{ "objects" : [ { "embark_ID" : 14577, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14577", "Disp_Access_No" : "1991.178", "_AccNumSort1" : "", "Disp_Create_DT" : "1945", "_Disp_Start_Dat" : "1945", "_Disp_End_Date" : "1945", "Disp_Title" : "The Card Players", "Alt_Title" : "", "Obj_Title" : "The Card Players", "Series_Title" : "", "Disp_Maker_1" : "Milton Avery", "Sort_Artist" : "Avery, Milton", "Disp_Dimen" : "66.3 cm x 86.3 cm (26 1/8 in. x 34 in.)", "Disp_Height" : "66.3 cm", "Disp_Width" : "86.3 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "These card players are not yet involved in a game. One figure faces an empty surface. The second, gesturing, turns away. In Milton Avery’s typical style for mid-career works of the 1940s and 50s, he arranges irregular blocks of closely valued blues into recognizable things: chair, hat, window, face, feet. Yet, these featureless colored shapes create a flat, abstract quality, rendering a scene we recognize but can’t quite make out. We sense uneasiness beneath a calm surface. Perhaps tinged with unresolved wartime urgency, Avery’s vision carries other unsettling details: tilted planes, wavering background curves. He combines Fauvism’s unreserved use of color with the controlled balances of cubism, yet he tempers and cools Europe’s bold statements into an undercurrent of American uncertainty. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.178.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.178.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.178.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.178.tif", "IsPrimary" : "1", "_SurrogateID" : "1509", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14564, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14564", "Disp_Access_No" : "1991.187", "_AccNumSort1" : "", "Disp_Create_DT" : "1931-1932", "_Disp_Start_Dat" : "1931", "_Disp_End_Date" : "1932", "Disp_Title" : "Romance", "Alt_Title" : "", "Obj_Title" : "Romance", "Series_Title" : "", "Disp_Maker_1" : "Thomas Hart Benton", "Sort_Artist" : "Benton, Thomas Hart", "Disp_Dimen" : "115 cm x 84.5 cm (45 1/4 in. x 33 1/4 in.)", "Disp_Height" : "115 cm", "Disp_Width" : "84.5 cm", "Dimen_Extent" : "Sight", "Medium" : "Egg tempera, gesso, and oil varnish glazes", "Support" : "board", "Disp_Medium" : "Egg tempera, gesso, and oil varnish glazes on board", "Info_Page_Comm" : "A painter and muralist celebrated for his regional scenes of daily life in the southern, midwestern, and western United States, Thomas Hart Benton was committed to portraying images of progress and satisfaction in the American heartland. Born to a family of statesmen, Benton was a patriot who saw his art as a means to generate social and political reform. His nostalgic and uplifting scenes of hard work, self-reliance, and individualism garnered broad popular appeal in post–World War I America. This work, painted when the artist was at the midpoint of his life, provides a lyrical view of a young couple on a relaxed evening stroll. Drawing on his knowledge of both Old Master techniques and modernist ideas, which he had gleaned from several years spent studying in Paris, Benton crafted a lively composition whose rhythmic alignment of forms conveys a sense of poignant familiarity", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "Case by case basis.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.187.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.187.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.187.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.187.mp3", "IsPrimary" : "0", "_SurrogateID" : "6887", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.187.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.187.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.187.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.187.tif", "IsPrimary" : "1", "_SurrogateID" : "1511", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14928, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14928", "Disp_Access_No" : "1984.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1940", "_Disp_Start_Dat" : "1940", "_Disp_End_Date" : "1940", "Disp_Title" : "Oil Field Girls", "Alt_Title" : "", "Obj_Title" : "Oil Field Girls", "Series_Title" : "", "Disp_Maker_1" : "Jerry Bywaters", "Sort_Artist" : "Bywaters, Jerry", "Disp_Dimen" : "75.3 cm x 62.2 cm (29 5/8 in. x 24 1/2 in.)", "Disp_Height" : "75.3 cm", "Disp_Width" : "62.2 cm", "Dimen_Extent" : "board", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "Though Jerry Bywaters enjoyed a long and multifaceted career as an artist, writer, critic, teacher, arts administrator, and museum director, he is best remembered today for his participation in the Dallas Nine, an enterprising group of young painters active in the 1930s who helped establish a regional artistic identity for Texas art. Like "Oil Field Girls," Bywaters’s most popular work, their paintings portray local conditions in expressive detail even as they acknowledge a wide range of sophisticated painterly influences gained from the artists’ studies in New York, Mexico City, and Europe. In "Oil Field Girls," Bywaters used a somber palette to describe the bleak and thinly populated west Texas landscape. With its economically depressed vistas, the town (if it can be called that) is clearly godforsaken. By contrast, the women poised to hitch a ride out of those sad environs are vivid and forceful; although they are most likely working as prostitutes, Bywaters made no apparent judgment of them, instead vesting them with a vitality, even ambition, that offers the picture’s only hope. A canny mixture of reportage and editorial commentary, "Oil Field Girls" is a history painting that captures a surprisingly humane narrative of a specific time and place.