Terra Foundation-supported Events

Lecture: “‘Art knows no geographical lines’: The influence of Edwardian British artists on Pittsburgh’s Carnegie International exhibitions”

In this paper, Alison Clarke, 2018–19 Terra Foundation-Paul Mellon Centre Fellow, explores the relationship between British artists and the annual International exhibition established at Pittsburgh’s Carnegie Institute in 1896.

Until the advent of the First World War, the International provided a forum for the American exhibition of works by British artists such as Lawrence Alma-Tadema, Frank Brangwyn, and John Macallen Swan. In return, these artists offered guidance to the Institute on how to negotiate the British art scene, as well as acting as judges on the International Jury established to award exhibition prizes. In particular, landscape painter Alfred East established a firm friendship with Carnegie Museum Director John W. Beatty, detailed in the numerous letters exchanged between the pair. East visited Pittsburgh on multiple occasions, selling works to American buyers and producing watercolors on trips up the coast to Connecticut. This previously unexplored link between British artists and an American museum provides an illuminating snapshot of transatlantic artistic interchange in the Edwardian period.

For more information and to book tickets, please visit: https://www.paul-mellon-centre.ac.uk/whats-on/forthcoming/terra-pmc-fellowship.

Collection on View: Gallery Installation

Since April 2005, the Terra Foundation of American Art has loaned works for display to the Department of American Art at the Art Institute of Chicago (AIC). Works from the collection of the Terra Foundation and works from the Art Institute of Chicago are located together in a suite of galleries, together providing one of the nation’s most comprehensive presentations of American art.

This installation is ongoing, January 2019 to December 2019.

For more information, please visit http://www.artic.edu/collections/art-institute-chicago-and-terra-foundation-american-art.

John Singer Sargent, Dennis Miller Bunker Painting at Calcot, 1888, oil on canvas mounted on masonite, 27 x 25 1/4 in. (68.6 x 64.1 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1999.130
Seminar: “‘Luminism’: Museums and the Production of Knowledge”

“Luminism” is a term that in the 1960s was deployed to designate and define a school of mid-nineteenth century American landscape painting as nationally and artistically significant. It raised a group of hitherto minor painters to prominence and designated them as the most important, distinctively American contribution to the art of the United States of the entire century. By the late 1980s, however, no academic scholar used the term. In this paper, Bruce Robertson (Professor of Art & Architecture and Director of Art, Design & Architecture Museum, University of California, Santa Barbara) will examine the critical role museums played in the production of the canon of American art, and the interaction among academic scholarship, museums, and markets, within the framework of national political developments. Analyzing the success and failure of “luminism,” he will consider the strength and limits of museums to shape canons, and suggest some other examples worth examining. American art has a particular value in examining the knowledge work that museums do because the growth of American art is exactly coincident with the development of the public museum.

For more information, please visit: http://www.sh.se/p3/ext/content.nsf/aget?openagent&key=higher_seminars_1422964898322.

Exhibition: Artists Respond: American Art and the Vietnam War, 1965–1975

This exhibition explores how American artists responded to international conflict during the 1960s and 70s, and how art about the Vietnam War influenced contemporary artistic practice. Works in a variety of media—including painting, sculpture, print, performance, and body art—reveal how artists engaged with ideas of conscience and civic engagement. Art by Dan Flavin (1933–1996), Leon Golub (1922–2004), Philip Guston (1913–1980), Donald Judd (1928–1994), Edward Kienholz (1927–1994), Faith Ringgold (b. 1930), Martha Rosler (b. 1943), Peter Saul (b. 1934), Nancy Spero (1926–2009), and others illustrates how artists addressed violence, power, vulnerability, empathy, sacrifice, mourning, and resistance.

