c.1100-c.1960

從西元前一千年的家用圓柱形黏土罐，到游牧社會所使用的籃子，這些日常用品呈現了往昔生活的吉光片羽，標示著美洲民俗手工藝代代相傳的光榮歷史。

From cylindrical clay jars gracing a 1000 A.D. home to baskets serving a mobile society, everyday objects yield glimpses into America’s past. They chart a proud history of craftsmanship and traditions handed down from generation to generation.

1755

現已成斷垣殘壁的天主教修會位於德州聖安東尼奧，原始面貌為白底漆飾紅藍黃黑四色之設計，是抵禦法國入侵的屏障。這些泥磚房由當地工匠就地取材建造，格局反映聖芳濟會素樸的傳統。

This Catholic mission now stripped to bare stone was originally plastered white and adorned with red, blue, yellow, and black. It was built to serve as a barrier against French expansion into Texas. Made using local materials, the adobe structure features a floor plan that reflected Catholic traditions.

by JOHN SINGLETON COPLEY (卡普利), 1768。

油彩‧畫布，89.22 x 72.39公分。© 波士頓美術館
Oil on canvas, 89.22x72.39 cm (35 1/8 x 28 . in.). © Museum of Fine Arts, Boston.

象徵新世界民主理想的平民肖像畫，以銀匠而非民族英雄的面貌呈現，仍完整描繪出美國革命志士保羅列維爾的機智與勇氣。

This portrait depicts Paul Revere as a working craftsman, not a hero.

by Various artists

茶壺，西元1796年，體積：15.4 x 29.5公分，重量：668.7公克，底座：14.4 x 9.5公分。© 大都會博物館。
Teapot, 1796; Overall 6 1/16 x11 5/8 in., 668.7 grams (15.4 x 29.5 cm, 21.499 troy ounces); Base 5 11/16 x 3 3/4 in.(14.4 x 9.5 cm): © The Metropolitan Museum of Art.

茶具，西元1840年~50年。北卡羅來納歷史博物館提供。
tea service, c.1840–50. Courtesy North Carolina Museum of History.

「鑽石」茶壺，西元1928年。美國威爾考銀器公司。體積：19.05 x 16.828 x 9.208 公分。收藏地點：達拉斯藝術博物館。
“Diament” teapot, 1928. Wilcox Silver Plate Company. Overall 7 1/2 x 6 5/8 x 3 5/8 in. (19.05 x 16.828 x 9.208 cm.). Location: Dallas Museum of Art, Dallas.

閃亮的銀茶壺反映了它那個時代美國的經濟與政局。自革命前的手工藝乃至機器生產的大品牌，歷經三個世紀的銀器交易在美國仍是十分興盛的產業。

Shiny silver teapots reflect the economic climate and political upheaval taking place in the U.S. during the time of their production. From pre-revolutionary craftsmen to the big-name machine manufacturers, the silver trade remained a thriving business in the U.S.

by Grant Wood, 1931

油彩‧纖維板，高：76.2公分，寬101.6公分（76.2 x 101.6公分）。© 大都會博物館。
Oil on Masonite; H. 30, W. 40 in. (76.2 x 101.6 cm). © The Metropolitan Museum of Art.

這幅鳥瞰列維爾著名夜奔圖，以鄉野奇譚式的童趣筆法重新詮釋朗法羅名詩。畫家為保存珍貴歷史、塑造美國風格、培養國家認同而畫。

The bird’s-eye-view of Revere’s legendary ride offers a whimsical, child-like interpretation of Longfellow’s well-known poem. The artist’s desire to preserve American folklore was part of his greater scheme to forge a national identity through art and history.

by Gilbert Stuart, 1796

油彩‧畫布，247.6 x 158.7公分。2008史密森尼博物館、國家肖像藝廊提供
Oil on canvas, 97 1/2 x 62 1/2 in. (247.6 x 158.7 cm.).© 2008 Smithsonian Institution, Courtesy, National Portrait Gallery.