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1984", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.1.tif", "IsPrimary" : "1", "_SurrogateID" : "1288", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14651, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14651", "Disp_Access_No" : "1987.34", "_AccNumSort1" : "", "Disp_Create_DT" : "1914", "_Disp_Start_Dat" : "1914", "_Disp_End_Date" : "1914", "Disp_Title" : "Portrait of Dean Thomas U. Taylor", "Alt_Title" : "", "Obj_Title" : "Portrait of Dean Thomas U. Taylor", "Series_Title" : "", "Disp_Maker_1" : "William Merritt Chase", "Sort_Artist" : "Chase, William Merritt", "Disp_Dimen" : "114.8 cm x 90.5 cm (45 3/16 in. x 35 5/8 in.)", "Disp_Height" : "114.8 cm", "Disp_Width" : "90.5 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Chase's portrait of Thomas Ulvan Taylor, who served as University of Texas at Austin's first dean of the School of Engineering from 1895 to 1936, seems to catch Taylor during a pause in his reading. His finger marking his place, he sits upright, forceful and alert in a dark suit. His sturdy chair and a dynamic red background strengthen his frame. Sharp sidelighting accents the innovator's head and hands; this serves to symbolize his pioneering achievements in academe and engineering. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Alumni, College of Engineering, The University of Texas at Austin, 1914; Transferred from the College of Engineering, 1987", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1987.34.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1987.34.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1987.34.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1987.34.tif", "IsPrimary" : "1", "_SurrogateID" : "1475", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14233, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14233", "Disp_Access_No" : "G1964.2", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1871", "_Disp_Start_Dat" : "1866", "_Disp_End_Date" : "1876", "Disp_Title" : "At the Piano (Frances and Margaret Eakins)", "Alt_Title" : "Two Sisters of Thomas Eakins", "Obj_Title" : "At the Piano (Frances and Margaret Eakins)", "Series_Title" : "", "Disp_Maker_1" : "Thomas Eakins", "Sort_Artist" : "Eakins, Thomas", "Disp_Dimen" : "55.9 cm x 45.7 cm (22 in. x 18 in.)", "Disp_Height" : "55.9 cm", "Disp_Width" : "45.7 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil on canvas on masonite", "Support" : "canvas", "Disp_Medium" : "Oil on canvas on masonite", "Info_Page_Comm" : "Thomas Eakins is considered one of the most significant realist American painters of the late 19th and early 20th century. After studying in Europe, he established a studio in Philadelphia in 1870. His earliest paintings, such as this one, depict family members in interior, domestic settings. Here he presents his two younger sisters, Frances and Margaret. The several hundred portraits Eakins produced in his lifetime capture the intellectual interests and psychological character of those he painted— friends, family members, and prominent intellectuals in his native Philadelphia. After making this portrait, he became an influential art educator, teaching at the Pennsylvania Academy of Fine Arts, among other institutions. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Caroline Crowell, M.D., 1964", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1964.2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1964.2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1964.2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1964.2.tif", "IsPrimary" : "1", "_SurrogateID" : "6357", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14161, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14161", "Disp_Access_No" : "G1968.46", "_AccNumSort1" : "", "Disp_Create_DT" : "1909", "_Disp_Start_Dat" : "1909", "_Disp_End_Date" : "1909", "Disp_Title" : "Nude with Garland", "Alt_Title" : "", "Obj_Title" : "Nude with Garland", "Series_Title" : "", "Disp_Maker_1" : "Louis M. Eilshemius", "Sort_Artist" : "Eilshemius, Louis M.", "Disp_Dimen" : "51 cm x 72 cm (20 1/16 in. x 28 3/8 in.)", "Disp_Height" : "51 cm", "Disp_Width" : "72 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.46.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.46.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.46.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.46.tif", "IsPrimary" : "1", "_SurrogateID" : "2352", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14543, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14543", "Disp_Access_No" : "1991.210", "_AccNumSort1" : "", "Disp_Create_DT" : "1934", "_Disp_Start_Dat" : "1934", "_Disp_End_Date" : "1934", "Disp_Title" : "Dance Marathon", "Alt_Title" : "", "Obj_Title" : "Dance Marathon", "Series_Title" : "", "Disp_Maker_1" : "Philip Evergood", "Sort_Artist" : "Evergood, Philip", "Disp_Dimen" : "152.6 cm x 101.7 cm (60 1/16 in. x 40 1/16 in.)", "Disp_Height" : "152.6 cm", "Disp_Width" : "101.7 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "An activist as well as an artist, Philip Evergood was committed to creating art that exposed social injustice. Dance Marathon depicts a phenomenon that swept the United States during the Great Depression, in which couples competed for a cash prize by dancing for as long as possible. In this complex and luridly colored painting, Evergood combines realistic details, such as the exhausted couples and crude prize announcements, with symbols, like the skeletal hand, that convey his attitude toward the dismal spectacle. Evergood’s work of social critique, while rooted in the Depression, is a powerful reminder of the timelessness of human desperation and cruelty.