor , 1790

View Through an Arch of Westminster Bridge Towards the City of London — Canaletto

View Through an Arch of Westminster Bridge Towards the City of London , 1746-1755

Standing Woman — Gaston Lachaise

Standing Woman , 1912-1918 (cast executed 1927)

A table filled with books, sheet music, and instruments fills this horizontally oriented painting. At center, a book with its pages fanned open sits in front of a stack of old brown books. To the right are a small blue book, a tall gold candle holder with a small unlit white candle, a tan inkwell with a white quill sticking out, and a roll of sheet music with a blue cover. On the left are a piece of sheet music and two woodwind instruments, one of which is propped on a brown book standing with its spine up. — William Michael Harnett

Music and Literature , 1878

Several figures are gathered on a lush green field flanked by tall trees. Toward the left edge of the painting, a woman in a brown dress and a man in a brown suit face each other, as if in conversation. Another man in a black suit and top hat watches three women in white, blue, and red Victorian-style dresses playing croquet in the foreground. The woman in white appears poised to hit a blue ball through a wicket with her mallet. — Winslow Homer

Croquet Players , 1865

Portrait de Mlle Rose Caron (Portrait of Rose Caron) — Edgar Degas

Portrait de Mlle Rose Caron (Portrait of Rose Caron) , ca. 1892

Le Christ jaune (The Yellow Christ) — Paul Gauguin

Le Christ jaune (The Yellow Christ) , 1889

Woman's Head — Pablo Picasso

Woman's Head , 1909

Sacrifice — Jacques Lipchitz

Sacrifice , 1948

Étude pour "Le Chahut" (Study for "Le Chahut") — Georges Seurat

Étude pour "Le Chahut" (Study for "Le Chahut") , 1889

St. Gregory of Nazianzus — Peter Paul Rubens

St. Gregory of Nazianzus
, 1621

Dancer — Marino Marini

Dancer , 1952

Thomas Eakins

Music , 1904

La source de la Loue (The Source of the Loue) — Gustave Courbet

La source de la Loue (The Source of the Loue) , ca. 1864

Manipulator — Reg Butler

Manipulator , 1954

Frauenbildnis (Portrait of a Woman) — Ernst Ludwig Kirchner

Frauenbildnis (Portrait of a Woman) , 1911

Nude Figure — Pablo Picasso

Nude Figure , late spring 1910

A young white-skinned woman, nude to the waist, sits on the grassy bank of a body of water in the center of this vertically oriented painting. A blue cloth or portion of a garment with white edges loosely covers her lap. She grasps her left ankle, which rests on her right knee, with both hands, and she gazes toward the bottom left of the canvas. The paint was applied quickly and loosely with visible brushstrokes. — Pierre-Auguste Renoir

Petit nu bleu (Little Blue Nude) , ca. 1878-1879

Le Village dans la forêt (The Village in the Forest) — Fernand Léger

Le Village dans la forêt (The Village in the Forest) , 1914

This painting is very dark overall, and the forms are hard to make out. The lightest portion is a small inverted triangle of sky illuminated by a full moon rising over low hills. The right edge of the canvas is dominated by trees whose branches droop over a small pond. The bottom right corner features a tiered fountain. Three shadowy figures stand near the fountain and face in the direction of the left edge of the canvas, which is filled with a pavilion with classical columns. — Albert Pinkham Ryder

The Temple of the Mind , before 1885

This wintery landscape features a path that follows a still gray river as it curves from the bottom right corner of the canvas and recede into the distance under an overcast sky. On the right side of the painting, smokestacks on a distant are reflected in the water. Four small figures summarily rendered in dark tones walk on the path, with one appearing to move toward the viewer. To the left is a patch of trees and grass that peeks out beneath melting snow. — Claude Monet

Chemin de halage à Argenteuil (Towpath at Argenteuil, Winter) , 1875-1876

An Anniversary — Edwin Walter Dickinson

An Anniversary , 1920-1921

Le matin en Provence (Morning in Provence) — Paul Cézanne

Le matin en Provence (Morning in Provence) , ca. 1900-1906

No image available,
but we're working on it

unknown

after Claude Lorrain

Landscape with St. Philip Baptizing the Eunuch , 1678

La ferme à Montfoucault (Farm at Montfoucault) — Camille Pissarro

La ferme à Montfoucault (Farm at Montfoucault) , 1874

The Lady's Last Stake — William Hogarth

The Lady's Last Stake , 1759

Une laveuse au Quai d'Anjou (Laundress on the Quai d'Anjou) — Honoré Daumier

Une laveuse au Quai d'Anjou (Laundress on the Quai d'Anjou) , ca. 1860

Corpus of a Crucifix — possibly by unknown Mosan

Corpus of a Crucifix
, ca. 1100-1199

Woman in a Bonnet — Georges Rouault

Woman in a Bonnet , 1907

This portrait features a young Caucasian man shown from the waist up against a roughly defined background of blue, gray, and brown. The brushwork overall is quite loose. The man wears an oversized orange jacket open over a wrinkled light-green button-down shirt that gapes around his neck. The man’s face is very thin, with prominent cheekbones and sunken, gray-blue eyes. His shortly cropped brown hair is slightly receding above his right ear. — Walt Kuhn