衣著平實無假髮，他不是國王，而是平等之國的公民。

The U.S. president was not a king, but a citizen of a land where all men were created equal.

by Emanuel Leutze, 1851

油彩‧畫布，378.5 x 647.7公分，© 大都會博物館。
Oil on canvas; 149 x 255 in. (378.5 x 647.7 cm). © The Metropolitan Museum of Art.

紐約戰敗，英軍窮追不捨，華盛頓取道紐澤西退至賓州。撤退途經德拉瓦河，他靈機一動包下所有渡船，讓河面無船可渡。英軍將領自認勝利在望，遂計畫河水結冰後再行追討，便胸有成竹回紐約過聖誕，僅留傭兵駐守河岸。華盛頓心想機不可失，隨即掉頭重回德拉瓦，在冰天雪地中到達對岸，一舉殲滅正在歡度聖誕的英軍。此役雖非大勝，然士氣從此為之一振，最終改寫歷史。

by HIRAM POWERS, 1862

大理石，高：247.7 公分，寬：88.6 公分，深：54.9 公分（247.7 x 88.6 x 54.9 公分），美國參議院收藏。
Marble, height 97 1/2 in., width 34 7/8 in., depth 21 5/8 in. (247.7 x 88.6 x 54.9 cm.). U.S. Senate Collection.

大於真實尺寸的全身大理石像，主角穿當時衣著，為自然主義而非古典風格之作品。

This larger-than-life-sized marble statue has a naturalistic style.

by THOMAS COLE, 1836

油彩‧畫布（130.8 x 193 公分），© 大都會博物館。
Oil on canvas; 51 1/2 x 76 in. (130.8 x 193 cm). © The Metropolitan Museum of Art.

十九世紀風景畫盛行，城市居民將鄉村生活視為解決工業化問題的出口。此畫呈現美國西進時期人類心靈面對開化與未開化之間的矛盾與衝突。

Urban dwellers viewed rural life as a remedy for the problems of industrialization. Thomas Cole’s split representation of the Connecticut Valley depicts the inherent conflict between wilderness and civilization that characterized westward expansion.

by N. C. WYETH, 1919

油彩‧畫布。布蘭地河博物館收藏。
Oil on canvas. Collection of the Brandywine River Museum.

此畫以英勇戰士造型呈現，稍嫌偏離庫柏原著之「高貴野蠻人」形象，不過仍看得出當時人們對於美洲原住民傳統一心神往。

Though his depiction of Uncas as a formidable warrior departed from the author’s character description, it remained true to the fascination with the Native American heritage.

by JOHN AUDUBON, 1838

羅伯哈維爾 (西元1793年~1878年)，根據約翰詹姆士奧杜邦畫作蝕刻。板：97 x 65公分，紙張：101.28 x68.26公分。影像 © 2006信託委員會，國家藝廊，華盛頓特區。
Robert Havell (1793-1878), Engraver after John James Audubon. Hand-colored etching and aquatint on Whatman paper, from ‘The Birds of America’ (plate CCCCXXX1). Plate: 97 x 65 cm (38 3/16 x 25 9/16 in.) sheet: 101.28 x 68.26 cm (39 7/8 x 26 7/8 in.) Image courtesy of the Board of Trustees, National Gallery of Art, Washington, D.C.

鳥類圖鑑四百多張水彩畫之一，替早期的珍禽異獸留下紀錄。

Birds of America serves as an invaluable record of early wildlife.

by GEORGE CATLIN, 1861

油彩‧紙板，47 x 62.3 公分。保羅梅倫收藏系列。影像 © 2006信託委員會，國家藝廊，華盛頓特區。
Oil on card mounted on paperboard, 18 1/2 x 24 in. (47 x 62.3 cm.). Paul Mellon Collection. Image courtesy of the Board of Trustees, National Gallery of Art, Washington, D.C.