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.210.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.210.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.210.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.210.mp3", "IsPrimary" : "0", "_SurrogateID" : "8641", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.210.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.210.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.210.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.210.tif", "IsPrimary" : "1", "_SurrogateID" : "13533", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14535, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14535", "Disp_Access_No" : "1991.218", "_AccNumSort1" : "", "Disp_Create_DT" : "1895", "_Disp_Start_Dat" : "1895", "_Disp_End_Date" : "1895", "Disp_Title" : "Cafe Scene", "Alt_Title" : "", "Obj_Title" : "Cafe Scene", "Series_Title" : "", "Disp_Maker_1" : "William Glackens", "Sort_Artist" : "Glackens, William", "Disp_Dimen" : "64.2 cm x 78.2 cm (25 1/4 in. x 30 13/16 in.)", "Disp_Height" : "64.2 cm", "Disp_Width" : "78.2 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "A glowing cigarette ember pinpoints the center of this café scene by William Glackens. Tilted hat brims and strokes of dark red highlight the trio conversing in the foreground. Around them, the painter's swift, loose brush draws extremes of light and shadow, bringing to life the buzz of social and intellectual activity in a late nineteenth-century café. Café Scene demonstrates Glackens' early interest in defining modern art through realism—the idea that everyday events are viable subjects for painting. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.218.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.218.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.218.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.218.tif", "IsPrimary" : "1", "_SurrogateID" : "1522", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14534, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14534", "Disp_Access_No" : "1991.219", "_AccNumSort1" : "", "Disp_Create_DT" : "1930", "_Disp_Start_Dat" : "1930", "_Disp_End_Date" : "1930", "Disp_Title" : "Lena and Imp", "Alt_Title" : "", "Obj_Title" : "Lena and Imp", "Series_Title" : "", "Disp_Maker_1" : "William Glackens", "Sort_Artist" : "Glackens, William", "Disp_Dimen" : "159.8 cm x 107.4 cm (62 15/16 in. x 42 5/16 in.)", "Disp_Height" : "159.8 cm", "Disp_Width" : "107.4 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Glackens began his career as a reporter-illustrator in Philadelphia, while also taking night classes at the Pennsylvania Academy of the Fine Arts. He began oil painting in 1894 at the urging of his friend and mentor, artist Robert Henri. The following year, Glackens visited Paris, where he had a transformative encounter with the work of Impressionists and Post-Impressionists. Their anti-academic approach to color, composition, and everyday subjects informed his art for decades, as seen in this late painting of his red-haired daughter. Such interior or studio settings were common in Glackens’ later work, a break with the urban scenes of street urchins and performers he and other artists of the Ashcan School painted in New York in the late 1890s. Glackens’ passion for Impressionist and Post-Impressionist art also shaped the renowned Barnes Collection; Glackens advised Albert C. Barnes and purchased for him works by Paul Cézanne, Edouard Monet, Pierre-Auguste Renoir, and other artists at the core of his collection.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.219.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.219.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.219.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.219.tif", "IsPrimary" : "1", "_SurrogateID" : "1523", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14140, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14140", "Disp_Access_No" : "G1968.68", "_AccNumSort1" : "", "Disp_Create_DT" : "1944", "_Disp_Start_Dat" : "1944", "_Disp_End_Date" : "1944", "Disp_Title" : "Man Hunt", "Alt_Title" : "", "Obj_Title" : "Man Hunt", "Series_Title" : "", "Disp_Maker_1" : "George Grosz", "Sort_Artist" : "Grosz, George", "Disp_Dimen" : "48 cm x 58 cm (18 7/8 in. x 22 13/16 in.)", "Disp_Height" : "48 cm", "Disp_Width" : "58 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This frantic search through a darkened landscape captures the tension and fear of a hunted man. Depicting a story told to George Grosz by a Jewish friend from his native Germany, the dark, ashy, and acidic colors suit the tense subject of the work. The four hunched figures form an open circle, close to the viewer's space, making it unclear who is the hunter and who is the hunted. Man Hunt captures only a hint of Grosz’s harsh anti-Nazi political satire. The painter came to America to escape persecution by the rising Nazis in 1933. Grosz’s art was typically linked to contemporary politics, particularly German politics, and caused him numerous legal problems, including a narrow escape from a death sentence. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "German", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.68.