\"Recent acquisitions\", Record of the Art Museum, Princeton University 23, no. 2 (1964): p. 34-55.
","citation":"\"Recent acquisitions\", Record of the Art Museum, Princeton University 23, no. 2 (1964): p. 34-55.
, p. 55 (illus.)","date":1964,"id":3385,"uri":"https://www.jstor.org/stable/3774279"},{"boilertext":"Susanne K. Langer, \"The social influence of design\", University, no. 25 (Summer, 1965).","citation":"Susanne K. Langer, \"The social influence of design\", University, no. 25 (Summer, 1965)., p. 11 (illus.)","date":1965,"id":3386,"uri":"https://search.worldcat.org/title/84254726"},{"boilertext":"Whitney Chadwick, Women artists and the surrealist movement, (Boston, MA: Little, Brown, 1985).","citation":"Whitney Chadwick, Women artists and the surrealist movement, (Boston, MA: Little, Brown, 1985)., pl. 56","date":1985,"id":3387,"uri":"https://search.worldcat.org/title/11917163"},{"boilertext":"Nancy Heller, Women artists: an illustrated history, (New York: Abbeville Press, 1987).","citation":"Nancy Heller, Women artists: an illustrated history, (New York: Abbeville Press, 1987)., p. 153; p. 152 (illus.); pl. 125","date":1987,"id":3388,"uri":"https://search.worldcat.org/title/36648788"},{"boilertext":"Isabel Schulz, Künstlerinnen: Leben, Werk, Rezeption, (Frankfurt: Zweitausendeins, 1991).","citation":"Isabel Schulz, Künstlerinnen: Leben, Werk, Rezeption, (Frankfurt: Zweitausendeins, 1991)., p. 128, fig. 53","date":1991,"id":3389,"uri":"https://search.worldcat.org/title/26195390"},{"boilertext":"Elizabeth Martin and Vivian Meyer, Female gazes: seventy-five women artists, (Toronto: Second Story Press, 1997).","citation":"Elizabeth Martin and Vivian Meyer, Female gazes: seventy-five women artists, (Toronto: Second Story Press, 1997)., p. 73 (illus.)","date":1997,"id":3391,"uri":"https://search.worldcat.org/title/37985853"},{"boilertext":"Christine Battersby, \"Just Jamming: Irigaray, painting and pyschoanalysis\", in ed. Katy Deepwell, New feminist art criticism: critical strategies, (New York; Manchester: Manchester University Press, 1995).","citation":"Christine Battersby, \"Just Jamming: Irigaray, painting and pyschoanalysis\", in ed. Katy Deepwell, New feminist art criticism: critical strategies, (New York; Manchester: Manchester University Press, 1995)., p. 134, fig. 42.","date":1995,"id":3392,"uri":"https://search.worldcat.org/title/30739625"},{"boilertext":"Princeton University Art Museum: Handbook of the Collection (New Haven, CT: Yale University Press, 2007)","citation":"Princeton University Art Museum: Handbook of the Collection (New Haven, CT: Yale University Press, 2007), 246 (illus.)","date":2007,"id":474,"uri":"https://search.worldcat.org/title/191864564"},{"boilertext":"Princeton University Art Museum: Handbook of the Collections (Princeton, NJ: Princeton University Art Museum, 2013)","citation":"Princeton University Art Museum: Handbook of the Collections (Princeton, NJ: Princeton University Art Museum, 2013), p. 268","date":2013,"id":1994,"uri":"https://search.worldcat.org/title/865020505"},{"boilertext":"Isabelle Dervaux et al., Surrealism USA, (New York: National Academy Museum; Ostfildern-Ruit, Germany: Hatje Cantz, 2005).","citation":"Isabelle Dervaux et al., Surrealism USA, (New York: National Academy Museum; Ostfildern-Ruit, Germany: Hatje Cantz, 2005)., p. 139, pl. 92 (illus.)","date":2005,"id":196,"uri":"https://search.worldcat.org/title/56517471"},{"boilertext":"Nancy E. Riley and James McCarthy, Demography in the age of the postmodern, (Cambridge; New York: Cambridge University Press, 2003).","citation":"Nancy E. Riley and James McCarthy, Demography in the age of the postmodern, (Cambridge; New York: Cambridge University Press, 2003)., cover, illus.","date":2003,"id":99,"uri":"https://search.worldcat.org/title/667086352"}],"nowebuse":"False","periods":[],"department":"Modern and Contemporary