十九世紀許多州政府大興土木蓋議會，希臘風格象徵民主聖地。

畫家特意改變印地安服飾使之更為高雅、不畫武器讓主角看來較不具威脅性。印地安人對凱特林作畫感到十分驚恐，他們相信畫人像會帶走一點被畫者的靈魂。

Catlin altered the chief’s dress to enhance the “grace of the figure”. The openmouthed audience, who were aghast at his skill in capturing what Indians believed to be a part of the sitter’s spirit, is testimony to the artist’s ambition and stunning accomplishment.

by THOMAS COLE et al, 1861

建築師：伊希爾唐恩、A.J. 戴維斯；主設計：湯瑪士寇爾。攝影 © 湯姆派特森。
Ithiel Town and A. J. Davis, architects; design largely by Thomas Cole. Photograph © Tom Patterson.

十九世紀許多州政府大興土木蓋議會，希臘風格象徵民主聖地。

As Americans became more politically active in the mid-1800s, legislators wanted to express their identity in their statehouses. Like many new state capitol buildings, Ohio’s Greek Revival statehouse recalled the birthplace of democracy. Construction - which took some 20 years to complete - was also rife with politics among competing architects and designers.

by GEORGE BINGHAM, 1852

油彩‧畫布，96.5 x 132.1公分。© 聖路易藝術博物館。
Oil on canvas, 38 x 52 in. (96.5 x 132.1 cm.). © Saint Louis Art Museum.

這幅看來擁擠的畫作，描繪老少貧富形形色色選民的投票情形，特別是整體構圖無單一焦點，展現了民主的包容與平等精神。

In this crowded composition, the artist suggests the inclusiveness of democracy. Young or old, rich or poor, all of the men gathered at the foot of the courthouse on Election Day appeared as equals. The lack of a single focus emphasized the ideal that no one vote was worth more than another.

by ALBERT BIERSTADT, 1865

油彩‧畫布，163.83 x 245.11 公分。© 伯明罕藝術博物館。
Oil on canvas, 64 1/2 x 96 1/2 in. (163.83 x 245.11 cm.). © Birmingham Museum of Art.

全景式的優詩美地山谷展現恢弘的氣勢，人類因此無足輕重了。

This large, panoramic landscape of the Yosemite Valley pulls the viewer into the dramatic scene. Missing in the painting are any people - only a shroud of golden light breaks through the clouds. In Bierstadt’s scenario, the viewer discovers that before so magnificent a landscape, human beings dwindle to insignificance. (Yosemite Land Grant was passed in 1864.)

by BLACK HAWK, 1880

第十八幅和第三幅。鋼筆/墨水/鉛筆‧紙，24.13 x 39.4公分。記帳本尺寸：26 x41.9 x 4.3公分，記帳本全開寬度：85公分。T614。梭氏系列珍藏，費尼莫藝術博物館。
plate no.18 & plate no.3. Pen, ink, and pencil on paper, 9 1/2 x 15 1/2 in. (24.13 x 39.4 cm.). Entire book: 10 1/4 x 16 1/2 x 1 3/4 in; width with book opened: 33 1/2 in. T614; Thaw Collection, Fenimore Art Museum.

印地安蘇族黑鷹酋長手繪帳本畫，隨著部落移居至保留區，此作品成為原住民最後的文化遺產。

The ledger book revealed intriguing details of the Lakota people.

by WINSLOW HOMER, 1865

油彩‧畫布，61.3 x 96.8公分。© 大都會博物館。
Oil on canvas; 24 1/8 x 38 1/8 in. (61.3 x 96.8 cm). © The Metropolitan Museum of Art.

美國內戰很多戰爭就發生在麥田裡。這裡有「農場」與「戰場」重疊的對比象徵及情感張力。

The veteran appears to have set aside his Army training along with what remained of his military uniform to harvest a field that once again yields the gift of golden wheat, which in Christianity is a symbol of salvation. Even in the aftermath of the worst disasters, the artist seems to say, life has the capacity to restore itself.

by ALEX GARDNER, 1865

攝於1865年4月10日，照片。印刷與照片部門，國會圖書館，華盛頓特區。
Photographic print. Prints and Photographs Division, Library of Congress, Washington, D.C.

