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List of illustrations

  • Miss Amelia Van Buren
  • Flute (Pūtōrino)
  • Flute (Nguru)
  • Bowles's New Four-Sheet Map of the World. . . , detail
  • Treasure box (Papahou)
  • Extract from the Song of the Pūtōrino
  • A Maori Bartering a Crayfish with an English Naval Officer
  • Portrait of Captain William Richardson
  • East India Marine Society, Pacific Collection
  • New Zealand ethnographer, Elsdon Best, recording Iehu Nukunuku playing a flute in the traditional manner
  • Richard Nunns playing a pūtōrino
  • The Dickinson Homestead, Amherst, Massachusetts
  • Workshop Window, Stockburger's Farm, East Jamaica, Vermont
  • One of Dickinson's four bedroom windows on the second floor of the Dickinson Homestead
  • Nineteenth-century window glass, detail
  • Covered sugar bowl and cream jug
  • Pulpit
  • Pulpit
  • Chaplain Henry Clay Trumbull at his rustic pulpit, Richmond, Virginia, vicinity
  • Shore of St. Helena Island, South Carolina
  • Northbound road on St. Helena Island, South Carolina
  • Shore of Morris Island, South Carolina
  • Looking up from the shore of the James River some miles southeast of Richmond, Virginia
  • Place of Major Henry Ward Camp's death outside of Richmond, Virginia
  • Untitled (Double Doves)
  • Untitled (Double Doves), detail
  • Untitled (Double Doves), detail
  • Angel with Cape Surround
  • Stone Sculpture, William Edmondson
  • William Edmondson, Sculptor, Nashville, Tennessee
  • William Edmondson
  • Film still from Negro Artist Hailed
  • Film still from Negro Artist Hailed
  • Film still from Negro Artist Hailed
  • Ram by William Edmondson
  • Sculpture, William Edmondson
  • Churn and Break
  • North River
  • Snow Dumpers
  • The Lone Tenement
  • An Island in the Sea
  • Builders of Ships
  • Vine Clad Shore—Monhegan Island
  • Breezing Up (A Fair Wind)
  • Northeaster
  • Summer Surf
  • I Can See the Whole Room and There's Nobody in It
  • untitled (to Dorothy and Roy Lichtenstein on not seeing anyone in the room)
  • Live-Taped Video Corridor
  • Installation view of William Anastasi's Six Sites exhibition, Dwan Gallery, New York
  • Robert Morris, installation view, Green Gallery, New York
  • Installation view of 144 Pieces of Magnesium (in front) and 100 Pieces of Lead (behind), Dwan Gallery, New York
  • Installation view of Can Man Survive?, American Museum of Natural History, New York
  • Gallery 5 of Primary Structures exhibition at the Jewish Museum, New York
  • Portrait of Dan Flavin in Kornblee Gallery
  • Installation view of Dan Flavin exhibition, Kornblee Gallery, New York
  • Two Blue Walls
  • Radiation Piece, detail of wall text
  • Installation view of "January 5–31, 1969," Seth Siegelaub Gallery, New York
  • Marcuse Piece
  • Trampoline, screenshot
  • Trampoline, screenshot
  • Trampoline, screenshot
  • Trampoline, screenshot
  • Trampoline, screenshot
  • Trampoline, screenshot
  • Trampoline, screenshot
  • Trampoline, screenshot
  • Trampoline House
  • Untitled
  • Cape Cod Evening
  • Loma Linda, California, March 3, 2011
Free
Description: Experience
Contents
Author
PublisherTerra Foundation for American Art
Description: Experience
Not long ago, while looking at Miss Amelia Van Buren (ca. 1891) by Thomas Eakins (1844–1916) at The Phillips Collection in Washington, DC (fig. 1), I had a remarkable experience. I had grown accustomed to seeing the painting in terms of meanings and...
PublisherTerra Foundation for American Art
Related print edition pages: pp.10-23
https://doi.org/10.37862/aaeportal.00193.001

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Description: Experience
In May 1807, Captain William Richardson and the crew of the Eliza sailed into the harbor at Salem, Massachusetts, after an absence of two years. The Eliza, laden with luxury goods from Canton, docked at one of the dozens of wharfs lining the harbor,...
PublisherTerra Foundation for American Art
Related print edition pages: pp.26-49
https://doi.org/10.37862/aaeportal.00193.002

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

Description: Experience
Emily Dickinson (1830–1886) lived in a house abundantly furnished with windows. Approximately seventy-five adorned the exterior of the Homestead, the Dickinson family’s Federal-style residence in Amherst, Massachusetts (fig. 1). There were nineteen on the south façade,...
Author
PublisherTerra Foundation for American Art
Related print edition pages: pp.52-74
https://doi.org/10.37862/aaeportal.00193.003

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Description: Experience
I took the last steps up the stairs to the second floor of the American Civil War Museum in Richmond, Virginia, and lifted my head. The pulpit stood across from me in a glass case (fig. 1). Was that it? The caption for its display read: “Trumbull Pulpit, . . . The Connecticut Historical Society.” The pulpit was...
PublisherTerra Foundation for American Art
Related print edition pages: pp.78-98
https://doi.org/10.37862/aaeportal.00193.004

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Description: Experience
Look at this work of art (fig. 1). Carved by hand by the American sculptor William Edmondson (1874–1951) and known simply as Two Doves (ca. 1934), the piece presents two mourning doves, conjoined by a shared base, heads...
PublisherTerra Foundation for American Art
Related print edition pages: pp.102-133
https://doi.org/10.37862/aaeportal.00193.005

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Description: Experience
Painted on Monhegan Island off the coast of Maine during the summer of 1913, George Bellows’s small oil on panel Churn and Break (fig. 1) depicts a shore and its surrounding sea. The observer’s gaze encounters a mound of dark, almost black, rocks, which glisten with trails of moisture and light. To the left, the sea, sweeping in a great wave up...
PublisherTerra Foundation for American Art
Related print edition pages: pp.136-154
https://doi.org/10.37862/aaeportal.00193.006

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Description: Experience
“I can see the whole room! . . . And there’s nobody in it!” These words, borrowed from a dime-store detective comic book, where they float above the head of a man gazing out of a...
PublisherTerra Foundation for American Art
Related print edition pages: pp.158-187
https://doi.org/10.37862/aaeportal.00193.007

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Description: Experience
A work of art’s power to convey experience requires that we feel two sensations: making and receiving. We must feel that a world is made before our eyes. And we must feel that this world receives something outside itself—some charge, some depth, it is hard to know what is the right word—that transfigures it into not just any place but a place, a...
PublisherTerra Foundation for American Art
Related print edition pages: pp.190-208
https://doi.org/10.37862/aaeportal.00193.008

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.

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Description: Experience
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PublisherTerra Foundation for American Art
Experience
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