GENERAL DESCRIPTION
At first glance, Maureen Gallace's paintings appear to be quiet, simple depictions of New England cottages, diversified mostly by the seasons of the year. However, while her subjects are recognizable, even quintessentially American, they are not entirely comforting. Absent of people, the scenes depicted in Gallace's paintings mysteriously lack intimacy. Wet-on-wet brush strokes introduce peculiarities into the works-houses without windows or doors, roads without any direction, foliage overtaking buildings-that make otherwise quaint views feel lonesome and uneasy, and the privacy implied in these places begins to seem more like exclusion.
Adapted from
Anna Katherine Brodbeck, ed., TWO X TWO X TWENTY: Two Decades Supporting Contemporary Art at the Dallas Museum of Art (Dallas: Dallas Museum of Art), 2018, 55.
NOTES
updated provenance and geo x refs
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 2003: 303 Gallery, New York, NY [1]
From 2003: Dallas Museum of Art, purchased from above
[1] See copy of check #10767 in Collections Records Object File 2003.32
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
- The Metropolitan Museum of Art~Get to know the artist through the Artist Project, including a video clip of Gallace discussing works at the Met, images of her work, and a brief biography.
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 2003.32
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General Description
At first glance, Maureen Gallace's paintings appear to be quiet, simple depictions of New England cottages, diversified mostly by the seasons of the year. However, while her subjects are recognizable, even quintessentially American, they are not entirely comforting. Absent of people, the scenes depicted in Gallace's paintings mysteriously lack intimacy. Wet-on-wet brush strokes introduce peculiarities into the works-houses without windows or doors, roads without any direction, foliage overtaking buildings-that make otherwise quaint views feel lonesome and uneasy, and the privacy implied in these places begins to seem more like exclusion.
Adapted from
Anna Katherine Brodbeck, ed., TWO X TWO X TWENTY: Two Decades Supporting Contemporary Art at the Dallas Museum of Art (Dallas: Dallas Museum of Art), 2018, 55.
Fun Facts
Archival Resources
Web Resources
- The Metropolitan Museum of Art~Get to know the artist through the Artist Project, including a video clip of Gallace discussing works at the Met, images of her work, and a brief biography.
Notes
updated provenance and geo x refs
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 2003: 303 Gallery, New York, NY [1]
From 2003: Dallas Museum of Art, purchased from above
[1] See copy of check #10767 in Collections Records Object File 2003.32
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
2003.32
source file
object_notes_1_a-0062.xml.nores