詩人惠特曼形容林肯總是懷著「隱隱的憂傷」。

What draws/holds our attention is Lincoln ’s expression, “a deep latent sadness” in Walt Whitman’s words.

by SAINT-GAUDENS, 1884

燈塔街與公園街，波士頓，麻州，西元1884年~1897年。銅，3.35 x 4.27公尺。照片由凱洛海史密斯提供。
Beacon and Park Streets, Boston, MA, 1884–1897. Bronze, 11 x 14 ft. (3.35 x 4.27 m.). Photograph courtesy of Carol M. Highsmith.

波士頓公眾花園的蕭上校紀念碑描述了一個英勇、盪氣迴腸的故事 - 南北戰爭期間，北軍白人上校徵召第一支黑人部隊「五四梯隊」，進行一場明知不可而為之的光榮戰役。

The Shaw Memorial depicts a resonant, courageous act of the Civil War, in which the first regiment of African American soldiers recruited for the Union Army fought a doomed battle on a South Carolina fortress.

by various artists

布料稀缺的時代，拼布成為一種具有美學與社會面向的工藝品。

A thrifty way to make use of leftover fabric, at a time when fabric could be scarce and expensive, quilts soon took on aesthetic and social dimensions in the hands of their makers in every region of America. Ingenuity, abstract invention, and the traces of changing American technology are revealed in the quilts handed down through families and museums.

by THOMAS EAKINS, 1873

水彩‧黃白色網紋紙，49.2 x 63.2 公分。攝影 © 1994大都會博物館。
Watercolor on off-white wove paper; 19 5/16 x 24 7/8 in. (49.2 x 63.2 cm). Photograph © 1994 The Metropolitan Museum of Art.

繪畫要像攝影般捕捉瞬間的景物非常困難。水彩畫尤難，因為一旦畫了就不能修改。此作品描繪划船明星比格林在終點線前奮力一搏的剎那。

Unlike oil paint, watercolor does not allow for error. John Biglin was a superstar athlete of the time, and the depiction of the rower in excellent racing form, at the precise moment before dipping the oars, reveals his dedication and strength in competition.

by JAMES WHISTLER, 1876

油畫顏料/金箔‧畫布、皮革、木頭。空間大小：425.8 x 1010.9 x 608.3 公分。弗利爾藝廊，史密森尼博物館，華盛頓特區，查爾斯朗弗利爾致贈。
Oil paint and gold leaf on canvas, leather, and wood, room dimensions: height 13 ft. 11 5/8 in., width 33 ft. 2 in., depth 19 ft. 9 1/2 in. (425.8 x 1010.9 x 608.3 cm.). Freer Gallery of Art, Smithsonian Institution, Washington, D.C, Gift of Charles Lang Freer.

受倫敦富商之託設計以展示中國瓷器收藏的用餐間。儘管最後因造價高昂形成齟齬，雀屏廳依然是充滿異國情調的藝術瑰寶。

Commissioned by a wealthy Londoner to create a dining room suitable to display a strong Chinese porcelain collection. Although the project generated quarrels over looks and price, today it stands as a unique testament to the power of beauty and art from several cultures.

by JOHN SARGENT, 1890

油彩‧畫布，142.56 x 100.33公分。攝影 © 2007卡內基藝術博物館，匹茲堡。
Oil on canvas, 56 1/8 x 39 1/2 in. Photograph © 2007 Carnegie Museum of Art, Pittsburgh.

以寫實手法描繪出男孩的不耐。

The artist captures the impatience of the boy naturalistically, not sentimentally.

by CHILDE HASSAM, 1917

油彩‧畫布，92.7 x 76.8公分。艾賽琳麥金尼為紀念哥哥葛蘭福特麥金尼而致贈。影像 © 信託委員會，國家藝廊，華盛頓特區。
Oil on canvas, 36 1/2 x 30 1/4 in. (92.7 x 76.8 cm.). Gift of Ethelyn McKinney in memory of her brother, Glenn Ford McKinney. Image courtesy of the Board of Trustees, National Gallery of Art, Washington, D.C.