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.68.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.68.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.68.tif", "IsPrimary" : "1", "_SurrogateID" : "2367", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14136, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14136", "Disp_Access_No" : "G1968.72", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1943", "_Disp_Start_Dat" : "1938", "_Disp_End_Date" : "1948", "Disp_Title" : "Untitled (Girl with Kitten)", "Alt_Title" : "", "Obj_Title" : "Untitled (Girl with Kitten)", "Series_Title" : "", "Disp_Maker_1" : "Marsden Hartley", "Sort_Artist" : "Hartley, Marsden", "Disp_Dimen" : "102 cm x 77 cm (40 3/16 in. x 30 5/16 in.)", "Disp_Height" : "102 cm", "Disp_Width" : "77 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.72.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.72.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.72.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.72.tif", "IsPrimary" : "1", "_SurrogateID" : "3138", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.72.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.72.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.72.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.72.mp3", "IsPrimary" : "0", "_SurrogateID" : "8441", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 14516, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14516", "Disp_Access_No" : "1991.237", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1912", "_Disp_Start_Dat" : "1907", "_Disp_End_Date" : "1917", "Disp_Title" : "The Old Model (Old Spanish Woman)", "Alt_Title" : "", "Obj_Title" : "The Old Model (Old Spanish Woman)", "Series_Title" : "", "Disp_Maker_1" : "Robert Henri", "Sort_Artist" : "Henri, Robert", "Disp_Dimen" : "60.9 cm x 51 cm (24 in. x 20 1/16 in.)", "Disp_Height" : "60.9 cm", "Disp_Width" : "51 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "An influential teacher and the outspoken founder of a new, progressive style of realism, Robert Henri is perhaps best known for his acutely sensitive portraits of common people, whom he sought out during his travels around the world. Unlike his contemporaries, who painted commissioned portraits of wealthy industrialists and their families, Henri preferred what he considered to be the deeper and more complex characters of workers, peasants, beggars, and entertainers. He was particularly fond of sitters in Spain, evident in this work, and visited there several times for lengthy painting excursions between 1906 and 1912, and again in 1923–1924. In an article he wrote in The Craftsman in 1915, he said, “The people I like to paint are ‘my people,’ whoever they may be, wherever they may exist, the people through whom dignity of life is manifest, who are in some way expressing themselves naturally. . . . My people may be old or young, rich or poor. . . . But wherever I find them, . . . my interest is awakened and my impulse immediately is to tell about them through my own language—drawing and painting in color.” Perhaps because of the breadth of his foreign experiences, Henri was a champion of the particularities of regional character and encouraged artists in the United States to paint details of everyday American life. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "EDU loves this work. Must seriously consider for Reinstallation. (Amethyst Beaver, 8/14/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.237.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.237.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.237.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.237.tif", "IsPrimary" : "1", "_SurrogateID" : "1535", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.237 back.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.237 back.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.237 back.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/1991.237 back.jpg", "IsPrimary" : "0", "_SurrogateID" : "2801", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.237 backdetail.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.237 backdetail.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.237 backdetail.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/1991.237 backdetail.jpg", "IsPrimary" : "0", "_SurrogateID" : "2802", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14499, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14499", "Disp_Access_No" : "1991.252", "_AccNumSort1" : "", "Disp_Create_DT" : "1924-1925", "_Disp_Start_Dat" : "1924", "_Disp_End_Date" : "1925", "Disp_Title" : "Waitresses from the Sparhawk", "Alt_Title" : "", "Obj_Title" : "Waitresses from the Sparhawk", "Series_Title" : "", "Disp_Maker_1" : "Yasuo Kuniyoshi", "Sort_Artist" : "Kuniyoshi, Yasuo", "Disp_Dimen" : "74.7 cm x 105.5 cm (29 7/16 in. x 41 9/16 in.)", "Disp_Height" : "74.7 cm", "Disp_Width" : "105.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : ""Waitresses from the Sparhawk" is an early work by Yasuo Kuniyoshi, painted just two years after his first solo gallery show in New York. Set in a popular resort in Ogunquit, Maine, where the artist spent his summers for many years, the work presents a seemingly delightful vignette about female friendship—except for that brooding sky and the slightly sinister tone of the surroundings. This odd but intriguing combination of stylized figures, abstracted landscape forms, and narrative references reflects the distinctive synthetic approach taken by Kuniyoshi and many American artists during this period following World War I. Painted in advance of the artist’s first trip to Europe, the work is an amalgam of undigested influences, reflecting his interest in Japanese prints, the modernist landscapes of Paul Cézanne, and American folk art. Characteristically quirky and mysterious, "Waitresses from the Sparhawk" is an important early painting by Kuniyoshi, the first living artist ever to be accorded a career retrospective exhibition at the Whitney Museum of American Art, New York.