The Man from Eden (George Fitzgerald) , 1930

Degas à la redingote noire (Self-Portrait) — Edgar Degas

Degas à la redingote noire (Self-Portrait) , ca. 1854-1855

This wooden sculpture could abstractly resemble a reclining female body. The dark brown wood is polished to reveal the wood grain and knots throughout the form. The figure’s legs seem to be gently bent, and she appears to be resting on her elbows, with her head propped upright. The artist left the torso as an empty space, allowing viewers to see through the sculpture. — Henry Moore

Reclining Figure , 1935-1936

Art Gallery (New Yorker magazine cover) — Richard Denison Taylor

Art Gallery (New Yorker magazine cover)
, 1937

The Anguish of Departure — Giorgio de Chirico

The Anguish of Departure , 1913-1914

Wehgeweihtes Kind (Child Consecrated to Suffering) — Paul Klee

Wehgeweihtes Kind (Child Consecrated to Suffering) , 1935

Two women look out toward the viewer from this brightly colored painting. The artist depicted these women using simple, flat shapes with dark outlines. The woman in a caramel colored dress at left sits on a floor cushion next to sheet music. The woman at right wears a marine blue jumpsuit with yellow triangles at the bottom of the legs. She has one foot on the floor and one on the couch on which she sits while playing guitar. A red tile floor contrasts with a black wall decorated with large green leaves. — Henri Matisse

La Musique , 1939

An abstract arrangement of broad black brushstrokes appears against a mostly solid white background. One stroke extends from the top to bottom of the painting along its right edge and another two of similar length appear near the left edge. Other, shorter strokes extend horizontally and diagonally among these vertical elements. The black lines could resemble in outline the type of buildings and bridges that populate New York City’s skyline. — Franz Kline

New York, N.Y. , 1953

June 4-52 (tableform) — Ben Nicholson

June 4-52 (tableform) , 1952

Abstract shapes loosely resembling animal or human body parts populate this abstract landscape. These forms, painted in many different hues of red, yellow, blue, orange, white, and green, boldly stand against a background in more neutral shades of brown and gray-blue. Thin black lines delineate some of the forms, while others are boundless fields of color. — Arshile Gorky

The Liver Is the Cock's Comb , 1944

Blue-Black — Sam Francis

Blue-Black , 1952

Orange and Yellow — Mark Rothko

Orange and Yellow , 1956

Artist Jackson Pollock dripped, poured, and splattered black, white, red, yellow, and blue oil paint across the entire surface of this large-scale, horizontally oriented canvas. The colors are visible as separate, overlapping and convey a sense of motion and energy; no single color dominates. — Jackson Pollock

Convergence , 1952

Nu couché I (Aurore) [Reclining Nude I (Aurora)] — Henri Matisse

Nu couché I (Aurore) [Reclining Nude I (Aurora)] , 1907 (cast executed ca. 1912)

Dunes with Ray of Light, II — Lyonel Feininger

Dunes with Ray of Light, II , 1944

Red Man-White Man-Black Man — Mark Tobey

Red Man-White Man-Black Man , 1945

Thorn Trees — Graham Vivian Sutherland

Thorn Trees , 1946

Fragment 2 for Composition VII — Vassily Kandinsky

Fragment 2 for Composition VII , 1913

Concertino — Afro

Concertino , 1948

Wachstum (Growing) — Willi Baumeister

Wachstum (Growing) , 1952

Hotel Lobby — Max Beckmann

Hotel Lobby , 1950

3 Avril 1954 — Pierre Soulages

3 Avril 1954 , 1954

This landscape features a rocky mountain ledge dramatically lit by a large yellow four-pointed starburst that dominates the dark blue sky in the upper right corner of the painting. The rocky outcropping is painted with wavy lines in light and dark browns, reds, yellows, and grays. Scattered throughout the scene are thin-trunked pine trees with spiky foliage. A lone bird hovers above the rocky landscape. A stretch of barren land and a river are visible in the far distance in the bottom right corner. — Charles Ephraim Burchfield

Sun and Rocks , 1918-1950

La Fuite (Flight) — Karel Appel

La Fuite (Flight)
, 1954

A muscular white dog on a chain leash and the lower legs of its owner are visible beneath a dark blue trapezoid that fills the upper quarter of this vertically oriented canvas. The pair stand on sidewalk abutting a stretch of road perforated by a storm drain. The dog’s head and tail are lowered, and its front two legs extended as if caught in the moment springing forward. The artist’s palette of black, beige, and grey conveys a dark and tense atmosphere. — Francis Bacon

Man with Dog , 1953

Croquet Players — Charles Edouard Boutibonne

Croquet Players , 1871