紐約第五大道上盟軍旗幟飄揚，象徵美國的富裕承平與道德勇氣。

The painting portrays the moral and financial supremacy of the U.S.

by WALKER EVANS, 1929

印製於1970年左右，銀鹽相紙，17.2 x 12.2公分。© 大都會博物館。
Printed ca. 1970, Gelatin silver print: 17.2 x 12.2 cm. (6 3/4 x 4 13/16 in.). © The Metropolitan Museum of Art.

布魯克林橋乃美國文明鬼斧神工之作。此攝影更使其成為美國象徵。

The bridge was hailed as a marvel of American engineering ingenuity.

by LOUIS TIFFANY, 1923

法夫里爾鉛玻璃窗戶， 335.3 x 259.1公分。© 大都會博物館。
Leaded Favrile-glass window: 11 ft. x 8 ft. 6 in. (335.3 x 259.1 cm). © The Metropolitan Museum of Art.

第凡內家族哥德復興式豪宅彩繪玻璃，現已單獨成為一件藝術品。

A window created for the Gothic revival mansion resembles an elaborately framed easel painting.

by MARY CASSATT, 1893

油彩‧畫布，90 x 117.3公分。柴斯特戴爾收藏系列，影像 © 2006信託委員會，國家藝廊，華盛頓特區。
Oil on canvas, 35 7/16 x 46 1/8 in. (90 x 117.3 cm.). Chester Dale Collection. Image courtesy of the Board of Trustees, National Gallery of Art, Washington, D.C.

卡薩特的很多作品都令人聯想到文藝復興時代的聖母與聖子。圖中的母親坐鎮船頭，君臨天下，懷抱裡的孩子被大圓帽籠罩，宛如一圈神聖的光環，而男人弓著身划船的模樣，彷彿正在朝拜著他們倆。

Cassatt’s many paintings recall the Renaissance theme of the Madonna and Child. Here, the woman enthroned in the prow, the child’s sun hat encircles its head like a halo, and the man bows like a supplicant.

by JOSEPH STELLA, 1919

油彩‧畫布，213.36 x 193.04公分。耶魯大學藝廊，紐哈芬，康乃狄格州。收藏有限公司致贈。
Oil on canvas, 84 x 76 in. (213.36 x 193.04 cm.). Yale University Art Gallery, New Haven, Conn. Gift of Collection Société Anonyme.

抽象派喚起人們心中橋的概念，而非一五一十地去描繪一座橋，有時反而更接近真實。

Abstract pattern evokes an idea of the bridge rather than faithfully describes it. Stella’s interpretation seemed “more real, more true than a literal transcription of the bridge could be.”

by CHARLES SHEELER, 1930

油彩‧畫布，61 x 78.8公分。艾比艾德里奇洛克斐勒致贈 (166.1934) 。數位影像 © 紐約現代美術館/斯卡拉集團/藝術資源圖庫授權。
Oil on canvas, 24 x 31 in (61 x 78.8 cm). Gift of Abby Aldrich Rockefeller (166.1934). Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource.

這裡田園牧歌式的標題易使人產生誤解。席勒認為以往古典繪畫的宗教情懷已被機械工廠所取代。當時此畫還被認為是見證美國新文明的勝利。

The bucolic title belies its subject matter: a lone, anonymous figure dwarfed in an enormous sea of factories, which had become a “substitute for religious expression.” At the time of its creation, the painting was viewed as depicting the triumph of American ingenuity.

by WILLIAM VAN ALEN, 1926

紐約市42街與萊辛頓大道。鋼骨、磚、混凝土、磚石結構、金屬包層，高：318.82公尺。
42nd Street and Lexington Avenue, New York. Steel frame, brick, concrete, masonry, and metal cladding, height 1046 ft. (318.82 m).