For more information, please visit:


Exhibition/ Terra Collection Initiative: Atelier 17: Gravura Moderna nas Américas (Atelier 17: Modern Printmaking in the Americas)

Co-organized by Museu De Arte Contemporânea da Universidade de São Paulo (MAC-USP), and the Terra Foundation for American Art, this exhibition will be the first presentation of the collection of modern American prints donated by Nelson Rockefeller in 1950, and American prints donated by the collector Lessing J. Rosenwald in 1956.   Atelier 17: Modern Printmaking in the Americas includes early twentieth-century American prints, contextualized with modern prints by Brazilian artists such as Geraldo de Barros, Fayga Ostrower, and Livio Abramo who had direct ties to Atelier 17.  The exhibition examines the intricate network of international exchange between artists, curators, collectors, and audiences in Brazil and the United States.

Works from the Terra Foundation for American Art:

For more information, please visit:



Stanley William Hayter, Cinq Personnages, 1946. Engraving, soft-ground etching and scorper, silkscreen (printed in three colors: orange, turquoise-green and red-violet) on thick Kochi paper, Plate: 14 3/4 x 23 7/8 in. (37.5 x 60.6 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1995.37
Seminar: “American Photography in the Global Context”

Laura Katzman, Terra Foundation Visiting Professor at Freie Universität Berlin and Professor of Art History at James Madison University, will present her paper “Mining the Archive: Photography, Modernity, and the Office of Information for Puerto Rico” during this session of the seminar series “Camera Memoria.”

Her research examines an important yet neglected chapter in the history of twentieth century documentary practice in the United States: a post-World War II photographic project set up by the Office of Information for Puerto Rico (OIPR), an island government agency led by progressive norteamericanos. OIPR photographers transported a New Deal idiom of recording social and economic conditions in American states to an impoverished US territory that had been a Spanish colony for 400 years before the US seizure of the island in the Spanish American War. Informed by the now legendary Farm Security Administration photographic project, the OIPR documented Puerto Rico’s monumental shift from an agricultural to an industrial economy at a watershed moment in its history, when the increasingly powerful Popular Democratic Party sought both political autonomy and economic safeguards from the United States. How the photographers created and disseminated a visual language that engaged the complexities of the island nation, including its colonial legacy in the context of US imperial ambition, and how they negotiated their shifting roles in a fraught political landscape, are issues central to Katzman’s investigation.

Stella Jungmann (Universität Zürich), recipient of a 2018 Terra Foundation Research Travel Grant to the United States, will also present her paper “Transferring an aesthetic experience: Robert H. Pruyn’s photographs of Edo, Japan, 1862” during this seminar.

“American Photography in the Global Context” will be held on the Campus Paris Diderot, Olympe de Gouges building, room 117. Event in English.

Collection Loan: Nature’s Nation: American Art and Environment 

The exhibition Nature’s Nation: American Art and Environment explores ecological themes including Industrialization and environmental conservation, as well as shifts in American landscape painting. From the Terra Foundation Collection, two works are exhibited, Sanford Robinson Gifford, Hunter Mountain, Twilight and Martin Johnson Heade, Newburyport Marshes: Approaching Storm.  Organized by  Princeton University Art Museum, this exhibition is on view at the Princeton University Art Museum, October 13, 2018–January 6, 2019; Peabody Essex Museum, February 2, 2019–May 5, 2019; and Crystal Bridges Museum of American Art, May 25, 2019–September 9, 2019.

For more information, please visit:


Sanford Robinson Gifford, Hunter Mountain, Twilight, 1866. Terra Foundation for American Art, Daniel J. Terra Collection, 1999.57
Collection Loan:William J. Glackens and Pierre-August Renoir: Affinities and Distinctions

From the collection of the Terra Foundation for American Art, Julia’s Sister  by William Glackens is exhibited in William J. Glackens and Pierre-August Renoir: Affinities and Distinctions.  This work is exhibited alongside works by Renoir,  situated in themes of American and European modernism.

This exhibition will be on view at the NSU Art Museum, Fort Lauderdale, Florida, October 21, 2018–May 5, 2019; and the Hunter Museum of American Art, Chattanooga, TN, June 21–September 21, 2019.


For more details, please see:  http://www.huntermuseum.org/exhibitions


William Glackens, Julia’s Sister, c. 1915, oil on canvas, 32 1/8 x 26 1/8 in. (81.6 x 66.4 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1999.58