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "web use only", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.252.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.252.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.252.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.252.tif", "IsPrimary" : "1", "_SurrogateID" : "1545", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5203, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5203", "Disp_Access_No" : "P1969.12.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1935", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1935", "Disp_Title" : "The Eviction", "Alt_Title" : "", "Obj_Title" : "The Eviction", "Series_Title" : "", "Disp_Maker_1" : "Jacob Lawrence", "Sort_Artist" : "Lawrence, Jacob", "Disp_Dimen" : "71.1 cm x 97.5 cm (28 in. x 38 3/8 in.)", "Disp_Height" : "71.1 cm", "Disp_Width" : "97.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Gouache and collage on cardboard", "Support" : "", "Disp_Medium" : "Gouache and collage on cardboard", "Info_Page_Comm" : "A master storyteller and chronicler of history, Jacob Lawrence was one of the leading figurative painters of the twentieth century. He was also the preeminent African American artist of his generation, creating work characterized by strong, simplified forms, a distinctive palette of bold hues, and dynamic compositions that heighten the drama or tension of his tales. A childhood spent largely in Harlem during the years of the Great Depression provided him with subject matter that he returned to throughout his long career. Inspired by the vibrant artistic and intellectual energy that had fueled the Harlem Renaissance, Lawrence studied visual art at an early age, creating The Eviction when he was just seventeen years old. It shows a typical Harlem occurrence—a black family thrown out of their home by a white landlord—a scene that, in a larger sense, reflects the overcrowding, poverty, and frequent displacements that the Great Depression caused throughout America’s urban communities. But few painters were tracing the specific narratives of African American experience, and Lawrence vowed at a young age to remedy that situation. Even in such an early work, he forcefully communicated the immediacy of his story, simplified to its essences, with clear and unwavering vision. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1969", "Copyright_Type" : "Blanton web use only.", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1969.12.2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1969.12.2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1969.12.2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1969.12.2.tif", "IsPrimary" : "1", "_SurrogateID" : "2510", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14492, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14492", "Disp_Access_No" : "1991.259", "_AccNumSort1" : "", "Disp_Create_DT" : "1930", "_Disp_Start_Dat" : "1930", "_Disp_End_Date" : "1930", "Disp_Title" : "Elsie", "Alt_Title" : "", "Obj_Title" : "Elsie", "Series_Title" : "", "Disp_Maker_1" : "George Benjamin Luks", "Sort_Artist" : "Luks, George Benjamin", "Disp_Dimen" : "102.3 cm x 77 cm (40 1/4 in. x 30 1/4 in.)", "Disp_Height" : "102.3 cm", "Disp_Width" : "76.9 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In George Luks’ portrait of Elsie Dore, the sitter’s eyes meet the viewer’s with an unsettling intensity. The plunging neckline of Dore’s dress appears to sever her into upper and lower halves. The nakedness of her chest and neck, her rigid arms and torso, the aggressive stare from beneath a hard brow—all combine to create a portrait of a woman whose mood seems to possess her entire body.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.259.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.259.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.259.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.259.tif", "IsPrimary" : "1", "_SurrogateID" : "1549", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.259 audioEng.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.259 audioEng.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.259 audioEng.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.259 audioEng.mp3", "IsPrimary" : "0", "_SurrogateID" : "8186", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.259 audiospan.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.259 audiospan.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.259 audiospan.