二○年代曼哈頓摩天大樓熱催生的克萊斯勒大廈，飾有輪蓋形狀與美國禿鷹滴水嘴，大廳則以埃及圖騰與蓮花為主題，具有最摩登的外觀與最古典的裝潢。

The competitive climate of 1920’s Manhattan drove the creation of this building. It was decorated by hubcaps and American eagle heads in place of traditional gargoyles. The lobby adorned with the lotus motif was designed at the height of the Egyptian mania.

by EDWARD HOPPER, 1925

油彩‧畫布，60.96 x 73.66公分，匿名捐贈。數位影像 © 紐約現代美術館/斯卡拉集團/藝術資源圖庫授權。
Oil on canvas, 24 x 29 in. Given anonymously. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY.

新式鐵道與老式建築並存，冷淡寂寥的氣氛暗示畫家對戰後美國的都市化並無欣喜之情。畫中視角非常低，幾乎忽略了鐵路。另一種相反的說法則是，鐵路已融為房屋的一部份，隱喻美國現代生活奠基於鐵路的蓬勃發展。

From our curiously low viewpoint, the track appears to slice through the lower edge of the structure - or, to regard it in a different way, to become part of the house itself, a new foundation for American life.

by FRANK WRIGHT, 1935

屋主：考夫曼，位於米爾朗，賓州，西元1935年~1939年。照片由西賓州保護協會提供。
Kaufmann House, Mill Run, Pa., 1935– 1939. Photograph courtesy of the Western Pennsylvania Conservancy.

築於瀑布之上的房屋，最具原創性的美國建築，追求天人合一的境界。內凹的房間、粗糙的岩壁、低矮的天花板創造出一種洞穴之感，彷彿遠離塵囂的避難所。

The dwelling is suspended above a waterfall and nestled into a mountainside, blending modern conveniences with views that make it a part of nature itself. Recessed rooms, fieldstone interiors, and unusually low ceillings create the impression of a cave - or a shelter.

by JACOB LAWRENCE, 1940

酪素蛋彩 (Casein tempera)‧硬紙板，45.72 x 30.48公分。1942年購入，飛利浦收藏系列，華盛頓特區。藝術品 © 雅各暨關朵琳勞倫斯夫婦基金會，西雅圖/藝術家權利協會，紐約。
Casein tempera on hardboard, 18 x 12 in. (45.72 x 30.48 cm.). Acquired 1942. The Phillips Collection, Washington, D.C. Art © 2008 The Jacob and Gwendolyn Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York.

靈感來自西非遊唱傳統，描述非裔美人自南方「出走」的故事。

Inspired by the griots, the artist tells how African-American families “came up” from the South.

by ROMARE BEARDEN, 1964

剪貼照片複製品、紙/水粉/鉛筆/色鉛筆‧紙板。33.97 x 47.63公分。布蘭琪洛克斐勒基金 (377.1971)。數位影像 © 紐約現代美術館/斯卡拉集團/藝術資源圖庫授權。© 羅馬拉比爾敦遺產信託。
Cut-and-pasted photoreproductions and papers, gouache, pencil and colored pencil on cardboard, 13 3/8 x 18 3/4 in. Blanchette Rockefeller Fund (377.1971) Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY © Estate of Romare Bearden Trusts.

民權運動高峰時期的拼貼作品，安祥的鴿子、掠食的貓，拼湊出城市的繁忙與喧囂。該系列作品被譽為「視覺詩」。

Created during the heart of the Civil Rights Movement, this collage depicts a bustling city neighborhood with a serene bird at its center. It also marked a new artistic direction for Romare Bearden, who for the remainder of his career continued to create collages often referred to as “visual poetry.”

by THOMAS BENTON, 1975

壓克力顏料‧畫布，182.9 x 304.8公分。鄉村音樂名人堂®和博物館提供。藝術品 © 湯瑪斯哈特與芮塔班頓夫婦遺囑信託/UMB銀行受託。
Courtesy of the Country Music Hall of Fame® and Museum. Art © Thomas Hart Benton and Rita P. Benton Testamentary Trusts/UMB Bank Trustee.