Art","attribute_groups":[{"id":2199324,"term":"Art Since 1945","termtype":"Collecting Area"},{"id":2199325,"term":"North American Art","termtype":"Collecting Area"}],"daterange":"A.D. 1900-1945","dateend":1944,"depicted":[],"titles":[{"title":"I Saw Three Cities","titletype":"Primary Title","displayorder":1}],"hasimage":"true","creditlinerepro":"©Estate of Kay Sage / Artists Rights Society (ARS), New York","objectnumber":"y1964-162","inscribed":null,"texts":[{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"As a prominent American Surrealist artist, Kay Sage used landscape imagery to evoke the spaces of the unconscious mind. A guardian figure whose drapery and curves recall those of the ancient Greek statue Nike of Samothrace presides over the haunting landscape shown here. Sage’s sentinel, however, lacks the Nike’s effervescence, its drapery animated but its core rigid and static. This uncanny figure—neither dead nor alive, neither man nor woman—reflects the American Surrealists’ fascination with robots and other examples of mechanized humanity. Sage, whose husband was the French artist Yves Tanguy, helped several French artists reach the United States after the outbreak of World War II and organized exhibitions of their work in New York.","remarks":"MOD-CI_09-12_WLA – Day 1 Cataloguing"},{"texttype":"Online","textpurpose":"Provenance","textentryhtml":"Estate of Kay Sage Tanguy; donated to the Princeton University Art Museum, 1964.","remarks":null},{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"Like other works by American Surrealist Kay Sage, I Saw Three Cities is at once realistic and mysterious. Presiding over the haunting, abandoned landscape seen here is a guardian whose fluid drapery and sinuous curves recall those of the ancient Greek statue Nike of Samothrace. Sage's sentinel lacks Nike's effervescence, however. Its drapery is animated, but its core remains rigid and static. This uncanny presence–neither dead nor alive, neither man nor woman–reflects the Surrealists' fascination with robots and other examples of mechanized humanity. Sage, whose husband was the French Surrealist Yves Tanguy, helped several French artists reach the United States after the outbreak of World War II.","remarks":null},{"texttype":"Online","textpurpose":"Handbook Entry","textentryhtml":"\r\nLike other works by American Surrealist Kay Sage, I Saw Three Cities is at once realistic and mysterious. Presiding over the haunting, abandoned landscape seen here is a guardian whose fluid drapery and sinuous curves recall those of the ancient Greek statue Nike of Samothrace. Sage’s sentinel lacks the Nike’s effervescence, however. Its drapery is animated, but its core remains rigid and static. This uncanny presence — neither dead nor alive, neither man nor woman — reflects the Surrealists’ fascination with robots and other forms of mechanization. Sage, whose husband was the French Surrealist Yves Tanguy, helped several French artists reach the United States after the outbreak of World War II. ","remarks":null},{"texttype":"Online","textpurpose":"Campus Voices","textentryhtml":"The striking contrast between the ambiguous subject matter and the meticulously painted architectural forms in this vast landscape creates a disorienting effect. A sense of isolation suggests that this dreamlike place once was filled with life but later was abandoned. In the foreground, a sensuous yet inanimate figure recalls the ancient Greek statue Nike of Samothrace, bearing witness to past civilizations. Kay Sage escaped from Paris with her husband, the French Surrealist painter Yves Tanguy, after the onset of World War II, and settled in Connecticut. She created numerous landscapes evoking the unfamiliar and the depths of the unconscious mind before her depression eventually led her to take her own life.
\r\nVeronica White, Curator of Academic Programs