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.259 audiospan.mp3", "IsPrimary" : "0", "_SurrogateID" : "8187", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14488, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14488", "Disp_Access_No" : "1991.263", "_AccNumSort1" : "", "Disp_Create_DT" : "1931", "_Disp_Start_Dat" : "1931", "_Disp_End_Date" : "1931", "Disp_Title" : "Chatham Square", "Alt_Title" : "", "Obj_Title" : "Chatham Square", "Series_Title" : "", "Disp_Maker_1" : "Reginald Marsh", "Sort_Artist" : "Marsh, Reginald", "Disp_Dimen" : "120.1 cm x 89.6 cm (47 5/16 in. x 35 1/4 in.)", "Disp_Height" : "120.1 cm", "Disp_Width" : "89.6 cm", "Dimen_Extent" : "Sight", "Medium" : "Tempera and collaged canvas", "Support" : "board", "Disp_Medium" : "Tempera and collaged canvas on board", "Info_Page_Comm" : "Night has fallen on a commercial district in New York City. In the background a straggling shopper exits the doorway of a store, while in the foreground, an ordinary old man, perhaps homeless, leans on a pilaster. In Reginald Marsh’s Chatham Square, the near magical light of store windows illuminates a typical night of street hustle and bustle. The bum figure in the foreground of Chatham Square is a frequent model of Marsh’s. In this work, the figure appears to have been collaged onto the surface in an attempt to add both visual and thematic depth", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "approval on case by case basis", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.263.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.263.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.263.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.263.tif", "IsPrimary" : "1", "_SurrogateID" : "1551", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14472, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14472", "Disp_Access_No" : "1991.275", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1940", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1945", "Disp_Title" : "Sidewalk Merchant", "Alt_Title" : "", "Obj_Title" : "Sidewalk Merchant", "Series_Title" : "", "Disp_Maker_1" : "Kenneth Hayes Miller", "Sort_Artist" : "Miller, Kenneth Hayes", "Disp_Dimen" : "91.5 cm x 115.9 cm (36 in. x 45 5/8 in.)", "Disp_Height" : "91.5 cm", "Disp_Width" : "115.9 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "plywood", "Disp_Medium" : "Oil on plywood", "Info_Page_Comm" : "Muselike women in stylish hats, coats, and furs grace the street outside Kenneth Hayes Miller's studio. The Fourteenth Street studio was the center of the social realist painters of New York's art world, including Isabel Bishop, Moses and Raphael Soyer, and Reginald Marsh, all students of Miller at the Art Students League. The Fourteenth Street School depicted the urban social world, such as this everyday shopping spree. Miller's interest in social realism developed after World War I when he began to move away from the dreamlike images of his early work to try to capture the realities of daily life in the city. Sidewalk Merchant is one of Miller's most ambitious canvases, a work he began in 1932 and returned to sixteen years later to recompose and repaint. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.275.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.275.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.275.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.275.tif", "IsPrimary" : "1", "_SurrogateID" : "1553", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.275.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.275.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.275.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.275.mp3", "IsPrimary" : "0", "_SurrogateID" : "8539", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , ] },{ "embark_ID" : 13952, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13952", "Disp_Access_No" : "P1969.20.1", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1933", "_Disp_Start_Dat" : "1928", "_Disp_End_Date" : "1938", "Disp_Title" : "Self-Portrait", "Alt_Title" : "", "Obj_Title" : "Self-Portrait", "Series_Title" : "", "Disp_Maker_1" : "Jerome Myers", "Sort_Artist" : "Myers, Jerome", "Disp_Dimen" : "44.4 cm x 35.6 cm (17 1/2 in. x 14 in.)", "Disp_Height" : "44.4 cm", "Disp_Width" : "35.6 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil on paper attached to cardboard", "Support" : "Board", "Disp_Medium" : "Oil on paper attached to cardboard on Board", "Info_Page_Comm" : "In the early twentieth century, Jerome Myers drew inspiration from the people and scenes he encountered near his home in lower Manhattan. In terms both of ideology and subject matter, he closely resembled his contemporaries and associates of the Ashcan School, such as Robert Henri, John Sloan, and George Luks. Myers is reputed to have been one of the first American artists to gain commercial success representing unglamorous, unidealized urban scenes. In his self-portraits, as in this painting from late in his career, Myers adopts a beret and emphasizes his facial features to resemble the famous self-portraitist Rembrandt. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1969", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1969.20.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1969.20.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1969.20.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1969.20.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2518", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13943, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13943", "Disp_Access_No" : "P1969.7.4", "_AccNumSort1" : "", "Disp_Create_DT" : "1938", "_Disp_Start_Dat" : "1938", "_Disp_End_Date" : "1938", "Disp_Title" : "Central Park", "Alt_Title" : "", "Obj_Title" : "Central Park", "Series_Title" : "", "Disp_Maker_1" : "Robert Philipp", "Sort_Artist" : "Philipp, Robert", "Disp_Dimen" : "86 cm x 102 cm (33 7/8 in. x 40 3/16 in.)", "Disp_Height" : "86 cm", "Disp_Width" : "102 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1969", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1969.7.4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1969.7.4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1969.7.4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1969.7.4.tif", "IsPrimary" : "1", "_SurrogateID" : "6339", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13942, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13942", "Disp_Access_No" : "P1969.7.