壁畫主題有方塊舞、清教徒、讚美詩、斑鳩琴等，保存即將消失的美國風土民情。壁畫中的火車是仿加農砲特快車所繪，由凱西瓊斯駕駛最後車禍殉職。

A comparatively calm scene shows women in their Sunday best with hymnals in their hands, suggesting the importance of church music in Protestant America. The train was modeled on the Cannonball Special, driven and wrecked by Casey Jones, the hero of an American ballad.

by DOROTHEA LANGE, 1936

照片中的母親為加州貧困的撿豆工，育有七名子女，攝於西元1936年2月，黑白照片。農業安全管理局，戰爭報導辦公室照片收藏。國會圖書館印刷與照片部門，華盛頓特區。
Destitute pea pickers in California, a 32 year old mother of seven children, February 1936. Black-and-white photograph. Farm Security Administration, Office of War Information Photograph Collection. Library of Congress, Prints and Photographs Division, Washington, D.C.

流浪的母親，三角構圖，反映美國三○年代大蕭條的經典之作。

Featured in newspapers nationwide, this iconic photo shocked Americans in the Great Depression.

by NORMAN ROCKWELL, 1943

刊載於1943年2月20日。油彩‧畫布，116.205 x 90.170公分。諾曼洛克威爾藝術收藏信託，諾曼洛克威爾博物館，史塔克布里吉，麻州。
The Saturday Evening Post, February 20, 1943. Oil on canvas, 45 3/4 x 35 1/2 in. (116.205 x 90.170 cm.). The Norman Rockwell Art Collection Trust, from the permanent collection of the Norman Rockwell Museum, Stockbridge, Mass.

小羅斯福總統的「四大自由」在諾曼洛克威爾畫筆下更具號召力。

Roosevelt’s four essential human freedoms failed to gain traction until Rockwell put them into portraits.

by JAMES KARALES, 1965

照片，收藏於詹姆斯卡拉列斯收藏系列，杜克大學稀有書籍、手抄本和特別收藏圖書館。
Photographic print. Located in the James Karales Collection, Rare Book, Manuscript, and Special Collections Library, Duke University.

兩萬多名群眾展開連續四天爭取投票權大遊行。此照傳達對自由的渴望，成為民權運動的時代見證，歷經半世紀依舊迴盪人心。

On March 25, 1965, 25,000 participants concluded a four-day, 54-mile march for voting rights in Alabama. Karales’s photograph illustrates how the desire for freedom is the shared heritage of all Americans. It also captures a timeless image from a fleeting moment - one that still haunts the American conscience.

by R. DIEBENKORN, 1963

油彩‧畫布，153.04 x 128.27公分。舊金山現代美術館，由受託人與朋友之基金購買，以紀念海克多艾斯科波沙、布萊頓威爾波、J.D.齊勒巴赫。
Oil on canvas, 60 1/4 x 50 1/2 in. (153.04 x 128.27 cm.). San Francisco Museum of Modern Art. Purchased with funds from Trustees and friends in memory of Hector Escobosa, Brayton Wilbur, and J. D. Zellerbach.

捕捉陽光顏色，展現一種「態度」。

The artist captured the light by combining green, gray and blue.“A painting is an attitude, like a signthat is hung up to be seen.”

by MARTIN PURYEAR, 1996

木頭（梣木、槭木），1097.28 x 57.785公分，頂端縮至3.175 x 7.6 公分。沃斯堡現代美術館收藏，魯絲卡特史蒂文森交換致贈。
Wood (ash and maple), 432 x 22 3/4 in., narrowing at the top to 1 1/4 x 3 in. (1097.28 x 57.785.cm., narrowing to 3.175 x 7.6 cm.). Collection of the Modern Art Museum of Fort Worth, Gift of Ruth Carter Stevenson, by Exchange.

雅各天梯象徵進取、超越與救贖，猶如教育家布克華盛頓的一生。

The association of ladders with ambition, transcendence, salvation was a vital part of the educator’s life.