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1944", "_Disp_Start_Dat" : "1944", "_Disp_End_Date" : "1944", "Disp_Title" : "Sleepy Workman", "Alt_Title" : "", "Obj_Title" : "Sleepy Workman", "Series_Title" : "", "Disp_Maker_1" : "Gregorio Prestopino", "Sort_Artist" : "Prestopino, Gregorio", "Disp_Dimen" : "71 cm x 63 cm (27 15/16 in. x 24 13/16 in.)", "Disp_Height" : "71 cm", "Disp_Width" : "63 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1969", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1969.7.5.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1969.7.5.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1969.7.5.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1969.7.5.tif", "IsPrimary" : "1", "_SurrogateID" : "2524", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14194, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14194", "Disp_Access_No" : "G1968.120", "_AccNumSort1" : "", "Disp_Create_DT" : "1913", "_Disp_Start_Dat" : "1913", "_Disp_End_Date" : "1913", "Disp_Title" : "Carol with Blue Hair Ribbon", "Alt_Title" : "", "Obj_Title" : "Carol with Blue Hair Ribbon", "Series_Title" : "", "Disp_Maker_1" : "John Sloan", "Sort_Artist" : "Sloan, John", "Disp_Dimen" : "61 cm x 51 cm (24 in. x 20 1/16 in.)", "Disp_Height" : "61 cm", "Disp_Width" : "51 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In John Sloan’s Carol with Blue Ribbon, a young girl, placed against a dark background and illuminated by yellow light, looks at the viewer with precocious eyes and offers a cunning smile. The ribbon in her hair, painted in varying tones of blue, adds to the girl’s aura of lively intelligence. Sloan’s sectioning of the subject’s ribbon and dress and expressive brushwork in this portrait recall the experimentation of Post-Impressionists like Paul Cézanne and Vincent van Gogh.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.120.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.120.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.120.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.120.tif", "IsPrimary" : "1", "_SurrogateID" : "2323", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13927, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13927", "Disp_Access_No" : "P1970.18.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1942", "_Disp_Start_Dat" : "1942", "_Disp_End_Date" : "1942", "Disp_Title" : "Rehearsal Break", "Alt_Title" : "", "Obj_Title" : "Rehearsal Break", "Series_Title" : "", "Disp_Maker_1" : "Moses Soyer", "Sort_Artist" : "Soyer, Moses", "Disp_Dimen" : "77 cm x 64 cm (30 5/16 in. x 25 3/16 in.)", "Disp_Height" : "77 cm", "Disp_Width" : "64 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Rather than focusing on the performance or practice of dance, as his mentor Edgar Degas before him, Moses Soyer chooses a still moment. The eye first catches the two standing figures, whose striped shirt and pink leotard draw our attention. Differences in the height of the figures and the draped props emphasize the right edge of the painting, where a seated figure slouches in a corner. This dancer, excluded from the conversation, splays her legs in dejection or fatigue. The abstracted sheet of tinted background diminishes her. She doesn’t even have the energy to correct her fallen strap. Bodies and objects are blocked from clear view, by darkened colors, shadowed faces, crossed arms, a back to the viewer. Moses Soyer’s version of American society in 1942 expresses weariness and melancholy, perhaps a response to decades of depression and world war. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1970", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1970.18.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1970.18.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1970.18.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1970.18.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2536", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14440, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14440", "Disp_Access_No" : "1991.324", "_AccNumSort1" : "", "Disp_Create_DT" : "1936", "_Disp_Start_Dat" : "1936", "_Disp_End_Date" : "1936", "Disp_Title" : "Transients", "Alt_Title" : "", "Obj_Title" : "Transients", "Series_Title" : "", "Disp_Maker_1" : "Raphael Soyer", "Sort_Artist" : "Soyer, Raphael", "Disp_Dimen" : "95.3 cm x 86.7 cm (37 1/2 in. x 34 1/8 in.)", "Disp_Height" : "95.3 cm", "Disp_Width" : "86.7 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Raphael Soyer was one of the leading proponents of a painting style called Social Realism, whose aim was to document the social and political mood of life during the years of the Great Depression. While other Social Realists, like Philip Evergood, were known for their searing indictments of poverty, Soyer’s tone was gentler and more sympathetic, though no less a call to action. His renderings of individuals, like these men waiting for public assistance, encourage the viewer to identify with the subjects and to empathize with their boredom and despair. Each weathered face in this group is an individual portrait—in fact, the figure on the left is Walter Broe, a homeless man who the artist employed as a model on many occasions, and the yawning figure toward the right rear is Raphael Soyer himself. Drawing and painting from models provided the foundation for Soyer’s practice, and he gained his carefully articulated insights from direct observation. His brand of realism was marked by its unflinching honesty and uncommon humanity. In many ways his paintings act as counterpoints to the great documentary photographs of the era taken by artists such as Dorothea Lange and Walker Evans. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "Does not allow for web use or merchandise.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.324.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.324.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.324.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.324.mp3", "IsPrimary" : "0", "_SurrogateID" : "6892", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "This is an excerpt from a tape James Michener made commenting on the source of paintings in his collection, probably recorded around 1968.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.324.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.324.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.324.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.324.tif", "IsPrimary" : "1", "_SurrogateID" : "1571", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13941, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13941", "Disp_Access_No" : "P1969.7.6", "_AccNumSort1" : "", "Disp_Create_DT" : "1946", "_Disp_Start_Dat" : "1946", "_Disp_End_Date" : "1946", "Disp_Title" : "Woman on Trapeze", "Alt_Title" : "", "Obj_Title" : "Woman on Trapeze", "Series_Title" : "", "Disp_Maker_1" : "Karl Zerbe", "Sort_Artist" : "Zerbe, Karl", "Disp_Dimen" : "135 cm x 95 cm (53 1/8 in. x 37 3/8 in.)", "Disp_Height" : "135 cm", "Disp_Width" : "95 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil and encaustic", "Support" : "canvas", "Disp_Medium" : "Oil and encaustic on canvas", "Info_Page_Comm" : "Inspired by Zerbe’s brief travels with the Barnum and Bailey Circus in 1945, Woman on Trapeze raises provocative questions. The intrepid trapeze artist stares beyond the viewer from a bird’s-eye perspective high above the crowd below—so where are we? And why is the young woman’s expression so self-contained while her muscular body practically crashes into the viewer’s own? The acid green and strong contrasts of light and dark give the scene a surreal, even ominous, tone. Although normally a site of family entertainment, this circus vignette presents an unsettling mystery. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1969", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1969.7.6.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1969.7.6.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1969.7.6.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1969.7.6.tif", "IsPrimary" : "1", "_SurrogateID" : "2525", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14823, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14823", "Disp_Access_No" : "1985.74a", "_AccNumSort1" : "", "Disp_Create_DT" : "1909", "_Disp_Start_Dat" : "1909", "_Disp_End_Date" : "1909", "Disp_Title" : "Rites of Spring - Olympic Offerings (Recto)", "Alt_Title" : "", "Obj_Title" : "Rites of Spring - Olympic Offerings (Recto)", "Series_Title" : "", "Disp_Maker_1" : "Marguerite Thompson Zorach", "Sort_Artist" : "Zorach, Marguerite Thompson", "Disp_Dimen" : "74.9 cm x 62.4 cm (29 1/2 in. x 24 9/16 in.)", "Disp_Height" : "74.9 cm", "Disp_Width" : "62.4 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Marguerite Thompson Zorach was among the first painters to introduce European modernism to American audiences, most memorably at the 1913 Armory Show in New York City. Inspired by the “absolute unconventionality and freedom” of European avant-garde practices the artist discovered while living in Paris, "Rites of Spring—Olympic Offerings" is a rare example of Zorach’s early experimentation with expressionistic applications of color. Here nude figures depicted in cool blues and caustic pinks proffer the season’s harvest to an unseen divine force, providing insight into the artist’s own perception of the “inner spirit of things.” Marguerite Thompson Zorach’s husband and fellow modernist, William Zorach, later used the back of this canvas for his own painting. According to his autobiography, the couple survived years of struggle in New York “by never spending a cent on anything that was not essential . . . we made our own canvases . . . used the stretchers over and over, rolling up the finished pictures. When desperate we painted on both sides of the canvas.” William, who enjoyed more commercial success than Marguerite, presumably used this canvas in a moment of desperation.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1985", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1985.74_recto.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1985.74_recto.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1985.74_recto.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1985.74_recto.tif", "IsPrimary" : "1", "_SurrogateID" : "1328", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1985.74_verso.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1985.74_verso.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1985.74_verso.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1985.74_verso.tif", "IsPrimary" : "0", "_SurrogateID" : "5585", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }