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Amid humble surroundings, the fire in his foundary colling, an old craftsman seems lost in thought, one hand patiently striking an anvil, the other gently encircling a statuette of Charity. The small size of the print and the special warmth of this impression enhance the sense of extraordinary tenderness. 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Huntington Museum Fund, 2000", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.38.3-6.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.38.3-6.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.38.3-6.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.38.3-6.tif", "IsPrimary" : "1", "_SurrogateID" : "4634", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3156, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3156", "Disp_Access_No" : "2002.1905", "_AccNumSort1" : "", "Disp_Create_DT" : "1721", "_Disp_Start_Dat" : "1721", "_Disp_End_Date" : "1721", "Disp_Title" : "Self-Portrait, after Hyacinthe Rigaud", "Alt_Title" : "", "Obj_Title" : "Self-Portrait, after Hyacinthe Rigaud", "Series_Title" : "", "Disp_Maker_1" : "Pierre Drevet", "Sort_Artist" : "Drevet, Pierre", "Disp_Dimen" : "47.1 cm x 33.7 cm (18 9/16 in. x 13 1/4 in.)", "Disp_Height" : "47.1 cm", "Disp_Width" : "33.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "French", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.1905.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1905.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1905.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1905.tif", "IsPrimary" : "0", "_SurrogateID" : "1868", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.1905-Crop.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1905-Crop.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1905-Crop.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1905-Crop.tif", "IsPrimary" : "1", "_SurrogateID" : "18718", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3170, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3170", "Disp_Access_No" : "1995.33", "_AccNumSort1" : "", "Disp_Create_DT" : "1728", "_Disp_Start_Dat" : "1728", "_Disp_End_Date" : "1728", "Disp_Title" : "The Graces at the Tomb of Watteau, frontispiece to the Figures de différents caractères, II", "Alt_Title" : "", "Obj_Title" : "The Graces at the Tomb of Watteau, frontispiece to the Figures de différents caractères, II", "Series_Title" : "", "Disp_Maker_1" : "François Boucher", "Sort_Artist" : "Boucher, François", "Disp_Dimen" : "45.2 cm x 32.1 cm (17 13/16 in. x 12 5/8 in.)", "Disp_Height" : "45.2 cm", "Disp_Width" : "32.1 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "A year after Watteau’s death, his patron Jean de Julienne conceived a project to reproduce all of the artist’s paintings and drawings in a corpus of engravings and etchings. The young Boucher became a principal in the project, executing 119 of the 351 plates that appeared in two volumes in 1726 and 1728. A tribute to Watteau’s genius, this etching was one of the few original designs. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1995", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "French", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1995.33.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1995.33.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1995.33.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1995.33.tif", "IsPrimary" : "1", "_SurrogateID" : "4629", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3724, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3724", "Disp_Access_No" : "2002.1819", "_AccNumSort1" : "", "Disp_Create_DT" : "1796", "_Disp_Start_Dat" : "1796", "_Disp_End_Date" : "1796", "Disp_Title" : "A Peep at Christie’s; -or- Tally – ho, & his Nimeney–pimmeney taking the Morning Lounge", "Alt_Title" : "", "Obj_Title" : "A Peep at Christie’s; -or- Tally – ho, & his Nimeney–pimmeney taking the Morning Lounge", "Series_Title" : "", "Disp_Maker_1" : "James Gillray", "Sort_Artist" : "Gillray, James", "Disp_Dimen" : "37.7 cm x 28 cm (14 13/16 in. x 11 in.)", "Disp_Height" : "37.7 cm", "Disp_Width" : "28 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching and aquatint with hand coloring", "Support" : "", "Disp_Medium" : "Etching and aquatint with hand coloring", "Info_Page_Comm" : "Lord Derby, a great hunter and horseman, is known more for his involvement in organizing horse races than his political career. He is pictured here with actress Elizabeth Farren. Famous for her role as Nimeney-pimmeney in John Burgoyne’s Heiress, she frequented Queen Charlotte’s drawing-room and was celebrated for her good conduct and appealing disposition. Gillray seems to be alone in his distaste for Farren. He portrays her as a fortune seeker browsing artwork with equally haughty company. Her focus falls on a painting of Xenocrates and Phryne. According to the ancient Greek biographer, Diogenes Laërtius, the courtesan Phryne attempted to seduce Xenocrates, a Greek philosopher and mathematician. The print is a stab at the questionable morals of Farren, who married Lord Derby eight months after its publication.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "English", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.1819.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1819.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1819.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1819.tif", "IsPrimary" : "1", "_SurrogateID" : "1855", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3727, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3727", "Disp_Access_No" : "1997.282", "_AccNumSort1" : "", "Disp_Create_DT" : "1797", "_Disp_Start_Dat" : "1797", "_Disp_End_Date" : "1797", "Disp_Title" : "Self-Portrait, after Antoine Graff", "Alt_Title" : "", "Obj_Title" : "Self-Portrait, after Antoine Graff", "Series_Title" : "", "Disp_Maker_1" : "Johann Gotthard von Müller", "Sort_Artist" : "Müller, Johann Gotthard von", "Disp_Dimen" : "39.4 cm x 29.4 cm (15 1/2 in. x 11 9/16 in.)", "Disp_Height" : "39.4 cm", "Disp_Width" : "29.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mr. and Mrs. Isidore Simkowitz in memory of Amy Cecelia Simkowitz-Rogers, 1997", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "German", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1997.282-Crop.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1997.282-Crop.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1997.282-Crop.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1997.282-Crop.tif", "IsPrimary" : "1", "_SurrogateID" : "18698", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3805, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3805", "Disp_Access_No" : "1982.722", "_AccNumSort1" : "", "Disp_Create_DT" : "1819", "_Disp_Start_Dat" : "1819", "_Disp_End_Date" : "1819", "Disp_Title" : "Scene in an Artist's Workshop: A Young Woman Painter Showing Her Work [Mme. de Sainte-Aulaire]", "Alt_Title" : "", "Obj_Title" : "Scene in an Artist's Workshop: A Young Woman Painter Showing Her Work [Mme. de Sainte-Aulaire]", "Series_Title" : "", "Disp_Maker_1" : "Dominique Vivant Denon", "Sort_Artist" : "Denon, Dominique Vivant", "Disp_Dimen" : "27.8 cm x 36.5 cm (10 15/16 in. x 14 3/8 in.)", "Disp_Height" : "27.8 cm", "Disp_Width" : "36.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph in brownish gray ink", "Support" : "", "Disp_Medium" : "Lithograph in brownish gray ink", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1982", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "French", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.722.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.722.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.722.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.722.tif", "IsPrimary" : "1", "_SurrogateID" : "5457", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4004, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4004", "Disp_Access_No" : "1998.156", "_AccNumSort1" : "", "Disp_Create_DT" : "1861", "_Disp_Start_Dat" : "1861", "_Disp_End_Date" : "1861", "Disp_Title" : "Le Bateau-atelier, from Voyage en bateau [The Voyage by Boat]", "Alt_Title" : "", "Obj_Title" : "Le Bateau-atelier, from Voyage en bateau [The Voyage by Boat]", "Series_Title" : "", "Disp_Maker_1" : "Charles-François Daubigny", "Sort_Artist" : "Daubigny, Charles-François", "Disp_Dimen" : "19.7 cm x 24.7 cm (7 3/4 in. x 9 3/4 in.)", "Disp_Height" : "19.7 cm", "Disp_Width" : "24.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "One of the hallmarks of the Barbizon artists was their effort to capture the immediacy of their direct response to nature. In his series of sixteen prints from Voyage en bateau, characterized as an amusement for a small circle of friends, Daubigny recorded his trip down the Oise and Seine rivers. In 1857 he outfitted a small boat as a studio where he sketched some of his views, finishing them at a later date. Considered one of the "most remarkable" sheets in the album, this strongly backlit self-portrait was reprinted in contemporary monographs of the artist (1874, the year of the first Impressionist exhibition, and 1912) validating the Impressionists' firmly held belief in painting en plein air (outdoors).", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mr. and Mrs. Isidore Simkowitz in memory of Amy Cecelia Simkowitz-Rogers, 1998", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "French", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.156.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.156.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.156.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.156.tif", "IsPrimary" : "1", "_SurrogateID" : "4030", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4042, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4042", "Disp_Access_No" : "P1961.66", "_AccNumSort1" : "", "Disp_Create_DT" : "1866", "_Disp_Start_Dat" : "1866", "_Disp_End_Date" : "1866", "Disp_Title" : "Le Botin à Conflans (Le paysagiste en bateau)", "Alt_Title" : "", "Obj_Title" : "Le Botin à Conflans (Le paysagiste en bateau)", "Series_Title" : "", "Disp_Maker_1" : "Charles-François Daubigny", "Sort_Artist" : "Daubigny, Charles-François", "Disp_Dimen" : "26.7 cm x 35.2 cm (10 1/2 in. x 13 7/8 in.)", "Disp_Height" : "26.7 cm", "Disp_Width" : "35.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Chine collé etching", "Support" : "", "Disp_Medium" : "Chine collé etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, University Purchase, 1961", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "French", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1961.66.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1961.66.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1961.66.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1961.66.tif", "IsPrimary" : "1", "_SurrogateID" : "2497", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4375, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4375", "Disp_Access_No" : "G1966.2.77", "_AccNumSort1" : "", "Disp_Create_DT" : "1908", "_Disp_Start_Dat" : "1908", "_Disp_End_Date" : "1908", "Disp_Title" : "Copyist at the Metropolitan Museum", "Alt_Title" : "", "Obj_Title" : "Copyist at the Metropolitan Museum", "Series_Title" : "", "Disp_Maker_1" : "John Sloan", "Sort_Artist" : "Sloan, John", "Disp_Dimen" : "33.05 cm x 42.05 cm (13 in. x 16 9/16 in.)", "Disp_Height" : "33.05 cm", "Disp_Width" : "42.05 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the children of L.M. Tonkin, 1966", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "American", "Department" : "Prints and Drawings; American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1966.2.77.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1966.2.77.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1966.2.77.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1966.2.77.tif", "IsPrimary" : "1", "_SurrogateID" : "8961", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4438, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4438", "Disp_Access_No" : "1992.23", "_AccNumSort1" : "", "Disp_Create_DT" : "1917", "_Disp_Start_Dat" : "1917", "_Disp_End_Date" : "1917", "Disp_Title" : "The Life Class, First Stone", "Alt_Title" : "", "Obj_Title" : "The Life Class, First Stone", "Series_Title" : "", "Disp_Maker_1" : "George Wesley Bellows", "Sort_Artist" : "Bellows, George Wesley", "Disp_Dimen" : "48 cm x 65.5 cm (18 7/8 in. x 25 13/16 in.)", "Disp_Height" : "48 cm", "Disp_Width" : "65.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the Still Water Foundation, 1992", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "American", "Department" : "Prints and Drawings; American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1992.23.TIF", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1992.23.TIF", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1992.23.TIF", "IIIF_URL": "http://iiif.gallerysystems.com/1992.23.TIF", "IsPrimary" : "1", "_SurrogateID" : "9882", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4835, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4835", "Disp_Access_No" : "1985.175", "_AccNumSort1" : "", "Disp_Create_DT" : "1928", "_Disp_Start_Dat" : "1928", "_Disp_End_Date" : "1928", "Disp_Title" : "Weyhe Christmas Card: Interior of the Weyhe Gallery with Erhard Weyhe and Carl Zigrosser", "Alt_Title" : "", "Obj_Title" : "Weyhe Christmas Card: Interior of the Weyhe Gallery with Erhard Weyhe and Carl Zigrosser", "Series_Title" : "", "Disp_Maker_1" : "Mabel Dwight", "Sort_Artist" : "Dwight, Mabel", "Disp_Dimen" : "20.6 cm x 22.8 cm (8 1/8 in. x 9 in.)", "Disp_Height" : "20.6 cm", "Disp_Width" : "22.8 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1985", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "American", "Department" : "Prints and Drawings; American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1985.175_Crop.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1985.175_Crop.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1985.175_Crop.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1985.175_Crop.tif", "IsPrimary" : "1", "_SurrogateID" : "18000", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6423, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6423", "Disp_Access_No" : "1982.1264", "_AccNumSort1" : "", "Disp_Create_DT" : "1965", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1965", "Disp_Title" : "Untitled [Manuscript letter of June 5 to Dr. Donald Goodall]", "Alt_Title" : "", "Obj_Title" : "Untitled [Manuscript letter of June 5 to Dr. Donald Goodall]", "Series_Title" : "", "Disp_Maker_1" : "Guillermo Núñez", "Sort_Artist" : "Núñez, Guillermo", "Disp_Dimen" : "28 cm x 21.7 cm (11 in. x 8 9/16 in.)", "Disp_Height" : "28 cm", "Disp_Width" : "21.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Crayon and chalk on paper", "Support" : "", "Disp_Medium" : "Crayon and chalk on paper", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the artist, 1965", "Copyright_Type" : "", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "Chilean", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.1264.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.1264.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.1264.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.1264.tif", "IsPrimary" : "0", "_SurrogateID" : "1225", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.1264_Crop.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.1264_Crop.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.1264_Crop.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.1264_Crop.tif", "IsPrimary" : "1", "_SurrogateID" : "17997", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6605, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6605", "Disp_Access_No" : "1983.147", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Exhibition and Sale, Skowhegan School of Painting and Sculpture, October 4th Through October 13th, 1968", "Alt_Title" : "", "Obj_Title" : "Exhibition and Sale, Skowhegan School of Painting and Sculpture, October 4th Through October 13th, 1968", "Series_Title" : "", "Disp_Maker_1" : "Jacob Lawrence", "Sort_Artist" : "Lawrence, Jacob", "Disp_Dimen" : "74.85 cm x 51.7 cm (29 7/16 in. x 20 3/8 in.)", "Disp_Height" : "74.85 cm", "Disp_Width" : "51.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Four-color lithograph", "Support" : "", "Disp_Medium" : "Four-color lithograph", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Kenneth and Emma-Stina Prescott, 1983", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "American", "Department" : "Prints and Drawings; American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1983.147.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1983.147.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1983.147.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1983.147.tif", "IsPrimary" : "1", "_SurrogateID" : "6257", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6893, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6893", "Disp_Access_No" : "2001.48", "_AccNumSort1" : "", "Disp_Create_DT" : "1969", "_Disp_Start_Dat" : "1969", "_Disp_End_Date" : "1969", "Disp_Title" : "General Strike Piece", "Alt_Title" : "", "Obj_Title" : "General Strike Piece", "Series_Title" : "", "Disp_Maker_1" : "Lee Lozano", "Sort_Artist" : "Lozano, Lee", "Disp_Dimen" : "28 cm x 21.5 cm (11 in. x 8 7/16 in.)", "Disp_Height" : "28 cm", "Disp_Width" : "21.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Offset print", "Support" : "", "Disp_Medium" : "Offset print", "Info_Page_Comm" : "Lozano was one of the first women to practice Conceptual art in New York. Over a ten-year period, she moved from image-based abstract paintings such as Stroke in last gallery to text-based works and performance-based actions, testing the formal limits of what a work of art can be. In General Strike, she described her intention to stop participating in art world events. This resolution evolved into a manifesto-like text—published in artist Vito Acconci’s magazine, 0–9—as well as an ongoing, if partially private, performance. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Jaap van Liere, 2001", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "American", "Department" : "Prints and Drawings; American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2001.48_print.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2001.48_print.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2001.48_print.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2001.48_print.tif", "IsPrimary" : "1", "_SurrogateID" : "1121", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2001.48_graph.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2001.48_graph.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2001.48_graph.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2001.48_graph.tif", "IsPrimary" : "0", "_SurrogateID" : "1737", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8829, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8829", "Disp_Access_No" : "G1964.1.67", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1856", "_Disp_Start_Dat" : "1851", "_Disp_End_Date" : "1861", "Disp_Title" : "Rosa Bonheur", "Alt_Title" : "", "Obj_Title" : "Mlle. Rosa Bonheur", "Series_Title" : "", "Disp_Maker_1" : "William Henry Mote", "Sort_Artist" : "Mote, William Henry", "Disp_Dimen" : "28.1 cm x 22.55 cm (11 1/16 in. x 8 7/8 in.)", "Disp_Height" : "28.1 cm", "Disp_Width" : "22.55 cm", "Dimen_Extent" : "Sheet", "Medium" : "Stipple engraving", "Support" : "", "Disp_Medium" : "Stipple engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of E. Wyllys Andrews IV, 1964", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "English", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1964.1.67_Crop.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1964.1.67_Crop.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1964.1.67_Crop.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1964.1.67_Crop.tif", "IsPrimary" : "1", "_SurrogateID" : "18694", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8917, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8917", "Disp_Access_No" : "P1961.59", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1879", "_Disp_Start_Dat" : "1874", "_Disp_End_Date" : "1884", "Disp_Title" : "Le Peintre de marine [The Marine Painter]", "Alt_Title" : "", "Obj_Title" : "Le Peintre de marine [The Marine Painter]", "Series_Title" : "", "Disp_Maker_1" : "Félix Buhot", "Sort_Artist" : "Buhot, Félix", "Disp_Dimen" : "21.85 cm x 34.9 cm (8 5/8 in. x 13 3/4 in.)", "Disp_Height" : "21.85 cm", "Disp_Width" : "34.9 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching, drypoint, aquatint, stop out, sandpaper ground, and spit bite", "Support" : "", "Disp_Medium" : "Etching, drypoint, aquatint, stop out, sandpaper ground, and spit bite", "Info_Page_Comm" : "By employing different methods to ink a plate (sometimes with rollers, sometimes with rags), by adding pastel or turpentine to his inks, manipulating the grounds (sandpaper and salt lift), choosing different kinds of paper and sometimes soaking the sheets in tea before printing on them, Buhot took the idea of original multiples to the extreme. Although using the same plate, he achieved such a wide variety of effects that each impression could be called unique. For this reason, artists began numbering and signing each sheet individually, usually in pencil, rather than signing their work in the plate, which signaled uniformity.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, University Purchase, 1961", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "French", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1961.59.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1961.59.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1961.59.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1961.59.tif", "IsPrimary" : "1", "_SurrogateID" : "4460", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 9601, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/9601", "Disp_Access_No" : "G1969.6.324", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1925", "_Disp_Start_Dat" : "1920", "_Disp_End_Date" : "1930", "Disp_Title" : "The Studio Mirror", "Alt_Title" : "", "Obj_Title" : "The Studio Mirror", "Series_Title" : "", "Disp_Maker_1" : "Edward Hill Lacey", "Sort_Artist" : "Lacey, Edward Hill", "Disp_Dimen" : "39.35 cm x 25 cm (15 1/2 in. x 9 13/16 in.)", "Disp_Height" : "39.35 cm", "Disp_Width" : "25 cm", "Dimen_Extent" : "Sheet", "Medium" : "Drypoint", "Support" : "", "Disp_Medium" : "Drypoint", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Transfer from the Humanities Research Center, The University of Texas at Austin, 1969", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "English", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1969.6.324-Crop.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1969.6.324-Crop.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1969.6.324-Crop.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1969.6.324-Crop.tif", "IsPrimary" : "1", "_SurrogateID" : "19338", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1969.6.324-Sheet.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1969.6.324-Sheet.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1969.6.324-Sheet.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1969.6.324-Sheet.tif", "IsPrimary" : "0", "_SurrogateID" : "19339", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11087, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11087", "Disp_Access_No" : "1999.75", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1543-1548", "_Disp_Start_Dat" : "1543", "_Disp_End_Date" : "1548", "Disp_Title" : "Baccio Bandinelli", "Alt_Title" : "", "Obj_Title" : "Baccio Bandinelli", "Series_Title" : "", "Disp_Maker_1" : "Nicolo della Casa", "Sort_Artist" : "della Casa, Nicolo", "Disp_Dimen" : "29 cm x 21 cm (11 7/16 in. x 8 1/4 in.)", "Disp_Height" : "29 cm", "Disp_Width" : "21 cm", "Dimen_Extent" : "Sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "Since at least the mid 15th century, the leading artists in Italy had been concerned with the intellectual status of their profession and their own social standing. By the mid 16th century, these concerns were also manifest in the frequency of engraved portraits of artists, parallel to those of the religious reformers in the North. The subject of this portrait, Bandinelli was the most famous Florentine sculptor of the period after Michelangelo. Terribly ambitious, and intensely jealous of his compatriot, Bandinelli represents an extreme case of explicit self-promotion through prints: there are at least five engraved portraits of him, all dating from the 1540s. This is one of two by della Casa, presenting the sculptor in noble costume in his studio, surrounded by his own statuettes. In this very fine impression, the plastic description of surface and resulting weight reinforce the characterization of Bandinelli’s art and persona. The impression is further distinguished by an offset, an accidental transfer of damp ink from another print, on the verso. In a marvelous twist of fate, this offset comes from an impression of Giulio Bonasone’s portrait of Bandinelli’s arch-rival, Michelengelo. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Teaching Collection of Marvin Vexler, '48, 1999", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1999.75_Crop.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1999.75_Crop.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1999.75_Crop.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1999.75_Crop.tif", "IsPrimary" : "1", "_SurrogateID" : "18668", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11212, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11212", "Disp_Access_No" : "2002.2349", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1641", "_Disp_Start_Dat" : "1636", "_Disp_End_Date" : "1646", "Disp_Title" : "Man Drawing from a Cast", "Alt_Title" : "", "Obj_Title" : "Man Drawing from a Cast", "Series_Title" : "", "Disp_Maker_1" : "Rembrandt Harmensz. van Rijn", "Sort_Artist" : "Rembrandt Harmensz. van Rijn", "Disp_Dimen" : "9.1 cm x 6.4 cm (3 9/16 in. x 2 1/2 in.)", "Disp_Height" : "9.1 cm", "Disp_Width" : "6.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "The Man Drawing from a Cast is one of a number of etchings in which Rembrandt mused about the nature and activity of artistic representation. So modest in scale, so intimate in tenor, it is probably the most earnest and absorbing. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2349.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2349.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2349.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2349.tif", "IsPrimary" : "1", "_SurrogateID" : "6313", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11216, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11216", "Disp_Access_No" : "2002.1777", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1645", "_Disp_Start_Dat" : "1640", "_Disp_End_Date" : "1650", "Disp_Title" : "The Triumph of the Virtuous Artist on Parnassus", "Alt_Title" : "", "Obj_Title" : "The Triumph of the Virtuous Artist on Parnassus", "Series_Title" : "", "Disp_Maker_1" : "Pietro Testa", "Sort_Artist" : "Testa, Pietro", "Disp_Dimen" : "41.4 cm x 57.6 cm (16 5/16 in. x 22 11/16 in.)", "Disp_Height" : "41.4 cm", "Disp_Width" : "57.6 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching with drypoint", "Support" : "", "Disp_Medium" : "Etching with drypoint", "Info_Page_Comm" : "This is the last and most grandiose of a series of allegorical self-portraits. At the center of the composition, the Artist, escorted by Divine Love and crowned by Fame, avoids the Vices, at the lower right, and approaches the Muses and Venus, on the left. Testa was a painter of intellectual inclination and close association with a prestigious circle of humanists in Baroque Rome. He was also a prolific inventor and etcher of erudite subjects in a very controlled, purely linear, and rather archaeological style.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.1777.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1777.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1777.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1777.tif", "IsPrimary" : "1", "_SurrogateID" : "1850", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11263, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11263", "Disp_Access_No" : "1992.289", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1662", "_Disp_Start_Dat" : "1657", "_Disp_End_Date" : "1667", "Disp_Title" : "The Genius of Rosa", "Alt_Title" : "", "Obj_Title" : "The Genius of Rosa", "Series_Title" : "", "Disp_Maker_1" : "Salvator Rosa", "Sort_Artist" : "Rosa, Salvator", "Disp_Dimen" : "46.7 cm x 28.2 cm (18 3/8 in. x 11 1/8 in.)", "Disp_Height" : "46.7 cm", "Disp_Width" : "28.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching and drypoint", "Support" : "", "Disp_Medium" : "Etching and drypoint", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1992", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1992.289.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1992.289.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1992.289.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1992.289.tif", "IsPrimary" : "0", "_SurrogateID" : "5311", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1992.289-Crop.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1992.289-Crop.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1992.289-Crop.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1992.289-Crop.tif", "IsPrimary" : "1", "_SurrogateID" : "18696", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11287, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11287", "Disp_Access_No" : "1997.133", "_AccNumSort1" : "", "Disp_Create_DT" : "1732", "_Disp_Start_Dat" : "1732", "_Disp_End_Date" : "1732", "Disp_Title" : "L'Enseigne de Gersaint [Gersaint's Shopsign], after Jean-Antoine Watteau", "Alt_Title" : "", "Obj_Title" : "L'Enseigne de Gersaint [Gersaint's Shopsign], after Jean-Antoine Watteau", "Series_Title" : "", "Disp_Maker_1" : "Pierre-Alexandre Aveline", "Sort_Artist" : "Aveline, Pierre-Alexandre", "Disp_Dimen" : "59.4 cm x 86.3 cm (23 3/8 in. x 34 in.)", "Disp_Height" : "59.4 cm", "Disp_Width" : "86.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching and engraving", "Support" : "", "Disp_Medium" : "Etching and engraving", "Info_Page_Comm" : "Fine and sparkling, this impression of Pierre-Alexandre Aveline’s reproduction of Jean-Antoine Watteau’s L’enseigne de Gersaint of 1721 (Palais Charlottenburg, Berlin) is the centerpiece of the museum’s early eighteenth-century French prints. In 1721 the art dealer Gersaint commissioned Watteau to make a shop sign for his gallery. Casually arranged in the artist’s trademark lyrical style, the wealthy clientele visiting the shop are as much on display as are the paintings that they study. Cleverly marking the new political era, Watteau included a vignette of handlers packing away a portrait of Louis XIV, who had died seven years earlier. By combining the techniques of engraving and etching in this reproduction, Aveline achieved an impressive range of tones and details—for example, in the reflections in the mirror and in the windowpanes of the door that leads into an interior room at the center. What Watteau was able to do in paint with the shimmering fabric of the costumes, Aveline successfully translated into black and white using the burin and etching needle. Although Watteau died at thirty-seven, his art continued to have an impact until the end of the century, in part through reproductions such as this. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1997", "Copyright_Type" : " public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "French", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1997.133.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1997.133.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1997.133.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1997.133.tif", "IsPrimary" : "1", "_SurrogateID" : "1678", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 12700, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/12700", "Disp_Access_No" : "2002.1145", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Jacques Callot, after Anthony van Dyck, from the Iconography", "Alt_Title" : "", "Obj_Title" : "Jacques Callot, after Anthony van Dyck, from the Iconography", "Series_Title" : "", "Disp_Maker_1" : "Lucas Vorsterman, the elder", "Sort_Artist" : "Vorsterman, the elder, Lucas", "Disp_Dimen" : "23.7 cm x 17.4 cm (9 5/16 in. x 6 7/8 in.)", "Disp_Height" : "23.7 cm", "Disp_Width" : "17.4 cm", "Dimen_Extent" : "sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "Called the father of French etching, the technical advances Callot made in the art form expanded the medium’s aesthetic potential. Along with his invention of the échoppe, a tool that formed etched lines similar to those in engravings, Callot developed a varnish that dried hard and allowed for a deeper bite. Having met Callot during his trip to the Netherlands in 1626, Van Dyck most likely used this varnish for his etchings. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Flemish", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.1145-Sheet.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1145-Sheet.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1145-Sheet.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1145-Sheet.tif", "IsPrimary" : "1", "_SurrogateID" : "19346", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 12764, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/12764", "Disp_Access_No" : "2002.1226", "_AccNumSort1" : "", "Disp_Create_DT" : "1780", "_Disp_Start_Dat" : "1780", "_Disp_End_Date" : "1780", "Disp_Title" : "Angelica Kauffmann, after Sir Joshua Reynolds", "Alt_Title" : "", "Obj_Title" : "Angelica Kauffmann, after Sir Joshua Reynolds", "Series_Title" : "", "Disp_Maker_1" : "Francesco Bartolozzi", "Sort_Artist" : "Bartolozzi, Francesco", "Disp_Dimen" : "29.1 cm x 22.3 cm (11 7/16 in. x 8 3/4 in.)", "Disp_Height" : "29.1 cm", "Disp_Width" : "22.3 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching and stipple engraving", "Support" : "", "Disp_Medium" : "Etching and stipple engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.1226_Crop.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1226_Crop.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1226_Crop.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1226_Crop.tif", "IsPrimary" : "1", "_SurrogateID" : "18682", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13239, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13239", "Disp_Access_No" : "2002.1988", "_AccNumSort1" : "", "Disp_Create_DT" : "1933", "_Disp_Start_Dat" : "1933", "_Disp_End_Date" : "1933", "Disp_Title" : "Sculptor and Model, plate 39 from Suite Vollard", "Alt_Title" : "", "Obj_Title" : "Sculptor and Model, plate 39 from Suite Vollard", "Series_Title" : "", "Disp_Maker_1" : "Pablo Picasso", "Sort_Artist" : "Picasso, Pablo", "Disp_Dimen" : "44.6 cm x 33.6 cm (17 9/16 in. x 13 1/4 in.)", "Disp_Height" : "44.6 cm", "Disp_Width" : "33.6 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Spanish", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.1988.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1988.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1988.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1988.tif", "IsPrimary" : "1", "_SurrogateID" : "5374", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13278, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13278", "Disp_Access_No" : "2002.2043", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1614", "_Disp_Start_Dat" : "1609", "_Disp_End_Date" : "1619", "Disp_Title" : "Saint Luke Painting the Virgin, after Hendrick Goltzius", "Alt_Title" : "", "Obj_Title" : "Saint Luke Painting the Virgin, after Hendrick Goltzius", "Series_Title" : "", "Disp_Maker_1" : "Jacob Matham", "Sort_Artist" : "Matham, Jacob", "Disp_Dimen" : "50.4 cm x 37.4 cm (19 13/16 in. x 14 3/4 in.)", "Disp_Height" : "50.4 cm", "Disp_Width" : "37.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2043.tif", "ThumbnailPath" : 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"Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "English", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2755.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2755.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2755.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2755.tif", "IsPrimary" : "1", "_SurrogateID" : "8240", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13878, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13878", "Disp_Access_No" : "P1976.10.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1976", "_Disp_Start_Dat" : "1976", "_Disp_End_Date" : "1976", "Disp_Title" : "Large Decoy [Reclama grande]", "Alt_Title" : "Señuelo grande", "Obj_Title" : "Large Decoy [Reclama grande]", "Series_Title" : "", "Disp_Maker_1" : "Marcelo Bonevardi", "Sort_Artist" : "Bonevardi, Marcelo", "Disp_Dimen" : "228.6 cm x 193 cm x 10.2 cm (90 in. x 76 in. x 4 in.)", "Disp_Height" : "228.6 cm", "Disp_Width" : "193 cm", "Dimen_Extent" : "Canvas", "Medium" : "Rhoplex acrylic medium, dry pigments, and Dex-o-Tex cement on burlap and wood with wood objects", "Support" : "", "Disp_Medium" : "Rhoplex acrylic medium, dry pigments, and Dex-o-Tex cement on burlap and wood with wood objects", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Barbara Duncan Fund, 1976", "Copyright_Type" : "", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1976.10.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1976.10.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1976.10.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1976.10.1.tif", "IsPrimary" : "1", "_SurrogateID" : "4217", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13887, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13887", "Disp_Access_No" : "P1975.25.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "No. 415 [Núm. 415]", "Alt_Title" : "", "Obj_Title" : "No. 415 [Núm. 415]", "Series_Title" : "", "Disp_Maker_1" : "Sérgio de Camargo", "Sort_Artist" : "Camargo, Sérgio de", "Disp_Dimen" : "19.6 cm x 18.1 cm x 10.5 cm (7 11/16 in. x 7 1/8 in. x 4 1/8 in.)", "Disp_Height" : "19.6 cm", "Disp_Width" : "18.1 cm", "Dimen_Extent" : "HLW", "Medium" : "White Carrara marble", "Support" : "", "Disp_Medium" : "White Carrara marble", "Info_Page_Comm" : "Sérgio de Camargo explored the rhythmic abstract geometry favored by the proponents of Kinetic and Op art that he met while living in Paris during the 1960s and 1970s. "No. 415" is an assemblage of marble blocks of various sizes cut at different angles. By playfully alternating flat areas with triangular wedges, Camargo produced changing patterns of light and shadows. The cohesive organic quality and dynamic geometry of this sculpture lend it a monumental presence.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1975", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Brazilian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1975.25.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1975.25.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1975.25.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1975.25.1.tif", "IsPrimary" : "1", "_SurrogateID" : "5187", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13893, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13893", "Disp_Access_No" : "P1975.23.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1975", "_Disp_Start_Dat" : "1975", "_Disp_End_Date" : "1975", "Disp_Title" : "Elemento B [Element B]", "Alt_Title" : "[B Element]", "Obj_Title" : "Elemento B [Element B]", "Series_Title" : "", "Disp_Maker_1" : "Manuel Felguérez", "Sort_Artist" : "Felguérez, Manuel", "Disp_Dimen" : "124.3 cm x 149.3 cm (48 15/16 in. x 58 3/4 in.)", "Disp_Height" : "124.3 cm", "Disp_Width" : "149.3 cm", "Dimen_Extent" : "Canvas", "Medium" : "Lacquer", "Support" : "canvas", "Disp_Medium" : "Lacquer on canvas", "Info_Page_Comm" : "Manuel Felguérez was a pioneer in the development of geometric abstraction in Mexico during the 1960s and 1970s, participating in the international art scene during the post-war period. Interested in science and computers, he sought to create artworks that functioned as aesthetic machines, often using mathematics to determine variations in shape and color. The results test our visual perception and suggest the existence of multiple spaces. For instance, here the black shape on the left implies three-dimensional spaces located, at the same time, before and behind the gray and red plane.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1975", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1975.23.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1975.23.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1975.23.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1975.23.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2553", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13906, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13906", "Disp_Access_No" : "P1973.4", "_AccNumSort1" : "", "Disp_Create_DT" : "1970", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "1970", "Disp_Title" : "Progresión 36 [Progression 36]", "Alt_Title" : "", "Obj_Title" : "Progresión 36 [Progression 36]", "Series_Title" : "", "Disp_Maker_1" : "Nedo M.F.", "Sort_Artist" : "Nedo M.F.", "Disp_Dimen" : "98 cm x 66.5 cm (38 9/16 in. x 26 3/16 in.)", "Disp_Height" : "98 cm", "Disp_Width" : "66.5 cm", "Dimen_Extent" : "HLW", "Medium" : "Painted wood and compressed cardboard assembly", "Support" : "", "Disp_Medium" : "Painted wood and compressed cardboard assembly", "Info_Page_Comm" : "Considered one of the pioneers of contemporary graphic design in Venezuela, Nedo M.F.’s visual art exhibits his deep consideration of line, form, and color. He created “Progresión 36” as part of his larger “Progresión” series, abstract works made from wood and cardboard in a white on white monochromatic color scheme that he first exhibited in Caracas in 1968. Here, Nedo creates a visual tension through the verticality of the raised rectangles and their intersection with a horizontal area of concave space. With no clear focal point, the viewer is left to contemplate the spatial interaction of the forms and light. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1973", "Copyright_Type" : "", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Venezuelan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1973.4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1973.4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1973.4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1973.4.tif", "IsPrimary" : "1", "_SurrogateID" : "2996", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13908, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13908", "Disp_Access_No" : "P1973.11.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "Cerrado por brujería [Closed for Witchcraft]", "Alt_Title" : "[Closed for Sorcery]", "Obj_Title" : "Cerrado por brujería [Closed for Witchcraft]", "Series_Title" : "", "Disp_Maker_1" : "Luis Felipe Noé", "Sort_Artist" : "Noé, Luis Felipe", "Disp_Dimen" : "199.6 cm x 249.7 cm (78 9/16 in. x 98 5/16 in.)", "Disp_Height" : "199.6 cm", "Disp_Width" : "249.7 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil and collage", "Support" : "canvas", "Disp_Medium" : "Oil and collage on canvas", "Info_Page_Comm" : "The notion of chaos as the primary state of the universe has been an ongoing concern in Luis Felipe Noé’s art. In 1962, Noé understood chaos as a tension between opposite forces. In a bold, expressionistic style he presents a Catholic prelate in a dominant position above talking heads trapped in a black grid. As the nation’s official religion, Catholicism played a complex role in shaping Argentine society. A controversial 1963 law assigned the Church the function of rating plays and films for the Argentine public. The red cross here is an ambiguous symbol, offering comfort to the alienated while enforcing through censorship officially sanctioned Western and Christian values.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1973", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1973.11.3_2017.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1973.11.3_2017.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1973.11.3_2017.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1973.11.3_2017.tif", "IsPrimary" : "1", "_SurrogateID" : "15810", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13909, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13909", "Disp_Access_No" : "P1973.11.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Vivir: a los saltos [To Live: By Leaps and Bounds]", "Alt_Title" : "[To Live: By Leaps and Bounds]", "Obj_Title" : "Vivir: a los saltos [To Live: By Leaps and Bounds]", "Series_Title" : "", "Disp_Maker_1" : "Rómulo Macció", "Sort_Artist" : "Macció, Rómulo", "Disp_Dimen" : "183.2 cm x 183 cm (72 1/8 in. x 72 1/16 in.)", "Disp_Height" : "183.2 cm", "Disp_Width" : "183 cm", "Dimen_Extent" : "Frame", "Medium" : "Acrylic, tempera and/or poster paint, and pencil", "Support" : "particle board", "Disp_Medium" : "Acrylic, tempera and/or poster paint, and pencil on particle board", "Info_Page_Comm" : "Rómulo Macció’s title for this painting implies both a positive call to action and an ironic critique of mass media and consumer society. The central rectangle recalls a television screen, and the influence of popular media was indeed one of the hotly debated political issues of the 1960s. He interrupts the composition—as commercials interrupt a seamless television show—to suggest a sinister presence lurking behind our everyday lives. Macció’s incorporation of masks and deformed faces adds to the painting’s sense of horror and may reflect the currency of Jean-Paul Sartre’s philosophical ideas of existentialism in Buenos Aires.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1973", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1973.11.2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1973.11.2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1973.11.2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1973.11.2.tif", "IsPrimary" : "1", "_SurrogateID" : "2545", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1973.11.2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1973.11.2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1973.11.2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1973.11.2.tif", "IsPrimary" : "0", "_SurrogateID" : "2725", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13910, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13910", "Disp_Access_No" : "P1973.11.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "Armadura, serie no. 18 [Armor, series no. 18]", "Alt_Title" : "[Armadura serie no. 18]", "Obj_Title" : "Armadura, serie no. 18 [Armor, series no. 18]", "Series_Title" : "", "Disp_Maker_1" : "Agustín Fernández", "Sort_Artist" : "Fernández, Agustín", "Disp_Dimen" : "169.2 cm x 140.3 cm (66 5/8 in. x 55 1/4 in.)", "Disp_Height" : "169.2 cm", "Disp_Width" : "140.3 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1973", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Cuban", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1973.11.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1973.11.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1973.11.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1973.11.1.tif", "IsPrimary" : "1", "_SurrogateID" : "4695", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13918, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13918", "Disp_Access_No" : "P1970.9.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1969", "_Disp_Start_Dat" : "1969", "_Disp_End_Date" : "1969", "Disp_Title" : "Formas [Forms]", "Alt_Title" : "", "Obj_Title" : "Formas [Forms]", "Series_Title" : "", "Disp_Maker_1" : "Manuel Hernández Gómez", "Sort_Artist" : "Hernández Gómez, Manuel", "Disp_Dimen" : "139 cm x 139 cm (54 3/4 in. x 54 3/4 in.)", "Disp_Height" : "139 cm", "Disp_Width" : "139 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, Archer M. Huntington Museum Fund, 1970", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Colombian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1970.9.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1970.9.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1970.9.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1970.9.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2543", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13923, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13923", "Disp_Access_No" : "P1970.6.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1970", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "1970", "Disp_Title" : "Gran tensión no. 2 [Great Tension no. 2]", "Alt_Title" : "Great Tension No. 2", "Obj_Title" : "Gran tensión no. 2 [Great Tension no. 2]", "Series_Title" : "", "Disp_Maker_1" : "Ary Brizzi", "Sort_Artist" : "Brizzi, Ary", "Disp_Dimen" : "150 cm x 150 cm (59 1/16 in. x 59 1/16 in.)", "Disp_Height" : "150 cm", "Disp_Width" : "150 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1970", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1970.6.2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1970.6.2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1970.6.2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1970.6.2.tif", "IsPrimary" : "1", "_SurrogateID" : "9094", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13929, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13929", "Disp_Access_No" : "P1970.16.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1918", "_Disp_Start_Dat" : "1918", "_Disp_End_Date" : "1918", "Disp_Title" : "Synchromy in Purple Minor", "Alt_Title" : "", "Obj_Title" : "Synchromy in Purple Minor", "Series_Title" : "", "Disp_Maker_1" : "Stanton Macdonald-Wright", "Sort_Artist" : "Macdonald-Wright, Stanton", "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 the first decades of the twentieth century, many American painters struggled to understand the visual properties of light, color, form, and space. A new analytical approach to art flourished, rooted in the painterly investigations of the French Impressionists and in a burgeoning public understanding of recent scientific advances. Working in Paris among an international community of painters who were all pushing the boundaries of established ideas, American artists Stanton Macdonald-Wright and Morgan Russell developed a system of abstract painting based on color harmonies and their alignment with Western musical structures. Synchromy in Purple Minor, painted by Macdonald-Wright after his return to New York, is considered one of the masterworks of this system, called Synchromism. Using his studies of Michelangelo’s sculpture, the Pieta, he described the abstracted female figure’s sculptural dimension primarily through color, rather than line or form. Using color’s capacity to suggest depth through juxtapositions that imply receding or advancing space, the artist generated illusionistic form without using traditional techniques. Synchromy in Purple Minor charts an essential step in the evolution of this new abstract language, whose roots stem from the artistic and scientific discoveries of the day. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1970", "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/P1970.16.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1970.16.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1970.16.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1970.16.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2535", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13937, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13937", "Disp_Access_No" : "P1970.10.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1970", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "1970", "Disp_Title" : "Runa Macii [My Fellow Man]", "Alt_Title" : "Quechua for Fellow Man", "Obj_Title" : "Runa Macii [My Fellow Man]", "Series_Title" : "", "Disp_Maker_1" : "Fernando de Szyszlo", "Sort_Artist" : "Szyszlo, Fernando de", "Disp_Dimen" : "151.15 cm x 123.2 cm (59 1/2 in. x 48 1/2 in.)", "Disp_Height" : "151.15 cm", "Disp_Width" : "123.2 cm", "Dimen_Extent" : "Frame", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1970", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Peruvian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1970.10.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1970.10.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1970.10.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1970.10.1.tif", "IsPrimary" : "1", "_SurrogateID" : "9100", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13939, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13939", "Disp_Access_No" : "P1969.9.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1927", "_Disp_Start_Dat" : "1927", "_Disp_End_Date" : "1927", "Disp_Title" : "Gloucester: Landscape with Farm Buildings", "Alt_Title" : "", "Obj_Title" : "Gloucester: Landscape with Farm Buildings", "Series_Title" : "", "Disp_Maker_1" : "Peter Blume", "Sort_Artist" : "Blume, Peter", "Disp_Dimen" : "41 cm x 51 cm (16 1/8 in. x 20 1/16 in.)", "Disp_Height" : "41 cm", "Disp_Width" : "51 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Erect, truncated ship riggings against a foreboding sky; severe lines of architectonic forms; a contrast of caged and free chickens near a thorn bush in the center foreground: these introduce slight unrest into an otherwise traditional bucolic New England scene. In just a few colors—black, red, grey, green, and yellow—Blume creates dramatic contrasts, yet his agile composition keeps the eye moving from one strong form to the next, ultimately allowing a sense of resolution and balance. Ten years after he completed this painting, Blume’s interest in balance and contrast came to fruition when he spent two years in Italy. His subsequent works of social surrealism sounded political outcry against oppression in Fascist Europe. As Picasso’s Guernica of 1937 raged against Franco of Spain, Blume’s The Eternal City in the same year raised a shrill cry against Mussolini, and simultaneously issued a warning sign to a detached America. 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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" : 13944, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13944", "Disp_Access_No" : "P1969.7.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1945", "_Disp_Start_Dat" : "1945", "_Disp_End_Date" : "1945", "Disp_Title" : "Galera Romana", "Alt_Title" : "", "Obj_Title" : "Galera Romana", "Series_Title" : "", "Disp_Maker_1" : "Enrico Donati", "Sort_Artist" : "Donati, Enrico", "Disp_Dimen" : "75 cm x 101 cm (29 1/2 in. x 39 3/4 in.)", "Disp_Height" : "75 cm", "Disp_Width" : "101 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/P1969.7.3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1969.7.3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1969.7.3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1969.7.3.tif", "IsPrimary" : "1", "_SurrogateID" : "2523", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13946, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13946", "Disp_Access_No" : "P1969.7.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1946", "_Disp_Start_Dat" : "1946", "_Disp_End_Date" : "1946", "Disp_Title" : "Some Drink! Some Drink!", "Alt_Title" : "", "Obj_Title" : "Some Drink! Some Drink!", "Series_Title" : "", "Disp_Maker_1" : "Romare Bearden", "Sort_Artist" : "Bearden, Romare", "Disp_Dimen" : "63 cm x 81 cm (24 13/16 in. x 31 7/8 in.)", "Disp_Height" : "63 cm", "Disp_Width" : "81 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "masonite", "Disp_Medium" : "Oil on masonite", "Info_Page_Comm" : "Sharp, black outlines and geometric flashes of color punctuate a stark white background in Romare Bearden’s Some Drink! Some Drink!. One of his early ventures away from representational social realist painting to abstraction, Bearden uses ambiguous shapes, forming a whirl of color, line, and figures. The subject, one of a series of paintings by Bearden, comes from the stories of French writer François Rabelais. During this period of his career, Bearden frequently drew inspiration from such diverse sources as the Bible, literature, Old Master painting, and cubism. Bearden's early works were realistically painted urban scenes, but after World War II, he began experimenting with abstraction. The shift from realism to abstraction was natural for Bearden who emphasized the creative process and energy of art more than realism as a means to express his ideas ", "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/P1969.7.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1969.7.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1969.7.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1969.7.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2522", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13950, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13950", "Disp_Access_No" : "P1969.6.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Lavender High", "Alt_Title" : "", "Obj_Title" : "Lavender High", "Series_Title" : "", "Disp_Maker_1" : "Alice Baber", "Sort_Artist" : "Baber, Alice", "Disp_Dimen" : "191.8 cm x 191.8 cm (75 1/2 in. x 75 1/2 in.)", "Disp_Height" : "191.8 cm", "Disp_Width" : "191.8 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/P1969.6.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1969.6.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1969.6.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1969.6.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2520", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13953, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13953", "Disp_Access_No" : "P1969.19.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1966-1967", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1967", "Disp_Title" : "Offering to the Adi-Buddha, Amoghasiddha", "Alt_Title" : "", "Obj_Title" : "Offering to the Adi-Buddha, Amoghasiddha", "Series_Title" : "", "Disp_Maker_1" : "Charmion von Wiegand", "Sort_Artist" : "Wiegand, Charmion von", "Disp_Dimen" : "127 cm x 69 cm (50 in. x 27 3/16 in.)", "Disp_Height" : "127 cm", "Disp_Width" : "69 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/P1969.19.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1969.19.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1969.19.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1969.19.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2517", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13964, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13964", "Disp_Access_No" : "P1969.12.1", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1912", "_Disp_Start_Dat" : "1907", "_Disp_End_Date" : "1917", "Disp_Title" : "Woman in Brown", "Alt_Title" : "", "Obj_Title" : "Woman in Brown", "Series_Title" : "", "Disp_Maker_1" : "Manierre Dawson", "Sort_Artist" : "Dawson, Manierre", "Disp_Dimen" : "92 cm x 71.4 cm (36 1/4 in. x 28 1/8 in.)", "Disp_Height" : "92 cm", "Disp_Width" : "71.4 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In Woman In Brown, Manierre Dawson responds—and pays homage—to European modernism in his version of Picasso's legendary portrait, Gertrude Stein, of 1906. The monochromatic brown palette and fragmentation of the subject alludes to experiments of the Paris Cubists as much as it does Cézanne's late work. Yet, Dawson's painting exhibits an independent American approach to problems of subject, contour and volume in pictorial construction.", "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/P1969.12.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1969.12.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1969.12.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1969.12.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2509", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13990, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13990", "Disp_Access_No" : "G1976.21.3", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1886", "_Disp_Start_Dat" : "1881", "_Disp_End_Date" : "1891", "Disp_Title" : "Indian Canoe", "Alt_Title" : "", "Obj_Title" : "Indian Canoe", "Series_Title" : "", "Disp_Maker_1" : "Albert Bierstadt", "Sort_Artist" : "Bierstadt, Albert", "Disp_Dimen" : "69.2 cm x 90.8 cm (27 1/4 in. x 35 3/4 in.)", "Disp_Height" : "69.2 cm", "Disp_Width" : "90.8 cm", "Dimen_Extent" : "frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "During his training at the Arts Academy of Düsseldorf, Albert Bierstadt engaged deeply with the spiritual and sensory tenets of German Romanticism. The movement, both intellectual and aesthetic, emphasized sublime or transcendent experience—a concept that lent itself well to depicting the American West. In landscapes like "Indian Canoe," Bierstadt aimed to convey a sense of the divine through nature. The diminutive figure set amidst the vast sky and towering trees has no individual traits, and serves as a stand-in for the awing experience of the sublime. The sun setting behind a lone Indian may also be read as a signal of the looming decline of Native Americans’ traditional way of life.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of C.R. Smith, 1976", "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/G1976.21.3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1976.21.3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1976.21.3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1976.21.3.tif", "IsPrimary" : "1", "_SurrogateID" : "2480", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14019, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14019", "Disp_Access_No" : "G1976.11.48", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Incliné bleu et noir [Tilted Blue and Black]", "Alt_Title" : "Tilted Blue and Black", "Obj_Title" : "Incliné bleu et noir [Tilted Blue and Black]", "Series_Title" : "", "Disp_Maker_1" : "Jesús Rafael Soto", "Sort_Artist" : "Soto, Jesús Rafael", "Disp_Dimen" : "43 cm x 38 cm x 5.5 cm (16 15/16 in. x 14 15/16 in. x 2 3/16 in.)", "Disp_Height" : "43 cm", "Disp_Width" : "38 cm", "Dimen_Extent" : "HLW", "Medium" : "Wood and metal construction", "Support" : "Wood", "Disp_Medium" : "Wood and metal construction on Wood", "Info_Page_Comm" : "A leading figure in the Kinetic and Op art movements, Jesús Rafael Soto investigated ways to dynamically engage the viewer. In this piece, which Soto produced while living in Paris, he suspended a blue and black rod in front of a panel of thinly painted white lines. When the visitors move in front of the work, their changing view of the rod against the striped background generates optical effects along the rod’s tilted edges that ripple with vibrations.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Charles and Dorothy Clark, 1976", "Copyright_Type" : "", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Venezuelan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1976.11.48.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1976.11.48.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1976.11.48.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1976.11.48.tif", "IsPrimary" : "1", "_SurrogateID" : "2461", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14026, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14026", "Disp_Access_No" : "G1975.6.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1940", "_Disp_Start_Dat" : "1940", "_Disp_End_Date" : "1940", "Disp_Title" : "Desert Ranges", "Alt_Title" : "", "Obj_Title" : "Desert Ranges", "Series_Title" : "", "Disp_Maker_1" : "Lafayette Maynard Dixon", "Sort_Artist" : "Dixon, Lafayette Maynard", "Disp_Dimen" : "86.9 cm x 99.7 cm (34 3/16 in. x 39 1/4 in.)", "Disp_Height" : "86.9 cm", "Disp_Width" : "99.7 cm", "Dimen_Extent" : "Frame", "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 C.R. Smith, 1975", "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/G1975.6.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1975.6.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1975.6.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1975.6.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2456", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1975.6.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1975.6.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1975.6.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1975.6.1.tif", "IsPrimary" : "0", "_SurrogateID" : "4885", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14031, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14031", "Disp_Access_No" : "G1975.35.1", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1964", "_Disp_Start_Dat" : "1959", "_Disp_End_Date" : "1969", "Disp_Title" : "X en la calle 13 [X on 13th Street]", "Alt_Title" : "(X on 13th Street)", "Obj_Title" : "X en la calle 13 [X on 13th Street]", "Series_Title" : "", "Disp_Maker_1" : "Sarah Grilo", "Sort_Artist" : "Grilo, Sarah", "Disp_Dimen" : "101.8 cm x 102 cm (40 1/16 in. x 40 3/16 in.)", "Disp_Height" : "101.8 cm", "Disp_Width" : "102 cm", "Dimen_Extent" : "Canvas", "Medium" : "Mixed media", "Support" : "canvas", "Disp_Medium" : "Mixed media on canvas", "Info_Page_Comm" : ""X en la calle 13" reflects Sarah Grilo’s experiences of living in New York City during the 1960s. This period marks an important transition in her work as she moved away from her earlier geometric paintings focused on color harmonies. Here, she mixed the techniques of Informalism with the use of language to suggest the graffiti and splashes of color one finds on a gritty urban wall. Her operation is somewhat paradoxical since it is the walls themselves that acquire the look of abstract paintings over time.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Jordan Metzger, 1975", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1975.35.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1975.35.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1975.35.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1975.35.1.tif", "IsPrimary" : "1", "_SurrogateID" : "3024", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14037, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14037", "Disp_Access_No" : "G1975.22.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "Sozinho em verde [Alone in Green]", "Alt_Title" : "", "Obj_Title" : "Sozinho em verde [Alone in Green]", "Series_Title" : "", "Disp_Maker_1" : "Antonio Henrique Amaral", "Sort_Artist" : "Amaral, Antonio Henrique", "Disp_Dimen" : "151 cm x 150 cm (59 7/16 in. x 59 1/16 in.)", "Disp_Height" : "151 cm", "Disp_Width" : "150 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Following the 1968 military coup in Brazil, many artists left that country for New York. Antonio Henrique Amaral, who arrived in 1973, become one of the most successful of those artists, both critically and commercially, earning fame with his iconic images of bananas. Critics have read Alone in Green, with its overripe, tied, and bruised banana, as a metaphor for political violence and torture, pointing out that the vertical prongs of the fork in the upper half of the painting recall prison bars. But the predominant yellow and green colors of the painting are the same as those of the Brazilian flag, meaning the banana can also be interpreted as an ironic comment on the popular perception of Brazil as an idyllic tropical paradise. Like many Latin American artists of the 1970s, Amaral heavily coded his denunciation of a cruel political system by subverting the stereotypes that dominate international perceptions of Latin American culture. Amaral’s deadpan realistic style shows links to contemporary American Pop art, yet his political double-meanings and his emphasis on the banana’s vulnerability suggest a world far removed from a straightforward fascination with consumer society.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Barbara Duncan, 1975", "Copyright_Type" : "All", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Brazilian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1975.22.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1975.22.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1975.22.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1975.22.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2450", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14041, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14041", "Disp_Access_No" : "G1974.6", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1928", "_Disp_Start_Dat" : "1923", "_Disp_End_Date" : "1933", "Disp_Title" : "Composition with Vegetables", "Alt_Title" : "", "Obj_Title" : "Composition with Vegetables", "Series_Title" : "", "Disp_Maker_1" : "Arshile Gorky", "Sort_Artist" : "Gorky, Arshile", "Disp_Dimen" : "71.3 cm x 91.6 cm (28 1/16 in. x 36 1/16 in.)", "Disp_Height" : "71.3 cm", "Disp_Width" : "91.6 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 Albert Erskine to the Mari and James A. Michener Collection, 1974", "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/G1974.6.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1974.6.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1974.6.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1974.6.tif", "IsPrimary" : "0", "_SurrogateID" : "2448", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1974.6-2018-frame.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1974.6-2018-frame.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1974.6-2018-frame.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1974.6-2018-frame.tif", "IsPrimary" : "0", "_SurrogateID" : "19358", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1974.6-2018.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1974.6-2018.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1974.6-2018.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1974.6-2018.tif", "IsPrimary" : "1", "_SurrogateID" : "19359", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14043, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14043", "Disp_Access_No" : "G1974.20", "_AccNumSort1" : "", "Disp_Create_DT" : "1906", "_Disp_Start_Dat" : "1906", "_Disp_End_Date" : "1906", "Disp_Title" : "The Charge [A Cavalry Scrap]", "Alt_Title" : "", "Obj_Title" : "The Charge [A Cavalry Scrap]", "Series_Title" : "", "Disp_Maker_1" : "Frederic Sackrider Remington", "Sort_Artist" : "Remington, Frederic Sackrider", "Disp_Dimen" : "124.5 cm x 348 cm (49 in. x 137 in.)", "Disp_Height" : "124.5 cm", "Disp_Width" : "348 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In 1906, the Knickerbocker Hotel in New York City commissioned artist Frederic Remington to paint a largescale work for its inauguration. "The Charge" (Remington’s largest painting) served as a monument to the tenacity of the frontiersman, theatrically depicted mid-battle. But Remington took equal delight in the musculature of the galloping horses—evidence of the artist’s awareness of recent photographic studies of horses in motion. The artist periodically traveled westward from his Brooklyn home to satisfy East Coast curiosity for tales of the American West, returning with images that helped shape popular notions of the “Wild West.” As the backdrop to the hotel’s lively Grille Room, this teeming panorama provided an exotic parallel to the hubbub of the hotel’s moneyed crowd.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Miss Ima Hogg, 1943", "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/G1974.20.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1974.20.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1974.20.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1974.20.tif", "IsPrimary" : "0", "_SurrogateID" : "2724", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1974.20_frame.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1974.20_frame.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1974.20_frame.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1974.20_frame.tif", "IsPrimary" : "0", "_SurrogateID" : "2773", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1974.20-2018.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1974.20-2018.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1974.20-2018.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1974.20-2018.tif", "IsPrimary" : "1", "_SurrogateID" : "18069", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14058, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14058", "Disp_Access_No" : "G1973.12.16", "_AccNumSort1" : "", "Disp_Create_DT" : "1965", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1965", "Disp_Title" : "Caída de conciencia [Loss of Consciousness]", "Alt_Title" : "Loss of Consciousness", "Obj_Title" : "Caída de conciencia [Loss of Consciousness]", "Series_Title" : "", "Disp_Maker_1" : "Jorge de la Vega", "Sort_Artist" : "Vega, Jorge de la", "Disp_Dimen" : "130.6 cm x 110.4 cm (51 7/16 in. x 43 7/16 in.)", "Disp_Height" : "130.6 cm", "Disp_Width" : "110.4 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil, glass, and fabric", "Support" : "canvas", "Disp_Medium" : "Oil, glass, and fabric on canvas", "Info_Page_Comm" : "Jorge de la Vega relied on experimental techniques to generate an imaginary universe populated by monstrous beasts and distorted figures. The poetic title of this work is a pun on the common Spanish expression "toma de conciencia" [becoming aware]. It suggests that existence becomes conflicted by our inability to resolve the contradictions between gaining and losing awareness. De la Vega seems inspired by existentialism as he literally splits the self in two, using collaged linen to represent a male figure and its distorted double. This elongated image was created by rubbing linen directly over the wrinkled canvas. The resulting copy was then stretched and glued onto the surface of the work. The figure and his elongated doppelgänger float in close proximity, but their relationship remains unsettled.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Barbara Duncan, 1973", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1973.12.16.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1973.12.16.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1973.12.16.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1973.12.16.tif", "IsPrimary" : "1", "_SurrogateID" : "2438", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14073, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14073", "Disp_Access_No" : "G1971.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1936", "_Disp_Start_Dat" : "1936", "_Disp_End_Date" : "1936", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "Untitled", "Series_Title" : "", "Disp_Maker_1" : "Luis Arenal", "Sort_Artist" : "Arenal, Luis", "Disp_Dimen" : "91.5 cm x 91.5 cm (36 in. x 36 in.)", "Disp_Height" : "91.5 cm", "Disp_Width" : "91.5 cm", "Dimen_Extent" : "Board", "Medium" : "Oil, gesso, and wood relief", "Support" : "panel", "Disp_Medium" : "Oil, gesso, and wood relief on panel", "Info_Page_Comm" : "The Arenal family immigrated to the United States when Luis was young. He studied architecture and sculpture in Los Angeles an spent time at the University of Arizona in the 1920s. In 1932, Arenal learned the art of fresco painting from David Alfaro Siqueiros, who was active in Los Angeles at that time, becoming long lasting collaborators. In 1936, Arenal represented Mexico at the First Congress of American Artists against Fascism in New York City. He remained in the city for a year, during which he participated in Siqueiros’ Experimental Workshop. Produced during that period, this untitled piece represents the anxiety Mexicans felt at the rise of fascism in Europe. An indigenous mother reacts with deep concern as her children must bear witness to the destruction of war. The innovative treatment of the surface and the three-dimensional elements of this work heighten the immediacy of the impending danger. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the Chase Manhattan Bank, 1971", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1971.5.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1971.5.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1971.5.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1971.5.tif", "IsPrimary" : "1", "_SurrogateID" : "2979", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14080, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14080", "Disp_Access_No" : "G1971.3.48", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Inkarri", "Alt_Title" : "", "Obj_Title" : "Inkarri", "Series_Title" : "", "Disp_Maker_1" : "Fernando de Szyszlo", "Sort_Artist" : "Szyszlo, Fernando de", "Disp_Dimen" : "150.5 cm x 150.5 cm (59 1/4 in. x 59 1/4 in.)", "Disp_Height" : "150.5 cm", "Disp_Width" : "150.5 cm", "Dimen_Extent" : "Frame", "Medium" : "Acrylic", "Support" : "wood", "Disp_Medium" : "Acrylic on wood", "Info_Page_Comm" : "Fernando de Szyszlo is one of several Latin American abstract artists who claim a non-European, specifically indigenous tradition in their work. Inkarri has long been considered one of his masterpieces. The title, which is in Quechua, the indigenous language of the Andes, is indicative of de Szyszlo’s interest in connecting to ancient American traditions. Although the painting seems totally abstract at first, the title points to a specific narrative, allowing us to read the painting in symbolic rather than purely formal or abstract terms. Inkarri refers to a legend in which the last Inca ruler, Tupac Amaru, whose body was torn to pieces in 1572 by the Spanish, returns to reclaim his kingdom from the colonizers. Unlike the earlier generation of Peruvian indigenistas, de Szyszlo used a totally abstract and contemporary language to communicate this revolutionary narrative. Rather than record the historical details of the Tupac Amaru legend, Szyszlo has suggested the ruler’s resurrection in floating and altarlike forms that summon an evocative and magical universe.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of John and Barbara Duncan, 1971", "Copyright_Type" : "all", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Peruvian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1971.3.48.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1971.3.48.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1971.3.48.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1971.3.48.tif", "IsPrimary" : "1", "_SurrogateID" : "2414", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14084, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14084", "Disp_Access_No" : "G1971.3.40", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "Untitled", "Series_Title" : "", "Disp_Maker_1" : "María Luisa Pacheco", "Sort_Artist" : "Pacheco, María Luisa", "Disp_Dimen" : "99 cm x 104.3 cm (39 in. x 41 1/16 in.)", "Disp_Height" : "99 cm", "Disp_Width" : "104.3 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil and wood", "Support" : "canvas", "Disp_Medium" : "Oil and wood on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of John and Barbara Duncan, 1971", "Copyright_Type" : "All approved.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Bolivian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1971.3.40.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1971.3.40.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1971.3.40.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1971.3.40.tif", "IsPrimary" : "1", "_SurrogateID" : "2973", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14090, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14090", "Disp_Access_No" : "G1971.3.33", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Paisaje con muros [Landscape with Walls]", "Alt_Title" : "Landscape with Walls", "Obj_Title" : "Paisaje con muros [Landscape with Walls]", "Series_Title" : "", "Disp_Maker_1" : "Armando Morales", "Sort_Artist" : "Morales, Armando", "Disp_Dimen" : "182.7 cm x 147.4 cm (71 15/16 in. x 58 1/16 in.)", "Disp_Height" : "182.7 cm", "Disp_Width" : "147.4 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic on base of gesso and modeling paste", "Support" : "canvas", "Disp_Medium" : "Acrylic on base of gesso and modeling paste on canvas", "Info_Page_Comm" : "Landscape with Walls is one of Morales’ paintings from his early abstract expressionist phase. Morales’ work from this period is dominated by the use of black, white, gray, and the incorporation of a thick impasto recalling of the work of American abstract expressionist painter Robert Motherwell and Spanish informalists such as Antonio Tapiés. In Spain, lyric abstraction had a strong anti-fascist undertone, as a counteractive force to government-mandated artistic styles. The Nicaraguan artistic group Praxis, active from 1963–73, similarly linked the artistic innovation associated with abstract expressionism to progressive politics supportive of the Sandanistas, a revolutionary group opposed to Anastasio Somoza Debayle, one of a family of authoritarian leaders of Nicaragua. In Landscape with Walls, Morales uses abstract expressionism as it was filtered through the Spanish informalists and the Praxis group, possibly to express anti-Somoza sentiments", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of John and Barbara Duncan, 1971", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Nicaraguan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1971.3.33.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1971.3.33.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1971.3.33.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1971.3.33.tif", "IsPrimary" : "1", "_SurrogateID" : "2409", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14094, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14094", "Disp_Access_No" : "G1971.3.22", "_AccNumSort1" : "", "Disp_Create_DT" : "1965", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1965", "Disp_Title" : "Mansión del agua [Water Mansion]", "Alt_Title" : "Water Mansion", "Obj_Title" : "Mansión del agua [Water Mansion]", "Series_Title" : "", "Disp_Maker_1" : "Günther Gerzso", "Sort_Artist" : "Gerzso, Günther", "Disp_Dimen" : "81 cm x 100 cm (31 7/8 in. x 39 3/8 in.)", "Disp_Height" : "81 cm", "Disp_Width" : "100 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Both Gunther Gerzso and José Luis Cuevas, in very different ways, challenged the supremacy of the Mexican Muralist movement led by Diego Rivera, José Clemente Orozco, and David Álfaro Siqueiros. While Cuevas concentrated on the grotesque, scenes of urban life, and caricature, Gerzso took the opposite path toward abstraction, spirituality, and meditation. In Mansión del agua, a painting from his mature period, the subtle tonal gradations and overlapping forms create a mysterious, otherworldly sensation. While the Muralists represented Mexico’s vast indigenous traditions in a figurative and political manner, Gerzso concentrated on the abstract geometrical structures and figures found in Aztec stonework. The title of this work also alludes to the importance of water for Maya civilizations. While the composition seems to depict a stone construction, there is nothing illustrative or archaeological about the painting. Instead we have a more intuitive evocation of the ancient world. Although Gerzso was somewhat marginalized in Mexico, his search for a contemporary relationship between abstract art and ancient American civilizations strongly echoed the interests of South American artists such as Jorge Eielson and César Paternosto.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of John and Barbara Duncan, 1971", "Copyright_Type" : "all approved.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1971.3.22.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1971.3.22.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1971.3.22.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1971.3.22.tif", "IsPrimary" : "1", "_SurrogateID" : "2405", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14097, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14097", "Disp_Access_No" : "G1971.3.19", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Al gran pueblo argentino...[To the Great Argentine Nation...]", "Alt_Title" : "To the Great Argentinean Nation...", "Obj_Title" : "Al gran pueblo argentino...[To the Great Argentine Nation...]", "Series_Title" : "", "Disp_Maker_1" : "José Antonio Fernández-Muro", "Sort_Artist" : "Fernández-Muro, José Antonio", "Disp_Dimen" : "176 cm x 145 cm (69 5/16 in. x 57 1/16 in.)", "Disp_Height" : "176 cm", "Disp_Width" : "145 cm", "Dimen_Extent" : "canvas", "Medium" : "Acrylic wash over aluminum foil gilt construction", "Support" : "canvas", "Disp_Medium" : "Acrylic wash over aluminum foil gilt construction on canvas", "Info_Page_Comm" : "José Antonio Fernández-Muro rose to national attention in Argentina as a pioneer of the lyrical geometrical abstraction common in the 1950s. His work of the period already showed an interest in the tension between strict geometry and more tactile expressions. Then in 1963 he moved to New York, where he began to use metal foil to emboss signs and manhole covers for inclusion in his work, thus introducing elements from the real world while still keeping a commitment to formal geometry. Here he has placed the foil manhole cover among a jumble of letters and numbers embossed from street signs. The whole has an urban, gritty feel, but the arrangement of the elements in the image also recalls the Argentine national flag, a reference that is underscored by the title, which comes from the national anthem: "Al gran pueblo argentino, salud! [Good health to the Great Argentine People!]." To complete the quoted reference, the word salud ("good health") appears written out along the bottom of the painting. While the overall somber mood of this work may seem to suggest a difficult or complex relationship to his homeland, the artist has denied any overt political intention in his work. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of John and Barbara Duncan, 1971", "Copyright_Type" : "All approved.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1971.3.19.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1971.3.19.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1971.3.19.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1971.3.19.tif", "IsPrimary" : "1", "_SurrogateID" : "2403", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14101, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14101", "Disp_Access_No" : "G1971.3.12", "_AccNumSort1" : "", "Disp_Create_DT" : "1969", "_Disp_Start_Dat" : "1969", "_Disp_End_Date" : "1969", "Disp_Title" : "Superficie activada núm. 2 [Activated Surface no. 2]", "Alt_Title" : "Activated Surface No. 2", "Obj_Title" : "Superficie activada núm. 2 [Activated Surface no. 2]", "Series_Title" : "", "Disp_Maker_1" : "Ary Brizzi", "Sort_Artist" : "Brizzi, Ary", "Disp_Dimen" : "170.5 cm x 168.9 cm (67 1/8 in. x 66 1/2 in.)", "Disp_Height" : "170.5 cm", "Disp_Width" : "168.9 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "Ary Brizzi’s geometric paintings are elegant, technically rigorous, and conversant with Kinetic and Op art of the 1960s. At the time, Brizzi painted compositions of thin parallel bands that generated optical vibrations. In this example, the subtle color gradations and precise change in trajectory of the blue, black, and gold lines suggest two mirrored shapes that seem to overlap in a shallow space. Brizzi’s use of a diamond-shaped canvas and vibrating cerulean blues enhances the dynamism of this piece.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of John and Barbara Duncan, 1971", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1971.3.12-old.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1971.3.12-old.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1971.3.12-old.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1971.3.12-old.tif", "IsPrimary" : "0", "_SurrogateID" : "6353", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1971.3.12.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1971.3.12.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1971.3.12.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1971.3.12.tif", "IsPrimary" : "1", "_SurrogateID" : "14274", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14116, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14116", "Disp_Access_No" : "G1968.92", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Ream", "Alt_Title" : "", "Obj_Title" : "Ream", "Series_Title" : "", "Disp_Maker_1" : "Lee Lozano", "Sort_Artist" : "Lozano, Lee", "Disp_Dimen" : "198 x 244 cm (78 x 96 in.)", "Disp_Height" : "198 cm", "Disp_Width" : "244 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "From 1963 to 1964, Lee Lozano took hardware—screwdrivers, hammers, wrenches—as her pictorial focus. Here, Lozano takes a reamer (a device used to drill holes) as her subject. Ensconced in a male-dominated art world, Lozano preyed on the provocative connotations of tools to poke fun at the chauvinistic climate in which she found herself. The artist manipulated and anthropomorphized her subjects to imbue them with new (often humorous, sexualized) meaning. At the same time, the sci-fi quality of these mechanized images tapped into the popularity of science fiction at that time— in art historian Helen Molesworth’s words, we might think of Lozano’s tool paintings as “cyborg fantasies of a complete merger of body and machine.”", "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/G1968.92.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.92.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.92.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.92.tif", "IsPrimary" : "1", "_SurrogateID" : "2383", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.92.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.92.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.92.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.92.mp3", "IsPrimary" : "0", "_SurrogateID" : "8449", "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" : 14120, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14120", "Disp_Access_No" : "G1968.88", "_AccNumSort1" : "", "Disp_Create_DT" : "1967", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1967", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "Untitled", "Series_Title" : "", "Disp_Maker_1" : "Tadaaki Kuwayama", "Sort_Artist" : "Kuwayama, Tadaaki", "Disp_Dimen" : "163.8 cm x 163.8 cm (64 1/2 in. x 64 1/2 in.)", "Disp_Height" : "163.8 cm", "Disp_Width" : "163.8 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas with aluminum", "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" : "Japanese", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.88.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.88.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.88.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.88.tif", "IsPrimary" : "1", "_SurrogateID" : "9191", "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" : 14137, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14137", "Disp_Access_No" : "G1968.71", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Mountain Woman", "Alt_Title" : "", "Obj_Title" : "Mountain Woman", "Series_Title" : "", "Disp_Maker_1" : "Grace Hartigan", "Sort_Artist" : "Hartigan, Grace", "Disp_Dimen" : "234 cm x 184 cm (92 1/8 in. x 72 7/16 in.)", "Disp_Height" : "234 cm", "Disp_Width" : "184 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" : "All", "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/G1968.71.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.71.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.71.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.71.tif", "IsPrimary" : "1", "_SurrogateID" : "2369", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14139, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14139", "Disp_Access_No" : "G1968.69", "_AccNumSort1" : "", "Disp_Create_DT" : "1960", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1960", "Disp_Title" : "Alchemist", "Alt_Title" : "", "Obj_Title" : "The Alchemist", "Series_Title" : "", "Disp_Maker_1" : "Philip Guston", "Sort_Artist" : "Guston, Philip", "Disp_Dimen" : "155 cm x 171 cm (61 in. x 67 5/16 in.)", "Disp_Height" : "155 cm", "Disp_Width" : "171 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" : "All except merchandise (postcards and posters are o.k.)", "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/G1968.69.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.69.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.69.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.69.tif", "IsPrimary" : "1", "_SurrogateID" : "2368", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.69.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.69.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.69.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.69.mp3", "IsPrimary" : "0", "_SurrogateID" : "8440", "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" : 14154, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14154", "Disp_Access_No" : "G1968.54", "_AccNumSort1" : "", "Disp_Create_DT" : "1965", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1965", "Disp_Title" : "Snap Roll", "Alt_Title" : "", "Obj_Title" : "Snap Roll", "Series_Title" : "", "Disp_Maker_1" : "Dean Fleming", "Sort_Artist" : "Fleming, Dean", "Disp_Dimen" : "167 cm x 253 cm (65 3/4 in. x 99 5/8 in.)", "Disp_Height" : "167 cm", "Disp_Width" : "253 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "“Space-warp,” “timeline,” “optic energy,” “eye-ibel,” “reversibility,” and “weightlessness.” These are just a few of the terms adopted by the Park Place Group, a New York-based collective that included such artists as Mark di Suvero, Robert Grosvenor, David Novros, and Ed Ruda. Dean Fleming was a founding member of the Park Place Group. He also served as co-director of the Park Place Gallery, which opened in 1963 and then closed in 1967, the same year the Park Place Group itself disbanded. In addition to providing members (and eventually non-members) with a large, open space in which to exhibit their work, thereby freeing them from the pressures associated with showing at mainstream galleries, the gallery hosted concerts, performances, symposia, and even anti-Vietnam war rallies. The artists affiliated with the Park Place Group worked in a variety of media and produced highly individual bodies of work. Nonetheless, they embraced a shared set of concerns—physics, mathematics, engineering, and science fiction among them. (Fleming himself studied aeronautical engineering at California Polytechnic State University and worked for the Douglas Aircraft Company in the 1950s.) As critic David Bourdon wrote in 1966, the “Park Place artists take the Space Age for granted and try to get it across in their work.” Fleming’s own paintings are austere in form yet dynamic in effect. Snap Roll consists of interlocking planes of high-contrast color. A parallelogram occupies the center of the canvas. The parallelogram, in combination with the geometric forms attached to its right and left sides, create a zig-zag pattern that “shunts the eye” from one edge of the painting to the other. This optical activity is accompanied by a sense of spatial ambiguity, which is exacerbated by Fleming’s use of irregular, asymmetrical shapes like the parallelogram. “If an open viewer allows the reading to be in his own time,” Fleming once wrote of his work, “he can participate in the reversals of space and apparent contradictions between stillness and sudden motion, weight and gravitationlessness."", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "All", "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/G1968.54.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.54.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.54.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.54.tif", "IsPrimary" : "1", "_SurrogateID" : "2358", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14163, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14163", "Disp_Access_No" : "G1968.44", "_AccNumSort1" : "", "Disp_Create_DT" : "1930", "_Disp_Start_Dat" : "1930", "_Disp_End_Date" : "1930", "Disp_Title" : "Barge, Trees, Silver Ball", "Alt_Title" : "", "Obj_Title" : "Barge, Trees, Silver Ball", "Series_Title" : "", "Disp_Maker_1" : "Arthur Garfield Dove", "Sort_Artist" : "Dove, Arthur Garfield", "Disp_Dimen" : "59 cm x 83 cm (23 1/4 in. x 32 11/16 in.)", "Disp_Height" : "59 cm", "Disp_Width" : "83 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil and silver paint", "Support" : "beaver board", "Disp_Medium" : "Oil and silver paint on beaver board", "Info_Page_Comm" : "In Barge, Trees, Silver Ball, blue-black and green organic trees float in front of a silver form that recalls the sun or moon suspended over a sliver of barge. The forms are barely identifiable, even with the aid of the painting’s title. Dove worked from 1910 until his death in 1946 to extract the pictorial essence of forms and recast them in his compositions, often leaving little or no visible trace of his point of departure.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "Copyright_Type" : "all approved, except some types of merchandise. See remarks below.", "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/G1968.44.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.44.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.44.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.44.tif", "IsPrimary" : "1", "_SurrogateID" : "2350", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.44.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.44.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.44.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.44.mp3", "IsPrimary" : "0", "_SurrogateID" : "8436", "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" : 14176, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14176", "Disp_Access_No" : "G1968.31.1/2-2/2", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Horizontals Tiered ", "Alt_Title" : "", "Obj_Title" : "Horizontals Tiered ", "Series_Title" : "", "Disp_Maker_1" : "Jo Baer", "Sort_Artist" : "Baer, Jo", "Disp_Dimen" : "132.1 cm x 182.9 cm (52 in. x 72 in.)", "Disp_Height" : "132.1 cm", "Disp_Width" : "182.9 cm", "Dimen_Extent" : "Each panel", "Medium" : "Oil and synthetic resin", "Support" : "canvas", "Disp_Medium" : "Oil and synthetic resin on canvas", "Info_Page_Comm" : "At first glance, "Horizontals Tiered" may appear as two empty canvases. But as she wrote in 1967, artist Jo Baer believed that “most sensation is the edge of things.” By painting thin belts of color between areas of white and black, Baer strove to induce an optical phenomenon: on the inner edge of the band, the color appears lighter; on the outer edge, it appears darker. In privileging the peripheries of the canvas, Baer questioned conventional ways of looking at art. Baer’s attention to the edges of her work aligns her not only with other Minimalist artists, but also with color theorists such as Josef Albers, whose book, "Interaction of Color," was published just three years before this work was made. Explaining her process, Baer said, “I was always curious why the color on the palette was different than the color on the painting. I knew what I wanted something to look like, and I found that the means to do it were so different than the end result.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1968", "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/G1968.31.1-2_2-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.31.1-2_2-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.31.1-2_2-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.31.1-2_2-2.tif", "IsPrimary" : "1", "_SurrogateID" : "6356", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14181, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14181", "Disp_Access_No" : "G1968.133", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Capitalist Masterpiece #26", "Alt_Title" : "", "Obj_Title" : "Capitalist Masterpiece #26", "Series_Title" : "", "Disp_Maker_1" : "Peter Ford Young", "Sort_Artist" : "Young, Peter Ford", "Disp_Dimen" : "244 cm x 336 cm (96 1/16 in. x 132 5/16 in.)", "Disp_Height" : "244 cm", "Disp_Width" : "336 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic 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" : "All", "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/G1968.133.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.133.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.133.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.133.tif", "IsPrimary" : "1", "_SurrogateID" : "2335", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.133.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.133.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.133.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.133.mp3", "IsPrimary" : "0", "_SurrogateID" : "8473", "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" : 14196, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14196", "Disp_Access_No" : "G1968.118", "_AccNumSort1" : "", "Disp_Create_DT" : "1967", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1967", "Disp_Title" : "Besped", "Alt_Title" : "", "Obj_Title" : "Besped", "Series_Title" : "", "Disp_Maker_1" : "Kenneth Showell", "Sort_Artist" : "Showell, Kenneth", "Disp_Dimen" : "274.3 cm x 228.6 cm (108 in. x 90 in.)", "Disp_Height" : "274.3 cm", "Disp_Width" : "228.6 cm", "Dimen_Extent" : "Canvas", "Medium" : "Sprayed acrylic", "Support" : "canvas", "Disp_Medium" : "Sprayed acrylic 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" : "edu., promo., web, merch", "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/G1968.118.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.118.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.118.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.118.tif", "IsPrimary" : "1", "_SurrogateID" : "2321", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.118.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.118.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.118.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.118.mp3", "IsPrimary" : "0", "_SurrogateID" : "8457", "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" : 14198, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14198", "Disp_Access_No" : "G1968.116", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "Night Town", "Alt_Title" : "", "Obj_Title" : "Night Town", "Series_Title" : "", "Disp_Maker_1" : "Raymond Saunders", "Sort_Artist" : "Saunders, Raymond", "Disp_Dimen" : "135 cm x 81 cm (53 1/8 in. x 31 7/8 in.)", "Disp_Height" : "135 cm", "Disp_Width" : "81 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/G1968.116.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.116.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.116.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.116.tif", "IsPrimary" : "1", "_SurrogateID" : "2319", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14208, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14208", "Disp_Access_No" : "G1968.106", "_AccNumSort1" : "", "Disp_Create_DT" : "1964-1968", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1968", "Disp_Title" : "Green Rose", "Alt_Title" : "", "Obj_Title" : "Green Rose", "Series_Title" : "", "Disp_Maker_1" : "Jules Olitski", "Sort_Artist" : "Olitski, Jules", "Disp_Dimen" : "207 cm x 298 cm (81 1/2 in. x 117 5/16 in.)", "Disp_Height" : "207 cm", "Disp_Width" : "298 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic 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/G1968.106.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.106.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.106.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.106.tif", "IsPrimary" : "1", "_SurrogateID" : "2311", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1968.106.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1968.106.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1968.106.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/G1968.106.mp3", "IsPrimary" : "0", "_SurrogateID" : "8454", "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" : 14227, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14227", "Disp_Access_No" : "G1964.25", "_AccNumSort1" : "", "Disp_Create_DT" : "1791-1796", "_Disp_Start_Dat" : "1791", "_Disp_End_Date" : "1796", "Disp_Title" : "Armand Louis Le Boulanger, Marquis d'Acqueville", "Alt_Title" : "", "Obj_Title" : "Armand Louis Le Boulanger, Le Marquis D'Acqueville", "Series_Title" : "", "Disp_Maker_1" : "Aimée Duvivier", "Sort_Artist" : "Duvivier, Aimée", "Disp_Dimen" : "140.8 cm x 111.8 cm (55 7/16 in. x 44 in.)", "Disp_Height" : "140.8 cm", "Disp_Width" : "111.8 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Dressed in a dark blue coat, bluish gray breeches, and a pale yellow waistcoat with poppy design, the Marquis D’Acqueville presents himself as a fashionable young aristocrat. The bust sculpture of a classical figure, the rolled-up musical score, and the quill pen in the inkwell suggest that he wished to be seen as a man of letters. The numbers “23 7 1791” on the letter in the sitter’s hand most likely indicate the date when the work was painted. Aimée Duvivier was among the few women selected to show their work at official exhibitions organized by the French Academy in the late 1700s. Coming from a family of artists, she may have also studied with Jacques-Louis David. The flat, unadorned background, the subdued palette of blue and gray with just a dash of red, the casual pose, and the restrained handling of paint are characteristic of the neoclassical formula that David popularized during the period of the French Revolution. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mr. and Mrs. Clark W. Thompson, Sr., 1964", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Important to have portrait by woman Research what association he was connected to (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1964.25.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1964.25.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1964.25.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1964.25.tif", "IsPrimary" : "1", "_SurrogateID" : "2298", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14265, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14265", "Disp_Access_No" : "G1960.10", "_AccNumSort1" : "", "Disp_Create_DT" : "1958", "_Disp_Start_Dat" : "1958", "_Disp_End_Date" : "1958", "Disp_Title" : "La Puerto Del Sol", "Alt_Title" : "The Port of the Sun", "Obj_Title" : "La Puerto Del Sol", "Series_Title" : "", "Disp_Maker_1" : "Norman Wilfred Lewis", "Sort_Artist" : "Lewis, Norman Wilfred", "Disp_Dimen" : "130.2 cm x 161.9 cm (51 1/4 in. x 63 3/4 in.)", "Disp_Height" : "130.2 cm", "Disp_Width" : "161.9 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "linen canvas", "Disp_Medium" : "Oil on linen canvas", "Info_Page_Comm" : "From 1950 until his death in 1979, Norman Lewis was a leading figure in Abstract Expressionist painting circles in New York—a relative rarity for an artist of color at the time. In his travels to Spain in the 1950s, Lewis studied the paintings at the Museo Nacional del Prado—a short walk from Puerta del Sol, one of the busiest public squares in Madrid. Lewis’s tight clusters of varying colors suggest moving masses of people. “When I was in Madrid,” Lewis recalled in an interview, “one of the things in my own self-education was the discouraging fact that painting pictures didn’t bring about any change.” In later paintings, Lewis used this compositional technique to mimic crowds of protestors during the Civil Rights Movement. Works like "La Puerto del Sol" prefigure Lewis’s paintings of the 1960s and 1970s, which strive to convey the African American struggle through abstraction.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the Longview Foundation, Inc., 1960", "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/G1960.10.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1960.10.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1960.10.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1960.10.tif", "IsPrimary" : "1", "_SurrogateID" : "2280", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14276, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14276", "Disp_Access_No" : "2001.82", "_AccNumSort1" : "", "Disp_Create_DT" : "1967-1970", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1970", "Disp_Title" : "Stroke", "Alt_Title" : "", "Obj_Title" : "Stroke", "Series_Title" : "", "Disp_Maker_1" : "Lee Lozano", "Sort_Artist" : "Lozano, Lee", "Disp_Dimen" : "106.68 cm x 106.68 cm (42 in. x 42 in.)", "Disp_Height" : "106.68 cm", "Disp_Width" : "106.68 cm", "Dimen_Extent" : "each panel", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "By the mid-1960s, Lee Lozano was known for her monumental paintings of hardware. In the latter half of that decade, however, Lozano shifted gears, translating her signature style into a more sculptural language. With "Stroke" the artist broke free of the constraints of the canvas by perforating and layering canvases themselves. Using tools rather than depicting them, Lozano moved beyond two-dimensional painting to engage “real space” both in her process and in her finished work. Indeed, she referred to this body of work as “energy paintings,” aiming to capture “the energy which emanates from the forever conflict in painting between . . . its static solid-matter surface and the passages of movement and time it evokes in the mind.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of The Judith Rothschild Foundation and the Michener Acquisitions Fund, 2001", "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/2001.82.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2001.82.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2001.82.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2001.82.tif", "IsPrimary" : "0", "_SurrogateID" : "1747", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2001.82-1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2001.82-1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2001.82-1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2001.82-1.tif", "IsPrimary" : "1", "_SurrogateID" : "15800", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14285, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14285", "Disp_Access_No" : "2001.100", "_AccNumSort1" : "", "Disp_Create_DT" : "1972", "_Disp_Start_Dat" : "1972", "_Disp_End_Date" : "1972", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "Untitled", "Series_Title" : "", "Disp_Maker_1" : "Harriet Korman", "Sort_Artist" : "Korman, Harriet", "Disp_Dimen" : "182.88 cm x 213.36 cm (72 in. x 84 in.)", "Disp_Height" : "182.88 cm", "Disp_Width" : "213.36 cm", "Dimen_Extent" : "Sight", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Miles Bellamy, 2001", "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/2001.100.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2001.100.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2001.100.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2001.100.tif", "IsPrimary" : "1", "_SurrogateID" : "4102", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14287, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14287", "Disp_Access_No" : "2000.92", "_AccNumSort1" : "", "Disp_Create_DT" : "1983", "_Disp_Start_Dat" : "1983", "_Disp_End_Date" : "1983", "Disp_Title" : "Masterpieces (In Absentia): Marcel Duchamp", "Alt_Title" : "", "Obj_Title" : "Masterpieces (In Absentia): Marcel Duchamp", "Series_Title" : "", "Disp_Maker_1" : "Regina Silveira", "Sort_Artist" : "Silveira, Regina", "Disp_Dimen" : "96.52 cm x 421.64 cm (38 in. x 166 in.)", "Disp_Height" : "96.52 cm", "Disp_Width" : "421.64 cm", "Dimen_Extent" : "floor space, installed", "Medium" : "Digital image, printed as self-adhesive vinyl cutout, and wood pedestal", "Support" : "", "Disp_Medium" : "Digital image, printed as self-adhesive vinyl cutout, and wood pedestal", "Info_Page_Comm" : "In the late 1970s, Regina Silveira became interested in 15th-century treaties on perspective and especially intrigued by anamorphosis (the controlled distortion of images that could be made to appear normal when viewed from a particular perspective). She produced a series of works where she used the anamorphic distortions of objects from everyday life—chairs, hammers, nails, motorcycles, bookshelves—to create ominous shadows made of adhesive vinyl. In the 1980s, she began to use seminal works from the canon of Western art history as a point of departure. “Masterpieces (In Absentia)” depicts the elongated shadow of a famous “readymade” sculpture of a bicycle wheel on a stool by Marcel Duchamp. In this work, the border between absence and presence, the real and the dematerialized, the original and the copy becomes indistinguishable. The shadow, liberated from its origin, represents the legacy of Western modernism as it looms large over Brazil and the ways Brazilian artists have consumed and transfigured that tradition.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the Archer M. 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cm", "Disp_Width" : "54.7 cm", "Dimen_Extent" : "Panel", "Medium" : "Polychromed carved wood", "Support" : "", "Disp_Medium" : "Polychromed carved wood", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the artist and Webb Gallery, Waxahachie, Texas, 1999", "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/1999.59.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1999.59.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1999.59.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1999.59.tif", "IsPrimary" : "1", "_SurrogateID" : "3083", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : 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"Disp_Medium" : "Oil and wax on twenty panels", "Info_Page_Comm" : "A skillful fusion of abstraction and representation in painting, "Synecdoche" is a potent statement about identity. Arranged in a grid, these monochrome panels replicate the skin color of twenty individuals that Byron Kim encountered at random on The University of Texas at Austin campus. As such, "Synecdoche" may playfully literalize a comment made by modernist painter Brice Marden, who once referred to the surfaces of his own monochromatic paintings as “skin. ”Synecdoche" is an ongoing series of more than 410 individual panels that Kim began in 1991 and has continued to the present day. Borrowed from literary criticism, the term “synecdoche” refers to a figure of speech in which a part represents a whole. Here the color of each panel stands in for the individual sitter, while all of the panels together represent the university population. Yet in this context, the work points to the futility—the absurdity even—of defining human beings by their skin color alone.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Michener Acquisitions Fund, 1998", "Copyright_Type" : "edu; study; 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/1998.77.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.77.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.77.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.77.tif", "IsPrimary" : "1", "_SurrogateID" : "1698", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.77.1-20_20-20 audioEng.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.77.1-20_20-20 audioEng.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.77.1-20_20-20 audioEng.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1998.77.1-20_20-20 audioEng.mp3", "IsPrimary" : "0", "_SurrogateID" : "8190", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.77.1-20_20-20 audioSpan.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.77.1-20_20-20 audioSpan.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.77.1-20_20-20 audioSpan.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1998.77.1-20_20-20 audioSpan.mp3", "IsPrimary" : "0", "_SurrogateID" : "8191", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.77-artist1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.77-artist1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.77-artist1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.77-artist1.tif", "IsPrimary" : "0", "_SurrogateID" : "9533", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.77-artist2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.77-artist2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.77-artist2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.77-artist2.tif", "IsPrimary" : "0", "_SurrogateID" : "9534", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.77-artist3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.77-artist3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.77-artist3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.77-artist3.tif", "IsPrimary" : "0", "_SurrogateID" : "9535", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.77-artist4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.77-artist4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.77-artist4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.77-artist4.tif", "IsPrimary" : "0", "_SurrogateID" : "9536", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14341, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14341", "Disp_Access_No" : "1998.76", "_AccNumSort1" : "", "Disp_Create_DT" : "1987", "_Disp_Start_Dat" : "1987", "_Disp_End_Date" : "1987", "Disp_Title" : "Missão/Missões [Mission/Missions] (How to Build Cathedrals)", "Alt_Title" : "", "Obj_Title" : "Missão/Missões [Mission/Missions] (How to Build Cathedrals)", "Series_Title" : "", "Disp_Maker_1" : "Cildo Meireles", "Sort_Artist" : "Meireles, Cildo", "Disp_Dimen" : "249.94 cm x 345.95 cm x 345.95 cm (98 3/8 in. x 136 3/16 in. x 136 3/16 in.)", "Disp_Height" : "249.94 cm", "Disp_Width" : "345.95 cm", "Dimen_Extent" : "varies with installation", "Medium" : "600,000 coins, 800 communion wafers, 2000 cattle bones, 80 paving stones, and black cloth", "Support" : "", "Disp_Medium" : "600,000 coins, 800 communion wafers, 2,000 cattle bones, 80 paving stones, and black cloth", "Info_Page_Comm" : "Cildo Meireles’s installation was first commissioned for an exhibition about the history of the Jesuits in southern Brazil. The artist created a contemplative space that functions as a critique of Jesuit missions established during colonial times to contain the indigenous Tupi-Guaraní people and convert them to Catholicism. The work’s symbolic elements reveal the complicit relationship between material power (coins), spiritual power (communion wafers), and tragedy (bones), while the black shroud and overhead lighting evoke ideas of life and death. Meireles’ use of cattle bones references the importance of ranching within the region’s colonial economy. Yet the bones’ physical resemblance to the human femur also alludes to the human losses associated with forced acculturation. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the Peter Norton Family Foundation, 1998", "Copyright_Type" : "edu; promo; web", "Disp_Obj_Type" : "installation", "Creation_Place2" : "Brazilian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.76.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.76.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.76.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.76.tif", "IsPrimary" : "0", "_SurrogateID" : "1696", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.76_detail.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.76_detail.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.76_detail.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.76_detail.tif", "IsPrimary" : "0", "_SurrogateID" : "1697", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.76 detail b.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.76 detail b.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.76 detail b.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.76 detail b.tif", "IsPrimary" : "0", "_SurrogateID" : "4477", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.76 detail c.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.76 detail c.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.76 detail c.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.76 detail c.tif", "IsPrimary" : "0", "_SurrogateID" : "4478", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.76_detail_d.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.76_detail_d.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.76_detail_d.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.76_detail_d.tif", "IsPrimary" : "0", "_SurrogateID" : "9093", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.76_2017-1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.76_2017-1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.76_2017-1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.76_2017-1.tif", "IsPrimary" : "1", "_SurrogateID" : "15804", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.76_2017-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.76_2017-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.76_2017-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.76_2017-2.tif", "IsPrimary" : "0", "_SurrogateID" : "15805", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1998.76-2017-straight.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.76-2017-straight.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.76-2017-straight.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.76-2017-straight.tif", "IsPrimary" : "0", "_SurrogateID" : "22497", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14401, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14401", "Disp_Access_No" : "1992.272", "_AccNumSort1" : "", "Disp_Create_DT" : "1962", "_Disp_Start_Dat" : "1962", "_Disp_End_Date" : "1962", "Disp_Title" : "No. 62.A.A.A.", "Alt_Title" : "", "Obj_Title" : "No. 62.A.A.A.", "Series_Title" : "", "Disp_Maker_1" : "Yayoi Kusama", "Sort_Artist" : "Kusama, Yayoi", "Disp_Dimen" : "178 cm x 202 cm (70 1/16 in. x 79 1/2 in.)", "Disp_Height" : "178 cm", "Disp_Width" : "202 cm", "Dimen_Extent" : "Canvas", "Medium" : "Paint, mattress stuffing, and cardboard egg crates ", "Support" : "canvas", "Disp_Medium" : "Paint, mattress stuffing, and cardboard egg crates on canvas", "Info_Page_Comm" : "Yayoi Kusama helped forge a new awareness of women artists as audacious experimenters. Her unconventional paintings, constructions, objects, installations, and performances give public expression to her private compulsions. Kusama, a Japanese artist who worked in New York from 1958 to 1972, suffers from an obsessive-compulsive disorder that causes proliferating patterns to dominate her field of vision. Beginning with small gouache paintings covered with vivid fields of repeated dots and cell-like shapes, she began employing collage techniques in the early 1960s to make her paintings more three-dimensional. No. 62 A.A.A. is a pivotal work. It is constructed of square egg cartons—the sort used for bulk egg deliveries in the 1960s and readily found in street garbage—arranged in a grid and joined by cotton stuffing salvaged from discarded mattresses. An overall coat of spray paint has unified the individual forms into one serial relief of concave hemispheres. By using real-world objects, Kusama’s painted construction anticipated the principles of both Pop art and Minimalism, yet it also refers explicitly to her own unique perceptual experience. The rhythms of its projecting and receding voids mimic the pulsations of the expanding fields she sees, translating the sensations of her body into concrete form. The Blanton owns a rich assortment of other Kusama works, including an important large diptych painting from 1987, 11 mixed media paintings on paper from the 1950s, and an archive of materials from the artist’s years in New York. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the Center for International Contemporary Arts; Emanuel and Charlotte Levine Collection, 1992", "Copyright_Type" : "All", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Japanese", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1992.272.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1992.272.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1992.272.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1992.272.tif", "IsPrimary" : "1", "_SurrogateID" : "1616", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14411, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14411", "Disp_Access_No" : "1991.420", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "El académico [The Academic]", "Alt_Title" : "The Academic", "Obj_Title" : "El académico [The Academic]", "Series_Title" : "", "Disp_Maker_1" : "Antonio Seguí", "Sort_Artist" : "Seguí, Antonio", "Disp_Dimen" : "150 cm x 150.2 cm (59 1/16 in. x 59 1/8 in.)", "Disp_Height" : "150 cm", "Disp_Width" : "150.2 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil and industrial lacquer", "Support" : "canvas", "Disp_Medium" : "Oil and industrial lacquer on canvas", "Info_Page_Comm" : "Antonio Seguí moved to Paris in 1963 and shared a studio with Romulo Macció. They had in common an interest in expressionistic figuration, which Seguí pursued for the rest of his career. “El académico” is part of a gallery of ironic portraits produced in the early 1960s, through which Seguí challenged authority figures. Here, a learned man seems to hold court on a throne-like chair. The clear labeling and his unsettled expression suggests that he is no longer an agent validating knowledge, but an historical subject put on display. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Barbara Duncan, 1991", "Copyright_Type" : "Approval on case by case basis.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.420.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.420.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.420.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.420.tif", "IsPrimary" : "1", "_SurrogateID" : "3354", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14412, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14412", "Disp_Access_No" : "1991.42", "_AccNumSort1" : "", "Disp_Create_DT" : "1875", "_Disp_Start_Dat" : "1875", "_Disp_End_Date" : "1875", "Disp_Title" : "The Golden Hour", "Alt_Title" : "", "Obj_Title" : "The Golden Hour", "Series_Title" : "", "Disp_Maker_1" : "Thomas Moran", "Sort_Artist" : "Moran, Thomas", "Disp_Dimen" : "41.9 cm x 52.4 cm x 7.6 cm (16 1/2 in. x 20 5/8 in. x 3 in.)", "Disp_Height" : "41.9 cm", "Disp_Width" : "52.4 cm", "Dimen_Extent" : "frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Thomas Moran’s romanticized view of the towering cliffs of the Green River in southwestern Wyoming is notable for the operatic power of its imagery, despite the picture’s modest scale. An impossibly fiery sunset suffuses the jagged outcroppings in a golden light that exaggerates the glories and grandeur of nature. Americans back east were eager to discover the uninhabited western landscape through paintings like this and through reproductions. To make an even more compelling picture, Moran took certain liberties with features of the undeniably spectacular landscapes he observed on his trips to Wyoming during the summers of 1871 and 1872. Loosely and impressionistically painted, The Golden Hour is neither a major nor a typical work by Moran, but its magical intensity successfully communicates the artist’s deep fondness for the first western site he ever sketched. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of C.R. Smith, 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/1991.42.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.42.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.42.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.42.tif", "IsPrimary" : "1", "_SurrogateID" : "2703", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14413, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14413", "Disp_Access_No" : "1991.418", "_AccNumSort1" : "", "Disp_Create_DT" : "1980", "_Disp_Start_Dat" : "1980", "_Disp_End_Date" : "1980", "Disp_Title" : "Dos diagonales [Two Diagonals]", "Alt_Title" : "Two Diagonals", "Obj_Title" : "Dos diagonales [Two Diagonals]", "Series_Title" : "", "Disp_Maker_1" : "Rogelio Polesello", "Sort_Artist" : "Polesello, Rogelio", "Disp_Dimen" : "161 cm x 161 cm (63 3/8 in. x 63 3/8 in.)", "Disp_Height" : "161 cm", "Disp_Width" : "161 cm", "Dimen_Extent" : "Canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Barbara Duncan, 1991", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.418.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.418.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.418.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.418.tif", "IsPrimary" : "1", "_SurrogateID" : "8800", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16550, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16550", "Disp_Access_No" : "1991.41", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1858 - 1874", "_Disp_Start_Dat" : "1858", "_Disp_End_Date" : "1874", "Disp_Title" : "Wind River Mountain Range Scene", "Alt_Title" : "The Sirens Were Singing From the Tops of the Peaks", "Obj_Title" : "Wind River Mountain Range Scene", "Series_Title" : "", "Disp_Maker_1" : "Alfred Jacob Miller", "Sort_Artist" : "Miller, Alfred Jacob", "Disp_Dimen" : "25.5 cm x 40.9 cm (10 1/16 in. x 16 1/8 in.)", "Disp_Height" : "25.5 cm", "Disp_Width" : "40.9 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "When Alfred Jacob Miller traveled to the Wind River mountain range of Wyoming in 1837, he was the first non-native artist to explore this virtually undisturbed western wilderness. Hired to record the encounters and events of a fur-trading expedition to the Rocky Mountains, he spent six months absorbing landscapes like no other. Years later he was still painting from his sketches of the trip, especially views incorporating his favorite subject: the area’s pristine alpine lakes, such as the one at the center of this luminous painting. With its dramatically lit sky and narrative foil in the lower left corner—leading the viewer to wonder what announcement will be made—the jewel-like canvas offers a serene romantic vision of a sheltered paradise on the brink of change.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of C.R. Smith, 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/1991.41.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.41.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.41.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.41.tif", "IsPrimary" : "1", "_SurrogateID" : "1590", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.41.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.41.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.41.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.41.tif", "IsPrimary" : "0", "_SurrogateID" : "2701", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14420, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14420", "Disp_Access_No" : "1991.36", "_AccNumSort1" : "", "Disp_Create_DT" : "1945", "_Disp_Start_Dat" : "1945", "_Disp_End_Date" : "1945", "Disp_Title" : "Picacho Valley, Chávez Ranch", "Alt_Title" : "", "Obj_Title" : "Picacho Valley, Chávez Ranch", "Series_Title" : "", "Disp_Maker_1" : "Peter Hurd", "Sort_Artist" : "Hurd, Peter", "Disp_Dimen" : "75.2 cm x 133.4 cm (29 5/8 in. x 52 1/2 in.)", "Disp_Height" : "75.2 cm", "Disp_Width" : "133.4 cm", "Dimen_Extent" : "frame", "Medium" : "Egg tempera on gessoed panel", "Support" : "Board", "Disp_Medium" : "Egg tempera on gessoed panel on Board", "Info_Page_Comm" : "Artist Peter Hurd once described art as “an enduring record of man’s emotional response to his existence.” In this painting, Hurd records his deep love for and familiarity with the landscape of the Southwest, depicting a scene near his home in San Patricio, New Mexico. Hurd has included small details that evoke the quiet peacefulness of local life. Windmills dot the scene and a lone figure stands in the yard feeding chickens. Though the landscape is vast, Hurd treats it like a figure well known. The gentle, shadowed curves of the hills suggest a warm, bodily presence. Painted in tempera made using yolks from Hurd’s own chickens, the painting is a testament to the relationship between land and home.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of C.R. Smith, 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/1991.36.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.36.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.36.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.36.tif", "IsPrimary" : "0", "_SurrogateID" : "1583", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.36-2018.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.36-2018.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.36-2018.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.36-2018.tif", "IsPrimary" : "1", "_SurrogateID" : "18070", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14427, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14427", "Disp_Access_No" : "1991.338", "_AccNumSort1" : "", "Disp_Create_DT" : "1915", "_Disp_Start_Dat" : "1915", "_Disp_End_Date" : "1915", "Disp_Title" : "New York at Night", "Alt_Title" : "", "Obj_Title" : "New York at Night", "Series_Title" : "", "Disp_Maker_1" : "Max Weber", "Sort_Artist" : "Weber, Max", "Disp_Dimen" : "87 cm x 55.9 cm (34 1/4 in. x 22 in.)", "Disp_Height" : "87 cm", "Disp_Width" : "55.9 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Max Weber was one of the first American artists to fully synthesize the principles of European modernism and adapt them to a specifically American subject matter. Well acquainted with the debates and practices of Gertrude Stein, Pablo Picasso, Henri Matisse, Henri Rousseau, and other leading European artists and intellectuals whom he met while living in Paris, Weber helped introduce their avant-garde ideas to artists working in the United States when he returned to New York. His own influential pulpit was Alfred Stieglitz’s journal Camera Work. In its pages he proposed his most important concept, the notion of a fourth dimension, or the extension of space into another realm beyond the three dimensions of the visible world. His speculative ideas found clear expression in the paintings he executed around 1910, which incorporated representations of movement and time. New York at Night, completed five years later, reduces his impressions of time and place to a basic vocabulary of colorful geometric shapes and intersecting planes seen from multiple perspectives and enhanced by illusions of motion and reverberating sound. In works like this, Weber conveyed the speed, the action, and the dynamic energy of the city more abstractly than ever before in American 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/1991.338.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.338.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.338.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.338.tif", "IsPrimary" : "1", "_SurrogateID" : "1579", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14430, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14430", "Disp_Access_No" : "1991.335", "_AccNumSort1" : "", "Disp_Create_DT" : "1967", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1967", "Disp_Title" : "Light Pink Octagon", "Alt_Title" : "", "Obj_Title" : "Light Pink Octagon", "Series_Title" : "", "Disp_Maker_1" : "Richard Tuttle", "Sort_Artist" : "Tuttle, Richard", "Disp_Dimen" : "144.2 cm x 134.7 cm (56 3/4 in. x 53 1/16 in.)", "Disp_Height" : "144.2 cm", "Disp_Width" : "134.7 cm", "Dimen_Extent" : "Sight", "Medium" : "Canvas dyed with Tintex", "Support" : "", "Disp_Medium" : "Canvas dyed with Tintex", "Info_Page_Comm" : "Richard Tuttle’s Light Pink Octagon challenges notions of what a work of art can be. A hybrid object—neither painting nor sculpture nor drawing, but containing aspects of all three—the modest, seemingly offhand work is from a pivotal early series that established Tuttle’s interest in how objects define the spaces around them. Light Pink Octagon commands attention, embodying the artist’s unique sense of possibility and play. Made from a piece of cloth cut into an octagonal shape, hemmed on all sides, and dyed pale pink, it can be hung at any height on the wall and from any side or angle, or placed unceremoniously on the floor. Permanently wrinkled during the dyeing process, it looks more like a castoff than a work of art. Indeed, its humble appearance and presentation deny the status most works of art seek to claim. Tuttle’s means of making art is a way of asking questions. His unexpected and poetic use of materials embraces the value of looking without prior judgment—of observing with an open mind. In 2008, The Blanton’s holdings of Tuttle’s work increased significantly with a gift from legendary art collectors Dorothy and Herbert Vogel, in concert with the National Gallery of Art, of 34 works on paper made by the artist between 1970 and 1982. These compelling works—some quite small—expand on the artist’s ongoing interests in line, color, and space. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "all approved by artist.", "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/1991.335.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.335.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.335.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.335.tif", "IsPrimary" : "1", "_SurrogateID" : "1577", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14435, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14435", "Disp_Access_No" : "1991.329", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "C-109", "Alt_Title" : "", "Obj_Title" : "C-109", "Series_Title" : "", "Disp_Maker_1" : "Tadasky", "Sort_Artist" : "Tadasky", "Disp_Dimen" : "172.8 cm x 172.8 cm (68 1/16 in. x 68 1/16 in.)", "Disp_Height" : "172.8 cm", "Disp_Width" : "172.8 cm", "Dimen_Extent" : "Sight", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : " “It’s a little like staring at a turning record while trying to read the label,” wrote Jacqueline Barnitz in a review of Tadasky’s first one-person show in 1965. Barnitz, now a professor of art history at the University of Texas at Austin, aptly describes the work of Japanese-born, New York-based artist Tadasky. In the mid-1960s, Tadasky adopted the style that first brought him public recognition: circles composed of concentric rings that alternate between black and various combinations of complementary colors, such as the rusty orange-red and synthetic forest-green of C-109. It is the strong contrast between these colors that creates the illusion of movement noticed by Barnitz. Tadasky’s circles seem to wobble and spin, expanding out into the viewer’s space or, alternately, receding deep into the canvas. Visual agitation, accompanied by a sensation of physical disorientation, is the sum of an encounter with a painting like C-109. Tadasky worked with the aid of a machine in the 1960s, which accounts in large part for his paintings’ precision, exactitude, and regularity. After placing a canvas on the machine’s flat surface, Tadasky would hold his brush over the support. The machine rotated at an even pace, allowing the artist to create concentric rings of uniform width. This method also had the result of expelling any trace of the artist’s unique touch from the painting. In both form and effect, Tadasky’s circles lend themselves to a comparison with Marcel Duchamp’s Rotary Glass Plates (Precision Optics) (1920), Disks Bearing Spirals (1923), Rotary Demisphere (Precision Optics) (1925), and Rotoreliefs (Optical Disks) (1935), which likewise sought to investigate the optical properties of abstract (specifically circular) motifs. What distinguishes Duchamp from Tadasky is that the latter used abstract motifs to generate the impression of movement—what we might think of as virtual movement—while the former set his abstract motifs in motion electrically. Duchamp exerted a profound influence on postwar American artists, particularly after his 1963 retrospective at the Pasadena Art Museum, which was responsible for prompting renewed interest in the artist’s work.", "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/1991.329.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.329.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.329.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.329.tif", "IsPrimary" : "1", "_SurrogateID" : "1574", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.329.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.329.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.329.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.329.mp3", "IsPrimary" : "0", "_SurrogateID" : "8644", "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" : 14456, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14456", "Disp_Access_No" : "1991.308", "_AccNumSort1" : "", "Disp_Create_DT" : "1959-1965", "_Disp_Start_Dat" : "1959", "_Disp_End_Date" : "1965", "Disp_Title" : "Tempesta", "Alt_Title" : "", "Obj_Title" : "Tempesta", "Series_Title" : "", "Disp_Maker_1" : "Beverly Pepper", "Sort_Artist" : "Pepper, Beverly", "Disp_Dimen" : "149.6 cm x 199.5 cm (58 7/8 in. x 78 9/16 in.)", "Disp_Height" : "149.6 cm", "Disp_Width" : "199.5 cm", "Dimen_Extent" : "Sight", "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, 1991", "Copyright_Type" : "All BUT 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/1991.308.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.308.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.308.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.308.tif", "IsPrimary" : "1", "_SurrogateID" : "6370", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.308.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.308.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.308.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.308.mp3", "IsPrimary" : "0", "_SurrogateID" : "8542", "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" : 14466, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14466", "Disp_Access_No" : "1991.280", "_AccNumSort1" : "", "Disp_Create_DT" : "1961", "_Disp_Start_Dat" : "1961", "_Disp_End_Date" : "1961", "Disp_Title" : "Split Spectrum", "Alt_Title" : "", "Obj_Title" : "Split Spectrum", "Series_Title" : "", "Disp_Maker_1" : "Kenneth Noland", "Sort_Artist" : "Noland, Kenneth", "Disp_Dimen" : "177.6 cm x 177.6 cm (69 15/16 in. x 69 15/16 in.)", "Disp_Height" : "177.6 cm", "Disp_Width" : "177.6 cm", "Dimen_Extent" : "Sight", "Medium" : "Acrylic", "Support" : "unsized canvas", "Disp_Medium" : "Acrylic on unsized canvas", "Info_Page_Comm" : "", "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/1991.280.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.280.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.280.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.280.tif", "IsPrimary" : "1", "_SurrogateID" : "2966", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14471, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14471", "Disp_Access_No" : "1991.276", "_AccNumSort1" : "", "Disp_Create_DT" : "1960-1961", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1961", "Disp_Title" : "Rock Bottom", "Alt_Title" : "", "Obj_Title" : "Rock Bottom", "Series_Title" : "", "Disp_Maker_1" : "Joan Mitchell", "Sort_Artist" : "Mitchell, Joan", "Disp_Dimen" : "198.1 cm x 172.7 cm (78 in. x 68 in.)", "Disp_Height" : "198.1 cm", "Disp_Width" : "172.7 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Joan Mitchell made this painting on Long Island, New York in the summer of 1960; it is one of the only works she painted outside of France. Mitchell often looked to nature for her abstraction, and the cobalt blue paint that dominates this frenetic work is a color she begins to use frequently after her summer on the Long Island shores. Mitchell often painted scenes as seen through the filter of her memory, describing her works as “remembered landscapes . . . [which] become transformed” through the act of painting. In a review of her first solo show in Paris, which opened the year this painting was made, French critic Pierre Schneider wrote that Mitchell’s works divulged “conflicting hesitations and mutually abolishing decisions.” With its raw energy, dramatic drips, and emphatic gestures, "Rock Bottom" reveals the agency Mitchell exercises in her approach to abstraction, movement, color, and the picture. “It’s a very violent painting,” the artist once said of this painting. “And you might say [about] sea . . . rocks.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "none", "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/1991.276.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.276.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.276.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.276.tif", "IsPrimary" : "1", "_SurrogateID" : "1554", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.276.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.276.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.276.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.276.mp3", "IsPrimary" : "0", "_SurrogateID" : "8540", "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" : 14487, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14487", "Disp_Access_No" : "1991.264", "_AccNumSort1" : "", "Disp_Create_DT" : "1936-1937", "_Disp_Start_Dat" : "1936", "_Disp_End_Date" : "1937", "Disp_Title" : "Down for the Count", "Alt_Title" : "", "Obj_Title" : "Down for the Count", "Series_Title" : "", "Disp_Maker_1" : "Fletcher Martin", "Sort_Artist" : "Martin, Fletcher", "Disp_Dimen" : "75.6 cm x 120.7 cm (29 3/4 in. x 47 1/2 in.)", "Disp_Height" : "75.6 cm", "Disp_Width" : "120.7 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Fletcher Martin painted this smoky social realist boxing scene to symbolize the condition in which African Americans lived during the Depression. Martin spent his early career in California with Mexican muralist David Alfaro Siqueiros, whose influence is traceable here both in palette and in the artist’s empathy for oppressed African Americans. Martin produced "Down for the Count" after participating in the American Artists’ Congress in February 1936, during which many artists drew parallels between European fascism and racism in America. Martin’s works often feature men in conflict or experiencing trauma, even those that date to before his time as an artist-correspondent for LIFE magazine during World War II. Here Martin used linear perspective not only to create dramatic depth, but also to clearly demonstrate that these men are not on a level playing field.", "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/1991.264.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.264.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.264.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.264.tif", "IsPrimary" : "1", "_SurrogateID" : "14272", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14489, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14489", "Disp_Access_No" : "1991.262", "_AccNumSort1" : "", "Disp_Create_DT" : "1947", "_Disp_Start_Dat" : "1947", "_Disp_End_Date" : "1947", "Disp_Title" : "Movement: Sea, Ultramarine and Green; Sky, Cerulean and Grey", "Alt_Title" : "", "Obj_Title" : "Movement: Sea, Ultramarine and Green; Sky, Cerulean and Grey", "Series_Title" : "", "Disp_Maker_1" : "John Marin", "Sort_Artist" : "Marin, John", "Disp_Dimen" : "55 cm x 70.2 cm (21 5/8 in. x 27 5/8 in.)", "Disp_Height" : "55 cm", "Disp_Width" : "70.2 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Water's surface, blue and aquamarine, merges with a red sun; whitecaps shimmer on the horizon; a bright sky clouds over: this is John Marin's slivered glimpse of a windy seascape, painted toward the end of his long career. Here, patches of color, painted in oil, communicate with the cool transparency of watercolor, the medium Marin had formerly preferred. In the 1930s and '40s, interested in oil's textures, he applied his free brushwork to the new medium and to the seascape, a favorite expressive subject. In the year he made this work, Marin observed: "I'm calling my pictures this year Movements in Paint and not Movements of Boat, Sea or Sky, because in these new paintings, although I use objects, I am representing paint first of all, and not the motif primarily." For years Marin was associated with the avant-garde art circle centered around Alfred Stieglitz's gallery in New York, with artists such as Marsden Hartley and Georgia O'Keeffe. ", "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/1991.262.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.262.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.262.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.262.tif", "IsPrimary" : "1", "_SurrogateID" : "6889", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.262.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.262.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.262.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.262.mp3", "IsPrimary" : "0", "_SurrogateID" : "8538", "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" : 14494, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14494", "Disp_Access_No" : "1991.257", "_AccNumSort1" : "", "Disp_Create_DT" : "1961", "_Disp_Start_Dat" : "1961", "_Disp_End_Date" : "1961", "Disp_Title" : "Water-Shot", "Alt_Title" : "", "Obj_Title" : "Water-Shot", "Series_Title" : "", "Disp_Maker_1" : "Morris Louis", "Sort_Artist" : "Louis, Morris", "Disp_Dimen" : "214.7 cm x 135.3 cm (84 1/2 in. x 53 1/4 in.)", "Disp_Height" : "214.7 cm", "Disp_Width" : "135.3 cm", "Dimen_Extent" : "Sight", "Medium" : "Acrylic on unsized canvas", "Support" : "", "Disp_Medium" : "Acrylic on unsized canvas", "Info_Page_Comm" : "Helen Frankenthaler’s canny development of new working methods inspired other mid-century painters who were concerned less with artistic meaning and metaphor than with the formal and visual properties and processes of abstract painting. Morris Louis, a Washington, D.C.–based artist who was introduced to Frankenthaler by critic Clement Greenberg, took her staining process a step further, devising ways of soaking the canvas that involved neither brush nor gesture. By pouring Magna acrylic paint down the surface of a vertically tilted canvas and aggressively manipulating its flow with careful movements, he avoided any personal touch or texture that would divert attention from the purely optical effects and the resulting dynamic striations of color. Greenberg said about the method, “The fabric, being soaked in paint rather than merely covered by it, becomes paint in itself, color in itself.” Louis’s career was short, and he completed few series of paintings, although each was extraordinary in its own lyrical way. Water-Shot is from Stripes, his final series. Using nine hues to form the primary stripes, he achieved a complex chromatic range through overlaps and adjacencies, producing unexpected lushness with an economy of means. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "website (72 dpi, non-downloadable image) and publication approval (see form)", "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/1991.257.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.257.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.257.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.257.tif", "IsPrimary" : "1", "_SurrogateID" : "1547", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.257.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.257.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.257.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.257.mp3", "IsPrimary" : "0", "_SurrogateID" : "8509", "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" : 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" : 14504, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14504", "Disp_Access_No" : "1991.248", "_AccNumSort1" : "", "Disp_Create_DT" : "1960", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1960", "Disp_Title" : "Black and White No. 2", "Alt_Title" : "", "Obj_Title" : "Black and White No. 2", "Series_Title" : "", "Disp_Maker_1" : "Franz Kline", "Sort_Artist" : "Kline, Franz", "Disp_Dimen" : "203.9 cm x 155 cm (80 1/4 in. x 61 in.)", "Disp_Height" : "203.9 cm", "Disp_Width" : "155 cm", "Dimen_Extent" : "Sight", "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, 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/1991.248.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.248.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.248.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.248.tif", "IsPrimary" : "1", "_SurrogateID" : "1543", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.248.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.248.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.248.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.248.mp3", "IsPrimary" : "0", "_SurrogateID" : "8506", "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" : 14509, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14509", "Disp_Access_No" : "1991.243", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "Highball on the Redball Manifest", "Alt_Title" : "", "Obj_Title" : "Highball on the Redball Manifest", "Series_Title" : "", "Disp_Maker_1" : "Robert Indiana", "Sort_Artist" : "Indiana, Robert", "Disp_Dimen" : "152.4 cm x 127 cm (60 in. x 50 in.)", "Disp_Height" : "152.4 cm", "Disp_Width" : "127 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Robert Indiana has characterized the iconic text and numberfilled canvases he produced in the 1960s as paintings of “the American scene.” Indeed, their fonts and formats are reminiscent of quintessentially American subjects such as midcentury roadside signs, pinball machines, or roulette wheels. The large circle emblazoned on this canvas resembles the front of an old-fashioned steam train and contains stenciled letters with arcane locomotive terminology. Although Indiana’s paintings are visually arresting, the phrases he chooses are often more complex and layered than they initially appear. “Highball,” for example, refers to a signal used to start a train, usually given by lights or a hand gesture. It also refers to a cocktail served in a tall glass historically served on trains. Similarly, the number in the center—“25”—suggests the number of the train but may also serve as a nod to his address at the time: 25 Coenties Slip. While words have long been Indiana’s chosen medium, he only began to incorporate bold colors and hard edges into his paintings after a romantic relationship with artist Ellsworth Kelly. The two met in 1956 in New York when Kelly purchased a Matisse postcard that Indiana had displayed in the window of a store where he worked at the time. They subsequently became neighbors in a building on the Coenties Slip in the southeastern edge of lower Manhattan where a community of artists, including Agnes Martin and James Rosenquist, lived. Indiana later explained: "My painting life began with Ellsworth. Before Coenties Slip, I was aesthetically at sea. With Ellsworth, my whole life perspective changed. All of a sudden I was in the twentieth century. . . . I never thought about color until I knew Ellsworth.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "approved web site; all other uses must be approved 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/1991.243.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.243.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.243.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.243.tif", "IsPrimary" : "1", "_SurrogateID" : "3353", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.243.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.243.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.243.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.243.mp3", "IsPrimary" : "0", "_SurrogateID" : "8504", "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" : 14514, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14514", "Disp_Access_No" : "1991.239", "_AccNumSort1" : "", "Disp_Create_DT" : "1960", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1960", "Disp_Title" : "Elysium", "Alt_Title" : "", "Obj_Title" : "Elysium", "Series_Title" : "", "Disp_Maker_1" : "Hans Hofmann", "Sort_Artist" : "Hofmann, Hans", "Disp_Dimen" : "214 cm x 127.7 cm (84 1/4 in. x 50 1/4 in.)", "Disp_Height" : "214 cm", "Disp_Width" : "127.7 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "German immigrant Hans Hofmann founded art schools in the mid-1930s in New York and Provincetown, Massachusetts, and quickly became the most influential art teacher of his generation. He provided countless American students with a thorough understanding of the principles of the European avant-garde, and stressed to them the importance of establishing a dynamic equilibrium of image, surface, and composition in abstract painting. Noted for his brilliant understanding of theory and technique, Hofmann was the kind of gifted instructor who encouraged students to branch out in their own independent directions. Among those who studied with him were Louise Nevelson, Alfred Jensen, and Larry Rivers. In his own vibrant works, including three in the Blanton’s collection, Hofmann used a Cubist-like, grid-based pictorial structure to impose order upon the wild expressiveness of his high-keyed, opposing colors and rich, impastoed surfaces. His best paintings, like Elysium, created when he was eighty years old, achieve harmony within intensity, and embody both tension and balance. About the title, Hofmann said to collector James Michener, “It’s where old artists go when they die. It’s very clean and simple—only a nest of squares, but they tell everything.” ", "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/1991.239.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.239.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.239.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.239.tif", "IsPrimary" : "1", "_SurrogateID" : "1147", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.239.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.239.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.239.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.239.tif", "IsPrimary" : "0", "_SurrogateID" : "1537", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14519, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14519", "Disp_Access_No" : "1991.234", "_AccNumSort1" : "", "Disp_Create_DT" : "1961", "_Disp_Start_Dat" : "1961", "_Disp_End_Date" : "1961", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "Untitled", "Series_Title" : "", "Disp_Maker_1" : "Al Held", "Sort_Artist" : "Held, Al", "Disp_Dimen" : "230 cm x 183 cm (90 9/16 in. x 72 1/16 in.)", "Disp_Height" : "230 cm", "Disp_Width" : "183 cm", "Dimen_Extent" : "Sight", "Medium" : "Acrylic resin", "Support" : "linen canvas", "Disp_Medium" : "Acrylic resin on linen canvas", "Info_Page_Comm" : "", "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/1991.234.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.234.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.234.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.234.tif", "IsPrimary" : "0", "_SurrogateID" : "1532", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.234.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.234.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.234.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.234.mp3", "IsPrimary" : "0", "_SurrogateID" : "8501", "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/1991.234-frame.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.234-frame.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.234-frame.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.234-frame.tif", "IsPrimary" : "1", "_SurrogateID" : "18074", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14521, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14521", "Disp_Access_No" : "1991.232", "_AccNumSort1" : "", "Disp_Create_DT" : "1922-1923", "_Disp_Start_Dat" : "1922", "_Disp_End_Date" : "1923", "Disp_Title" : "New Mexico Recollection #12", "Alt_Title" : "", "Obj_Title" : "New Mexico Recollection #12", "Series_Title" : "", "Disp_Maker_1" : "Marsden Hartley", "Sort_Artist" : "Hartley, Marsden", "Disp_Dimen" : "76.6 cm x 101.7 cm (30 3/16 in. x 40 1/16 in.)", "Disp_Height" : "76.6 cm", "Disp_Width" : "101.7 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Works from this series by Marsden Hartley are an exercise in memory. Hartley completed this painting from his Berlin studio, where the American painter produced several remembrances of his time in the jagged, arid New Mexico landscape. In one of his essays on New Mexico, Hartley described the Southwest as “essentially a sculptural country.” In "Recollection #12," Hartley carved the barren topography into undulating waves of deep brown mountains, kicking up rolling gray clouds and woody green sagebrush. The landscape is highly stylized, influenced in part by his exposure to German Expressionism in Berlin in the years following World War I.", "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/1991.232.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.232.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.232.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.232.tif", "IsPrimary" : "1", "_SurrogateID" : "1531", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.232.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.232.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.232.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.232.mp3", "IsPrimary" : "0", "_SurrogateID" : "8500", "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" : 14529, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14529", "Disp_Access_No" : "1991.223", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "The Dialogue of the Edge (Study for Dark Green)", "Alt_Title" : "", "Obj_Title" : "The Dialogue of the Edge (Study for Dark Green)", "Series_Title" : "", "Disp_Maker_1" : "Arshile Gorky", "Sort_Artist" : "Gorky, Arshile", "Disp_Dimen" : "81.5 cm x 104.4 cm (32 1/16 in. x 41 1/8 in.)", "Disp_Height" : "81.5 cm", "Disp_Width" : "104.4 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Arshile Gorky, a charismatic émigré painter working in New York, helped forge the development of a more sophisticated language of American abstraction. His fluid, spontaneous style anticipated the achievements of the Abstract Expressionists in the late 1940s and 1950s. Exploring Surrealist ideas of automatic writing (drawing not consciously controlled), Gorky developed a singularly energetic line, which he combined with a variety of loose, painterly effects—the liberal use of thin washes of paint, occasional drips countered with heavily impastoed brushwork, and frequent scrubbing and scraping. In this work, one of numerous studies Gorky made for a painting now owned by the Philadelphia Museum of Art, the right zone is dominated by the erotic allusion to an opening into deep space that reveals fragments of human anatomy. On the left, a single pinched form seems to approach the painting’s divide. All the marks float in fields of amorphous color. Gorky likely painted this mysterious and somewhat disturbing work on his in-laws’ farm in Virginia in the summer of 1946, while recovering from both a studio fire that destroyed most of his recent paintings and cancer surgery a month later. During this period of extreme personal trauma, Gorky painted prolifically, creating some of his greatest works. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. Michener, 1991", "Copyright_Type" : "approved for web site; must approve other uses on a 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/1991.223.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.223.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.223.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.223.tif", "IsPrimary" : "1", "_SurrogateID" : "1528", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14533, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14533", "Disp_Access_No" : "1991.22", "_AccNumSort1" : "", "Disp_Create_DT" : "1859", "_Disp_Start_Dat" : "1859", "_Disp_End_Date" : "1859", "Disp_Title" : "Sioux Village near Fort Laramie", "Alt_Title" : "", "Obj_Title" : "Sioux Village near Fort Laramie", "Series_Title" : "", "Disp_Maker_1" : "Albert Bierstadt", "Sort_Artist" : "Bierstadt, Albert", "Disp_Dimen" : "31.8 cm x 49.3 cm (12 1/2 in. x 19 7/16 in.)", "Disp_Height" : "31.8 cm", "Disp_Width" : "49.3 cm", "Dimen_Extent" : "sight", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "When Albert Bierstadt painted this intimate study of a native encampment in 1859, he was twenty-nine years old and on his first journey to the American West. Accompanying an army expedition as its recorder, he sketched firsthand impressions of the new landscape and its people in pencil and pen-and-ink. Bierstadt’s spectacular western landscapes would lead within a decade to his celebration as the leading American painter of the West, but in this modest early work, it was the comparatively mundane details of native family life that captured his interest. Certain features are rendered with notable virtuosity—the lone, tall tree and the left-most teepee—but in general this work embodies a sense of quiet repose and timelessness, different from the theatrical vistas and stunning sites for which the artist is best known. Bierstadt was one of the first American observers and recorders of native life, but his intent was less scientific and anthropological than artistic: back in the studio, where he composed his monumental oil paintings, he often combined images from very different locales for dramatic effect. The camera tripod visible in this work is a remnant of another study trip by Bierstadt, who inserted it presumably to testify to his presence at the scene.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of C.R. Smith, 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/1991.22.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.22.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.22.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.22.tif", "IsPrimary" : "1", "_SurrogateID" : "1524", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.22.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.22.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.22.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.22.tif", "IsPrimary" : "0", "_SurrogateID" : "2700", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.22_detail_1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.22_detail_1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.22_detail_1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.22_detail_1.tif", "IsPrimary" : "0", "_SurrogateID" : "5894", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.22_detail-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.22_detail-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.22_detail-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.22_detail-2.tif", "IsPrimary" : "0", "_SurrogateID" : "5895", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14540, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14540", "Disp_Access_No" : "1991.213", "_AccNumSort1" : "", "Disp_Create_DT" : "1961", "_Disp_Start_Dat" : "1961", "_Disp_End_Date" : "1961", "Disp_Title" : "Over the Circle", "Alt_Title" : "", "Obj_Title" : "Over the Circle", "Series_Title" : "", "Disp_Maker_1" : "Helen Frankenthaler", "Sort_Artist" : "Frankenthaler, Helen", "Disp_Dimen" : "213.7 x 221 cm (84 1/8 x 87 in.)", "Disp_Height" : "213.7 cm", "Disp_Width" : "221 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Helen Frankenthaler produced this work on the floor of her Provincetown, Massachusetts, studio, standing and kneeling inside the black-rimmed circle and applying color with rollers, cloths, and palette knives. Using her signature staining technique, the artist overlapped translucent washes of color with gestural punches of pigment on unprimed canvas; diluted oil paint seeps from the edges of the forms as a result. Frankenthaler had begun working with rolls of unprimed canvas directly on the floor years earlier, inspired in part by Jackson Pollock’s action painting approach. “You could become a de Kooning disciple or satellite or mirror,” she said, “but you could depart from Pollock.” This work finds Frankenthaler’s practice at its most reductive, her composition pared down to an amorphous image floating in space, just over the circle.", "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/1991.213.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.213.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.213.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.213.tif", "IsPrimary" : "1", "_SurrogateID" : "13531", "Image_Type" : "Digital image", "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" : 14547, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14547", "Disp_Access_No" : "1991.205", "_AccNumSort1" : "", "Disp_Create_DT" : "1931", "_Disp_Start_Dat" : "1931", "_Disp_End_Date" : "1931", "Disp_Title" : "Lawn and Sky", "Alt_Title" : "", "Obj_Title" : "Lawn and Sky", "Series_Title" : "", "Disp_Maker_1" : "Stuart Davis", "Sort_Artist" : "Davis, Stuart", "Disp_Dimen" : "47.3 cm x 57.5 cm (18 5/8 in. x 22 5/8 in.)", "Disp_Height" : "47.3 cm", "Disp_Width" : "57.5 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Stuart Davis frequently thought of his compositions in relation to jazz, which he considered the musical counterpart to abstract art. This is evident in "Lawn and Sky," in which Davis superimposed several views of his summer retreat in Gloucester, Massachusetts, within a single composition. The work hints at musicality in colorful symbols scattered throughout the picture: a pink squiggle resembles a bass clef, egg-like spheres appear like a two-note chord, and the red infinity symbol, or gruppetto, indicates a sequence of notes that boomerang up and down before returning to their principal note. Artist Robert Henri, who mentored Davis and who is also represented in the Blanton’s collection, encouraged his students to pursue spontaneity in their work. As in jazz, Davis’s decisions regarding the composition of "Lawn and Sky" are both harmonious and spontaneous, generating a visual rhythm.", "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/1991.205.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.205.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.205.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.205.tif", "IsPrimary" : "1", "_SurrogateID" : "6389", "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" : 14578, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14578", "Disp_Access_No" : "1991.177", "_AccNumSort1" : "", "Disp_Create_DT" : "1960", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1960", "Disp_Title" : "Plus Reversed", "Alt_Title" : "", "Obj_Title" : "Plus Reversed", "Series_Title" : "", "Disp_Maker_1" : "Richard Joseph Anuszkiewicz", "Sort_Artist" : "Anuszkiewicz, Richard Joseph", "Disp_Dimen" : "189.6 cm x 148 cm (74 5/8 in. x 58 1/4 in.)", "Disp_Height" : "189.6 cm", "Disp_Width" : "148 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Like a scientist observing objective data, Richard Anuszkiewicz regards his paintings as experiments, investigations, and studies of color. A student of Josef Albers, the leading professor of color theory in the United States, Anuszkiewicz has developed a compelling painting style that gives visual form to scientific principles. Plus Reversed is a key example of what has been called Optical art or Op art in the United States—a painting whose color and pattern conjunctions cause involuntary perceptual effects in its viewer. Here the artist paired the complementary colors of red and green in repetitive patterns of plus-shaped signs, reminiscent of the voltage symbols on a battery. The juxtaposition of colors intensifies their vividness and induces a flickering retinal effect. The patterning creates a further reverberation of its own by changing colors as it expands outward, suggesting movement. Plus Reversed is one of Anuszkiewicz’s most accomplished early works; shown in important exhibitions, it received wide critical review in the 1960s. It is also the first painting the artist ever sold: according to collector James Michener, who saw it displayed in a gallery window on Madison Avenue in New York, “It quite knocked me over and I bought it on the spot.” ", "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/1991.177.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.177.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.177.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.177.tif", "IsPrimary" : "1", "_SurrogateID" : "1508", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.177.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.177.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.177.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/1991.177.mp3", "IsPrimary" : "0", "_SurrogateID" : "8477", "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" : 14588, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14588", "Disp_Access_No" : "1991.108", "_AccNumSort1" : "", "Disp_Create_DT" : "1791", "_Disp_Start_Dat" : "1791", "_Disp_End_Date" : "1791", "Disp_Title" : "Lady Hamilton", "Alt_Title" : "", "Obj_Title" : "Lady Hamilton", "Series_Title" : "", "Disp_Maker_1" : "George Romney", "Sort_Artist" : "Romney, George", "Disp_Dimen" : "159.1 cm x 133.1 cm (62 5/8 in. x 52 3/8 in.)", "Disp_Height" : "159.1 cm", "Disp_Width" : "133.1 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The daughter of a blacksmith, Emma Hart sat for this portrait on September 6, 1791, the day of her wedding to Sir William Hamilton, George III’s envoy to Naples. She was twenty-six, and Sir William was sixty years old. Behind Emma in her white dress is an erupting Mount Vesuvius that references her husband’s publication on the volcano. The painting also marks the end of Emma’s ten-year association with George Romney, one of the leading portrait painters of the day. Emma had captivated him with her beauty from the time she had first visited his London studio as a model in 1781. During her rise in society as a gentleman’s mistress, Romney had painted as many as fifty-seven portraits of Emma in various guises and attitudes. This portrait was to be his last depiction of her.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of Jack G. Taylor, 1991", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "English", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "In great condition Will hold up anywhere, one of the jewels in our crown (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.108_Steph.mov", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.108_Steph.mov", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.108_Steph.mov", "IIIF_URL": "http://iiif.gallerysystems.com/1991.108_Steph.mov", "IsPrimary" : "0", "_SurrogateID" : "6917", "Image_Type" : "Video", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.108.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.108.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.108.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.108.tif", "IsPrimary" : "1", "_SurrogateID" : "1503", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14589, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14589", "Disp_Access_No" : "1991.107", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1800", "_Disp_Start_Dat" : "1795", "_Disp_End_Date" : "1805", "Disp_Title" : "Admiral Sir William Sidney Smith", "Alt_Title" : "", "Obj_Title" : "Admiral Sir William Sidney Smith", "Series_Title" : "", "Disp_Maker_1" : "Sir Henry Raeburn", "Sort_Artist" : "Raeburn, Sir Henry", "Disp_Dimen" : "72.3 cm x 60.3 cm (28 7/16 in. x 23 3/4 in.)", "Disp_Height" : "72.3 cm", "Disp_Width" : "60.3 cm", "Dimen_Extent" : "sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Admiral Sir William Sidney Smith, the British naval officer pictured here, forged a reputation as a war hero who excelled at combining land and sea operations. He is well known for breaking Napoleon’s siege of Acre in what is now Israel during the French Revolutionary Wars. However, the same impulsiveness and energy that perhaps made Smith successful in war later damaged his reputation. His character might have been chivalrous and brave, but his unconventional ways sparked fear and distrust. Sir Henry Raeburn, the painter of this portrait, typically set his canvas beside or behind his subject and then made conversation until he witnessed the desired expression. Raeburn then moved to the canvas and recorded the picture in his mind as quickly as possible.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of Jack G. Taylor, 1991", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "English", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition issues, conservation issues: needs to be cleaned Once cleaned, would be nice addition to portrait gallery (FC:jb 5/13/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.107.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.107.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.107.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.107.tif", "IsPrimary" : "1", "_SurrogateID" : "1502", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14590, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14590", "Disp_Access_No" : "1991.106", "_AccNumSort1" : "", "Disp_Create_DT" : "17th century", "_Disp_Start_Dat" : "1600", "_Disp_End_Date" : "1699", "Disp_Title" : "Still Life of Flowers in a Glass Vase", "Alt_Title" : "", "Obj_Title" : "Still Life of Flowers in a Glass Vase", "Series_Title" : "", "Disp_Maker_1" : "Bartolomé Pérez", "Sort_Artist" : "Pérez, Bartolomé", "Disp_Dimen" : "92.1 cm x 74.9 cm (36 1/4 in. x 29 1/2 in.)", "Disp_Height" : "92.1 cm", "Disp_Width" : "74.9 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Flower painting in Europe has been closely associated with the "vanitas" theme because of the ephemeral nature and the beauty of its subject matter. Delicate flowers in full bloom, droplets of dew that will disappear with sunrise, and bowed stems soon to wilt symbolize the brevity of human life. In this painting, the glass vase adds to the sense of fragility. Bartolomé Pérez was one of the most celebrated flower painters in Spain in his time. Notice how his use of bold colors and brushstrokes enliven every petal and stem of the flowers. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of Jack G. Taylor, 1991", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Spanish", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Possible conservation issue, needs opinion from conservator; condition issues (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.106.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.106.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.106.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.106.tif", "IsPrimary" : "1", "_SurrogateID" : "3693", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14593, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14593", "Disp_Access_No" : "1991.103", "_AccNumSort1" : "", "Disp_Create_DT" : "1796", "_Disp_Start_Dat" : "1796", "_Disp_End_Date" : "1796", "Disp_Title" : "Lady Charlotte Hornby", "Alt_Title" : "", "Obj_Title" : "Lady Charlotte Hornby", "Series_Title" : "", "Disp_Maker_1" : "Sir Thomas Lawrence", "Sort_Artist" : "Lawrence, Sir Thomas", "Disp_Dimen" : "94.6 cm x 83.2 cm (37 1/4 in. x 32 3/4 in.)", "Disp_Height" : "94.6 cm", "Disp_Width" : "83.2 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Sir Thomas Lawrence painted this portrait around the time of Lady Charlotte Hornby’s marriage on August 22, 1796. The artist captures her turning in her chair to view him. Her hair falls down over her shoulders, her dress is unadorned, and her rosy cheeks and lips suggest a spontaneous moment from everyday life. Lawrence was known for sketching sitters for hours before applying any paint. The interaction between artist and sitter was of fundamental importance to Lawrence, but the implied intimacy at the heart of Lawrence’s successful depictions of women also gave the painter a reputation for being “morally dubious.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of Jack G. Taylor, 1991", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "English", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Stands up next to the Romney (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.103.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.103.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.103.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.103.tif", "IsPrimary" : "1", "_SurrogateID" : "1501", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14594, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14594", "Disp_Access_No" : "1991.102", "_AccNumSort1" : "", "Disp_Create_DT" : "1781", "_Disp_Start_Dat" : "1781", "_Disp_End_Date" : "1781", "Disp_Title" : "His Royal Highness, George, Prince of Wales", "Alt_Title" : "", "Obj_Title" : "His Royal Highness, George, Prince of Wales", "Series_Title" : "", "Disp_Maker_1" : "Thomas Gainsborough", "Sort_Artist" : "Gainsborough, Thomas", "Disp_Dimen" : "96.6 cm x 83.9 cm (38 1/16 in. x 33 1/16 in.)", "Disp_Height" : "96.6 cm", "Disp_Width" : "83.9 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "One of King George III’s favorite painters, Thomas Gainsborough portrayed the king’s eldest son, George, Prince of Wales, on numerous occasions. For this portrait, the prince chose to wear a green coat decorated with gold and silver thread, a lace kerchief, and a blue waistcoat. On his chest is a silver eight-pointed star that signified his status as a knight of the Order of the Garter. The London press criticized the prince, known for his vanity and extravagance, as being a fop whose clothing “disgusted the eye and gave an idea of expense without conveying the least sensation of taste or elegance.” Other printed attacks described the prince’s friends as “flatterers . . . gamesters and debauchees.” Gainsborough painted his works with confidence and speed, both of which are exemplified in this portrait. The juxtaposition of the carefully rendered face and the loosely painted background shows how the artist varied his brushwork to emphasize the sitter and at the same time show off his virtuosity.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of Jack G. Taylor, 1991", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "English", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Conservation: needs oval frame, in good condition (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.102.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.102.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.102.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.102.tif", "IsPrimary" : "1", "_SurrogateID" : "1500", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14628, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14628", "Disp_Access_No" : "1988.29", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 430 BCE - 420 BCE", "_Disp_Start_Dat" : "430 BCE", "_Disp_End_Date" : "420 BCE", "Disp_Title" : "Campanian Red-Figure Kantharos", "Alt_Title" : "", "Obj_Title" : "Campanian Red-Figure Kantharos", "Series_Title" : "", "Disp_Maker_1" : "Anonymous", "Sort_Artist" : "Anonymous", "Disp_Dimen" : "13 cm x 17.5 cm x 12.8 cm (5 1/8 in. x 6 7/8 in. x 5 1/16 in.)", "Disp_Height" : "13 cm", "Disp_Width" : "17.5 cm", "Dimen_Extent" : "HLW", "Medium" : "Terracotta", "Support" : "", "Disp_Medium" : "Terracotta", "Info_Page_Comm" : "A nude male with a spear reclines on a rock. Hanging in the background is a wreath. On the other side, Eros, the god of love, carries a fillet (hair band), possibly to give to the seated man. Two-handled cups of this shape were strongly associated with Dionysus, the god of wine, and were especially popular in the Greek region of Boeotia. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1988", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "ceramic", "Creation_Place2" : "Greek-Boeotian", "Department" : "", "Obj_Name" : "", "Period" : "Ancient", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1988.29.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1988.29.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1988.29.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1988.29.tif", "IsPrimary" : "1", "_SurrogateID" : "2859", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1988.29_front.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1988.29_front.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1988.29_front.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1988.29_front.tif", "IsPrimary" : "0", "_SurrogateID" : "4358", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1988.29_back.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1988.29_back.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1988.29_back.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1988.29_back.tif", "IsPrimary" : "0", "_SurrogateID" : "4359", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14629, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14629", "Disp_Access_No" : "1988.28", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 360 BCE-300 BCE", "_Disp_Start_Dat" : "360 BCE", "_Disp_End_Date" : "300 BCE", "Disp_Title" : "Pelike (Jar)", "Alt_Title" : "", "Obj_Title" : "Pelike (Jar)", "Series_Title" : "", "Disp_Maker_1" : "Anonymous", "Sort_Artist" : "Anonymous", "Disp_Dimen" : "31.3 cm x 19.1 cm x 17.8 cm (12 5/16 in. x 7 1/2 in. x 7 in.)", "Disp_Height" : "31.3 cm", "Disp_Width" : "19.1 cm", "Dimen_Extent" : "HLW", "Medium" : "Terracotta", "Support" : "", "Disp_Medium" : "Terracotta", "Info_Page_Comm" : "Winged Eros, the god of love, chases a fawn, often associated with young women. The use of added color, such as the red, white, and yellow on this vase, is typical of this pottery style, which is known for its ornate decoration. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. 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He is nude except for a cloth tied around his waist. The exaggerated features, such as the beaked nose, ill-proportioned head, and strangely thin arms, indicate that he probably belonged to a marginalized class in society. The shaved head with a single lock of hair on top may suggest that he is a slave. The exotic portrayal of slaves and foreigners in bronze figurines was popular in Alexandria, a major port city in the Hellenistic period. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Frost Brothers Benefit and Archer M. Huntington Museum Fund, 1986", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Greek", "Department" : "", "Obj_Name" : "", "Period" : "Ancient", "Style" : "", "Edition" : "", "Curator" : "Place it on a rotating base. (FC:jp 6/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1986.46.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.46.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.46.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.46.tif", "IsPrimary" : "1", "_SurrogateID" : "2858", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14711, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14711", "Disp_Access_No" : "1986.333", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Physichromie No. 394 [Physichromy No. 394]", "Alt_Title" : "", "Obj_Title" : "Physichromie No. 394", "Series_Title" : "", "Disp_Maker_1" : "Carlos Cruz-Diez", "Sort_Artist" : "Cruz-Diez, Carlos", "Disp_Dimen" : "121.3 cm x 62.2 cm x 6.3 cm (47 3/4 in. x 24 1/2 in. x 2 1/2 in.)", "Disp_Height" : "121.3 cm", "Disp_Width" : "62.2 cm", "Dimen_Extent" : "HLW", "Medium" : "Vinyl paint, plywood, cardboard, plastic, and metal frame ", "Support" : "", "Disp_Medium" : "Vinyl paint, plywood, cardboard, plastic, and metal frame ", "Info_Page_Comm" : "Carlos Cruz-Diez began his "Physichromie" series in 1959 and continues it today. Its title is a combination of the words “physical” and “chromatic,” a reflection of Cruz-Diez’s lifelong ambition to create situations in which viewers could experience color not only visually, but also physically. According to the artist, “color is constantly in the making . . . it happens in time.” "Physichromie No. 394" is composed of parallel columns of plastic strips, whose colors are reflected and refracted through other translucent plastic strips, thereby generating colors and forms that change depending on the perspective of the moving viewer.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Irene Shapiro, 1986", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Venezuelan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1986.333.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.333.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.333.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.333.tif", "IsPrimary" : "1", "_SurrogateID" : "1346", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14719, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14719", "Disp_Access_No" : "1986.309", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1970", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1975", "Disp_Title" : "Espacio horizontal limitado [Limited Horizontal Space]", "Alt_Title" : "Limited Horizontal Space", "Obj_Title" : "Espacio horizontal limitado [Limited Horizontal Space]", "Series_Title" : "", "Disp_Maker_1" : "Carlos Rojas", "Sort_Artist" : "Rojas, Carlos", "Disp_Dimen" : "126.3 cm x 126.2 cm (49 3/4 in. x 49 11/16 in.)", "Disp_Height" : "126.3 cm", "Disp_Width" : "126.2 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Carlos Rojas emerged in the mid-1960s and soon established himself as one of the leading contemporary abstract artists in Colombia. This painting is part of his series "Ingeniería de la visión [Engineering of Vision]." Inspired by urban architecture, Rojas undertook a rational exploration of the square with the utmost economy of means. Here his visual vocabulary is limited to narrow stripes in black and white, composed of dashed and solid lines, which run parallel and turn at right angles on a black field. With a few lines Rojas implies a complex geometric configuration.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Barbara Duncan, 1986", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Colombian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1986.309.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.309.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.309.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.309.tif", "IsPrimary" : "1", "_SurrogateID" : "6428", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14720, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14720", "Disp_Access_No" : "1986.304", "_AccNumSort1" : "", "Disp_Create_DT" : "1975", "_Disp_Start_Dat" : "1975", "_Disp_End_Date" : "1975", "Disp_Title" : "Hidroluz [Hydrolight]", "Alt_Title" : "Hydrolight", "Obj_Title" : "Hidroluz [Hydrolight]", "Series_Title" : "", "Disp_Maker_1" : "Gyula Kosice", "Sort_Artist" : "Kosice, Gyula", "Disp_Dimen" : "120.7 cm x 51.1 cm x 24.8 cm (47 1/2 in. x 20 1/8 in. x 9 3/4 in.)", "Disp_Height" : "120.7 cm", "Disp_Width" : "51.1 cm", "Dimen_Extent" : "HLW", "Medium" : "Plexiglas, light, motor, and water in a wooden case", "Support" : "", "Disp_Medium" : "Plexiglas, light, motor, and water in a wooden case", "Info_Page_Comm" : "Science, or more specifically science fiction, has been at the heart of Gyula Kosice’s work since he co-founded the avant-garde Madí movement in Buenos Aires in 1946. At that time he was a pioneer in introducing movement into sculpture and letting the viewer manipulate the work. By the 1960s he was experimenting with modern materials like Plexiglas, neon, and electrical motors. His utopian belief in the ability of science to create new and better worlds led in the early 1970s to his project for the Hydrospatial City, an imaginary environment suspended in space where artworks are no longer necessary because the aesthetic experience has been dissolved into everyday life. Hidroluz with its modern materials is typical of the work he was making as he developed his plans for the City. The jet of water against the Plexiglas sphere creates an infinite variety of forms and a dematerialized sculptural experience. While many of Kosice’s avant-garde colleagues of the 1940s abandoned art altogether or turned to more conventional work, Kosice continued to believe in the transformative power of art and the need to create new utopian models for living. As much as a wall relief, Hidroluz can be considered a fragment of a new living environment.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Barbara Duncan, 1986", "Copyright_Type" : "All approved.", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1986.304.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.304.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.304.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.304.tif", "IsPrimary" : "1", "_SurrogateID" : "1345", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14724, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14724", "Disp_Access_No" : "1986.290", "_AccNumSort1" : "", "Disp_Create_DT" : "1976", "_Disp_Start_Dat" : "1976", "_Disp_End_Date" : "1976", "Disp_Title" : "Tres sectores circulares [Three Circular Sectors]", "Alt_Title" : "Three Circular Sectors", "Obj_Title" : "Tres sectores circulares [Three Circular Sectors]", "Series_Title" : "", "Disp_Maker_1" : "Manuel Felguérez", "Sort_Artist" : "Felguérez, Manuel", "Disp_Dimen" : "30.5 cm x 40.1 cm x 12.8 cm (12 in. x 15 13/16 in. x 5 1/16 in.)", "Disp_Height" : "30.5 cm", "Disp_Width" : "40.1 cm", "Dimen_Extent" : "HLW", "Medium" : "Painted metal", "Support" : "", "Disp_Medium" : "Painted metal", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Carol Straus, 1986", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1986.290.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.290.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.290.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.290.tif", "IsPrimary" : "1", "_SurrogateID" : "1343", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14807, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14807", "Disp_Access_No" : "1986.175", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1957", "_Disp_Start_Dat" : "1952", "_Disp_End_Date" : "1962", "Disp_Title" : "Le Modèle II", "Alt_Title" : "Le Modèle", "Obj_Title" : "Le Modèle II", "Series_Title" : "", "Disp_Maker_1" : "Tamara De Lempicka", "Sort_Artist" : "De Lempicka, Tamara", "Disp_Dimen" : "76.2 cm x 46.9 cm (30 in. x 18 7/16 in.)", "Disp_Height" : "76.2 cm", "Disp_Width" : "46.9 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 Kizette de Lempicka Foxhall, 1986", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Polish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1986.175.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.175.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.175.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.175.tif", "IsPrimary" : "0", "_SurrogateID" : "3450", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1986.175-2018.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.175-2018.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.175-2018.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.175-2018.tif", "IsPrimary" : "1", "_SurrogateID" : "18063", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14838, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14838", "Disp_Access_No" : "1985.35", "_AccNumSort1" : "", "Disp_Create_DT" : "1983", "_Disp_Start_Dat" : "1983", "_Disp_End_Date" : "1983", "Disp_Title" : "Pantheon II", "Alt_Title" : "", "Obj_Title" : "Pantheon II", "Series_Title" : "", "Disp_Maker_1" : "Sam Gilliam", "Sort_Artist" : "Gilliam, Sam", "Disp_Dimen" : "205.8 cm x 148 cm (81 in. x 58 1/4 in.)", "Disp_Height" : "205.8 cm", "Disp_Width" : "148 cm", "Dimen_Extent" : "Outer dimension", "Medium" : "Acrylic on canvas and polyurethane enamel on aluminum", "Support" : "", "Disp_Medium" : "Acrylic on canvas and polyurethane enamel on aluminum", "Info_Page_Comm" : "In the late 1960s Sam Gilliam helped liberate painting from its traditionally constricted presentation by loosely draping stained canvases on the wall. During the following decade, when abstract painting was still equated with the modernist dogma “less is more”, the artist employed increasingly complex and geometric internal structures in his studio works and his large-scale public commissions. The profuseness of visual elements, which has led critics to call Gilliam’s art “baroque”, imparts a dazzling and almost theatrical quality to the works and seems to reflect the dynamism of modern life. Yet the rich and energetic aspects of Gilliam’s work are typically counterbalanced by a sense of coherence and harmony. In fact, Gilliam’s art can best be described as seeming spontaneous and eccentric, while being predetermined and rigorous. Pantheon II is one of a series of multiple-plane collages referring to the Greek word “pantheon”, a place inhabited by gods. The rhythms of shapes, colors and textures in the series echo the harmonies, dissonances and counterpoints of musical composition. Gilliam’s works have always possessed an extraordinary awareness of and power over the contexts in which they are seen; their intense coloration of clashing and complementary hues electrifies the surrounding space. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1985", "Copyright_Type" : "", "Disp_Obj_Type" : "construction", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1985.35.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1985.35.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1985.35.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1985.35.tif", "IsPrimary" : "1", "_SurrogateID" : "3387", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14852, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14852", "Disp_Access_No" : "1985.18", "_AccNumSort1" : "", "Disp_Create_DT" : "1740s", "_Disp_Start_Dat" : "1740", "_Disp_End_Date" : "1740", "Disp_Title" : "The Adoration of the Magi", "Alt_Title" : "", "Obj_Title" : "The Adoration of the Magi", "Series_Title" : "", "Disp_Maker_1" : "Francesco Fontebasso", "Sort_Artist" : "Fontebasso, Francesco", "Disp_Dimen" : "63.5 cm x 76.2 cm (25 in. x 30 in.)", "Disp_Height" : "63.5 cm", "Disp_Width" : "76.2 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, Frost Brothers Benefit and Archer M. Huntington Museum Fund, 1985", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Not in play Could be next to Anton Kern because it uses the same pigments and color values; in great condition (FC:jb 4/6/15) Ranking changed, in play (FC: jp 7/3/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1985.18.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1985.18.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1985.18.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1985.18.tif", "IsPrimary" : "1", "_SurrogateID" : "1319", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14887, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14887", "Disp_Access_No" : "1984.8", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1945", "_Disp_Start_Dat" : "1940", "_Disp_End_Date" : "1950", "Disp_Title" : "Acrobats", "Alt_Title" : "", "Obj_Title" : "Acrobats", "Series_Title" : "", "Disp_Maker_1" : "Mary Callery", "Sort_Artist" : "Callery, Mary", "Disp_Dimen" : "104.5 cm x 168.8 cm (41 1/8 in. x 66 7/16 in.)", "Disp_Height" : "104.5 cm", "Disp_Width" : "168.8 cm", "Dimen_Extent" : "HLW", "Medium" : "Bronze with patina", "Support" : "", "Disp_Medium" : "Bronze with patina", "Info_Page_Comm" : "Mary Callery’s playful sculpture depicts two acrobats, one balanced atop the other. The elongated limbs and continuous forms of the two figures suggest their graceful, flowing movements and create a sense of airiness within the sculpture. Callery’s experimentation with the positive and negative spaces of sculpture reflects her close knowledge of modern art, gained firsthand through her friendship with and collecting of work by Pablo Picasso, Fernand Léger, and others during the decade Callery spent in Paris before returning to New York in 1940. Although better known today as a collector than as an artist, Callery exhibited her sculpture widely from the 1940s through the 1960s, executed public commissions at venues such as the Metropolitan Opera at Lincoln Center, and was a member of the summer faculty at the celebrated, experimental Black Mountain College in North Carolina.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Hester Diamond, 1984", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.8.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.8.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.8.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.8.tif", "IsPrimary" : "1", "_SurrogateID" : "6432", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14888, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14888", "Disp_Access_No" : "1984.79", "_AccNumSort1" : "", "Disp_Create_DT" : "after 100 BCE - before 100", "_Disp_Start_Dat" : "100 BCE", "_Disp_End_Date" : "100", "Disp_Title" : "Figure of Autumn", "Alt_Title" : "", "Obj_Title" : "Figure of Autumn", "Series_Title" : "", "Disp_Maker_1" : "Anonymous", "Sort_Artist" : "Anonymous", "Disp_Dimen" : "10.1 cm x 4.5 cm x 3.5 cm (4 in. x 1 3/4 in. x 1 3/8 in.)", "Disp_Height" : "10.1 cm", "Disp_Width" : "4.5 cm", "Dimen_Extent" : "HLW", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Roman (Greek?)", "Department" : "", "Obj_Name" : "", "Period" : "Ancient", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.79.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.79.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.79.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.79.tif", "IsPrimary" : "1", "_SurrogateID" : "12307", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14897, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14897", "Disp_Access_No" : "1984.57", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1650-1655", "_Disp_Start_Dat" : "1650", "_Disp_End_Date" : "1655", "Disp_Title" : "Personification of Astrology", "Alt_Title" : "", "Obj_Title" : "Personification of Astrology", "Series_Title" : "", "Disp_Maker_1" : "Guercino (Giovanni Francesco Barbieri)", "Sort_Artist" : "Guercino (Giovanni Francesco Barbieri)", "Disp_Dimen" : "81 cm x 65.6 cm (31 7/8 in. x 25 13/16 in.)", "Disp_Height" : "81 cm", "Disp_Width" : "65.6 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Guercino, the leading artist in Bologna during the mid-seventeenth century, simplified Cesare Ripa’s description of Astrology. Ripa describes her as a science “devoted to the contemplation of the celestial bodies,” wearing blue clothing and a starry cap. Guercino gives her these attributes but omits others mentioned in Ripa: her wings, a celestial globe, compass, and scepter. Instead, he paints her looking at a demonstrational armillary sphere with Earth at its center. The sphere consists of metal rings that represent the equator, tropics, arctic, and Antarctic circles, revolving on an axis. It is notable that Guercino spotlights this geocentric device rather than a heliocentric one about two decades after Galileo’s "Dialogue Concerning the Two Great World Systems" (1632) confirmed Copernicus’s theory that the earth revolved around the sun. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Does this have a "twin" somewhere? (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.57.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.57.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.57.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.57.tif", "IsPrimary" : "1", "_SurrogateID" : "1302", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14898, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14898", "Disp_Access_No" : "1984.56", "_AccNumSort1" : "", "Disp_Create_DT" : "17th century", "_Disp_Start_Dat" : "1600", "_Disp_End_Date" : "1699", "Disp_Title" : "A Roemer with Grapes, a Pewter Plate, and a Roll", "Alt_Title" : "", "Obj_Title" : "A Roemer with Grapes, a Pewter Plate, and a Roll", "Series_Title" : "", "Disp_Maker_1" : "Abraham van Beyeren", "Sort_Artist" : "Beyeren, Abraham van", "Disp_Dimen" : "92.7 cm x 79.4 cm (36 1/2 in. x 31 1/4 in.)", "Disp_Height" : "92.7 cm", "Disp_Width" : "79.4 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Still-life painting became popular in Europe in the seventeenth century. Lacking the traditional patronage of Church and court, Dutch artists excelled at these banquet table scenes. They were especially popular among the growing merchant class who were interested in commercial goods. These paintings also served as reminders of the transient nature of life. Here, the artist shows plates precariously set near the edge of the table on a rumpled tablecloth and a knife with its handle jutting out towards the spectator, which suggests a sudden departure of people from the scene. The pocket watch with a winding key on a ribbon further emphasizes the effect of fleeting time. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Dutch", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.56.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.56.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.56.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.56.tif", "IsPrimary" : "1", "_SurrogateID" : "1301", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14899, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14899", "Disp_Access_No" : "1984.55", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1595-1600", "_Disp_Start_Dat" : "1595", "_Disp_End_Date" : "1600", "Disp_Title" : "Raising of Lazarus", "Alt_Title" : "", "Obj_Title" : "Raising of Lazarus", "Series_Title" : "", "Disp_Maker_1" : "Joachim Wtewael and workshop", "Sort_Artist" : "Wtewael and workshop, Joachim", "Disp_Dimen" : "132.1 cm x 170.2 cm (52 in. x 67 in.)", "Disp_Height" : "132.1 cm", "Disp_Width" : "170.2 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting is one of four known copies made in Wtewael’s workshop of his now lost original. It displays all the Mannerist characteristics for which the master was known, including vivid colors, compressed space, and contorted figures disproportionate to their surroundings. Wtewael based this work on Abraham Bloemart’s painting of the same subject, which he likely saw in an engraved reproduction. This kind of artistic borrowing through intermediary prints and subsequent copying of one’s own work helped spread new ideas about style and ideology to a wider audience.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Dutch", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Medallion (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.55_detail6.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.55_detail6.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.55_detail6.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.55_detail6.tif", "IsPrimary" : "0", "_SurrogateID" : "7812", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.55_detail4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.55_detail4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.55_detail4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.55_detail4.tif", "IsPrimary" : "0", "_SurrogateID" : "7811", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.55_detail3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.55_detail3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.55_detail3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.55_detail3.tif", "IsPrimary" : "0", "_SurrogateID" : "7810", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.55_detail2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.55_detail2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.55_detail2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.55_detail2.tif", "IsPrimary" : "0", "_SurrogateID" : "7809", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.55_detail1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.55_detail1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.55_detail1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.55_detail1.tif", "IsPrimary" : "0", "_SurrogateID" : "7808", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.55_detail5.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.55_detail5.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.55_detail5.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.55_detail5.tif", "IsPrimary" : "0", "_SurrogateID" : "7807", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.55.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.55.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.55.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.55.tif", "IsPrimary" : "1", "_SurrogateID" : "1300", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14901, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14901", "Disp_Access_No" : "1984.53", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1583", "_Disp_Start_Dat" : "1578", "_Disp_End_Date" : "1588", "Disp_Title" : "Saint Catherine", "Alt_Title" : "", "Obj_Title" : "Saint Catherine", "Series_Title" : "", "Disp_Maker_1" : "Bartholomaeus Spranger", "Sort_Artist" : "Spranger, Bartholomaeus", "Disp_Dimen" : "37.2 cm x 30.5 cm (14 5/8 in. x 12 in.)", "Disp_Height" : "37.2 cm", "Disp_Width" : "30.5 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "wood panel", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Beautiful, pious, and able to wear the “crown of martyrdom,” the Saints Catherine, Margaret, and Ursula are prime subjects for devotional painting. According to "The Golden Legend," a popular medieval text on the lives of the saints, Catherine converted multitudes using her great wisdom and erudition. She holds the sword used for her own beheading in one hand and a book in the other. She also stands over a Roman emperor who attempted to kill her on a spiked wheel. Likewise, Margaret stands triumphant over her enemy, a demon dragon, whom she defeated by making the sign of the cross. (This action takes material form as the wooden cross in her left hand.) Ursula is shown, not with her enemy, but with a crowd of fellow martyrs, whom she led during persecution. From the complex folds of the saints’ drapery to a delicate rendering of jewelry, flower petals, and even toes, Bartholomaeus Spranger’s interest in detail connects the artist to his Netherlandish roots and a Northern Renaissance style of painting. But it also draws the viewer into a closer study of the saints. For instance, notice the prominent pearl on Margaret’s forehead attached to strands of smaller pearls in her hair. According to the "Legend," the saint’s name corresponds with the Latin word for a pearl, margarita, a “precious gem [that shines] white, small, and endowed with virtue.” In like manner, says the "Legend," “Saint Margaret was shining white by her virginity, small by her humility, and endowed with the power to work miracles.” For viewers familiar with her story, a study of the painting’s details could lead to a meditation on the saint’s character.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Flemish", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "14903", "Rel_Obj_Title" : "Saint Margaret" },{ "Rel_Obj_ID" : "14902", "Rel_Obj_Title" : "Saint Ursula" } ], "Curator" : "Ranking is provisional (FC:jb 4/2/15) All of the Sprangers could potentially be in a smaller space with other Dutch and Flemish works (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.53.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.53.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.53.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.53.tif", "IsPrimary" : "1", "_SurrogateID" : "1298", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14902, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14902", "Disp_Access_No" : "1984.52", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1583", "_Disp_Start_Dat" : "1578", "_Disp_End_Date" : "1588", "Disp_Title" : "Saint Ursula", "Alt_Title" : "", "Obj_Title" : "Saint Ursula", "Series_Title" : "", "Disp_Maker_1" : "Bartholomaeus Spranger", "Sort_Artist" : "Spranger, Bartholomaeus", "Disp_Dimen" : "37.2 cm x 30.5 cm (14 5/8 in. x 12 in.)", "Disp_Height" : "37.2 cm", "Disp_Width" : "30.5 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "wood panel", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Beautiful, pious, and able to wear the “crown of martyrdom,” the Saints Catherine, Margaret, and Ursula are prime subjects for devotional painting. According to "The Golden Legend," a popular medieval text on the lives of the saints, Catherine converted multitudes using her great wisdom and erudition. She holds the sword used for her own beheading in one hand and a book in the other. She also stands over a Roman emperor who attempted to kill her on a spiked wheel. Likewise, Margaret stands triumphant over her enemy, a demon dragon, whom she defeated by making the sign of the cross. (This action takes material form as the wooden cross in her left hand.) Ursula is shown, not with her enemy, but with a crowd of fellow martyrs, whom she led during persecution. From the complex folds of the saints’ drapery to a delicate rendering of jewelry, flower petals, and even toes, Bartholomaeus Spranger’s interest in detail connects the artist to his Netherlandish roots and a Northern Renaissance style of painting. But it also draws the viewer into a closer study of the saints. For instance, notice the prominent pearl on Margaret’s forehead attached to strands of smaller pearls in her hair. According to the "Legend," the saint’s name corresponds with the Latin word for a pearl, margarita, a “precious gem [that shines] white, small, and endowed with virtue.” In like manner, says the "Legend," “Saint Margaret was shining white by her virginity, small by her humility, and endowed with the power to work miracles.” For viewers familiar with her story, a study of the painting’s details could lead to a meditation on the saint’s character.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Flemish", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "14903", "Rel_Obj_Title" : "Saint Margaret" },{ "Rel_Obj_ID" : "14901", "Rel_Obj_Title" : "Saint Catherine" } ], "Curator" : "Ranking is provisional (FC:jb 4/2/15) All of the Sprangers could potentially be in a smaller space with other Dutch and Flemish works or displayed in a case in the middle of the gallery (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.52.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.52.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.52.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.52.tif", "IsPrimary" : "1", "_SurrogateID" : "1297", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14903, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14903", "Disp_Access_No" : "1984.51", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1583", "_Disp_Start_Dat" : "1578", "_Disp_End_Date" : "1588", "Disp_Title" : "Saint Margaret", "Alt_Title" : "", "Obj_Title" : "Saint Margaret", "Series_Title" : "", "Disp_Maker_1" : "Bartholomaeus Spranger", "Sort_Artist" : "Spranger, Bartholomaeus", "Disp_Dimen" : "37.2 cm x 30.5 cm (14 5/8 in. x 12 in.)", "Disp_Height" : "37.2 cm", "Disp_Width" : "30.5 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "wood panel", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Beautiful, pious, and able to wear the “crown of martyrdom,” the Saints Catherine, Margaret, and Ursula are prime subjects for devotional painting. According to "The Golden Legend," a popular medieval text on the lives of the saints, Catherine converted multitudes using her great wisdom and erudition. She holds the sword used for her own beheading in one hand and a book in the other. She also stands over a Roman emperor who attempted to kill her on a spiked wheel. Likewise, Margaret stands triumphant over her enemy, a demon dragon, whom she defeated by making the sign of the cross. (This action takes material form as the wooden cross in her left hand.) Ursula is shown, not with her enemy, but with a crowd of fellow martyrs, whom she led during persecution. From the complex folds of the saints’ drapery to a delicate rendering of jewelry, flower petals, and even toes, Bartholomaeus Spranger’s interest in detail connects the artist to his Netherlandish roots and a Northern Renaissance style of painting. But it also draws the viewer into a closer study of the saints. For instance, notice the prominent pearl on Margaret’s forehead attached to strands of smaller pearls in her hair. According to the "Legend," the saint’s name corresponds with the Latin word for a pearl, margarita, a “precious gem [that shines] white, small, and endowed with virtue.” In like manner, says the "Legend," “Saint Margaret was shining white by her virginity, small by her humility, and endowed with the power to work miracles.” For viewers familiar with her story, a study of the painting’s details could lead to a meditation on the saint’s character.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Flemish", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "14902", "Rel_Obj_Title" : "Saint Ursula" },{ "Rel_Obj_ID" : "14901", "Rel_Obj_Title" : "Saint Catherine" } ], "Curator" : "Ranking is provisional (FC:jb 4/2/15) All of the Sprangers could potentially be in a smaller space with other Dutch and Flemish works or displayed in a case in the middle of the gallery (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.51.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.51.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.51.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.51.tif", "IsPrimary" : "1", "_SurrogateID" : "1296", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14904, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14904", "Disp_Access_No" : "1984.50", "_AccNumSort1" : "", "Disp_Create_DT" : "1680s", "_Disp_Start_Dat" : "1680", "_Disp_End_Date" : "1680", "Disp_Title" : "The Presentation of the Virgin in the Temple", "Alt_Title" : "", "Obj_Title" : "The Presentation of the Virgin in the Temple", "Series_Title" : "", "Disp_Maker_1" : "Luca Giordano", "Sort_Artist" : "Giordano, Luca", "Disp_Dimen" : "105.5 cm x 135.9 cm (41 9/16 in. x 53 1/2 in.)", "Disp_Height" : "105.5 cm", "Disp_Width" : "135.9 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, Archer M. Huntington Museum Fund, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.50.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.50.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.50.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.50.tif", "IsPrimary" : "1", "_SurrogateID" : "1295", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14914, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14914", "Disp_Access_No" : "1984.39", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 590 BCE-580 BCE", "_Disp_Start_Dat" : "590 BCE", "_Disp_End_Date" : "580 BCE", "Disp_Title" : "Middle Corinthian Stemless Cylix (Wine Cup)", "Alt_Title" : "", "Obj_Title" : "Middle Corinthian Stemless Cylix (Wine Cup)", "Series_Title" : "", "Disp_Maker_1" : "Anonymous", "Sort_Artist" : "Anonymous", "Disp_Dimen" : "15.9 cm x 34 cm x 34 cm (6 1/4 in. x 13 3/8 in. x 13 3/8 in.)", "Disp_Height" : "15.9 cm", "Disp_Width" : "34 cm", "Dimen_Extent" : "HLW", "Medium" : "Terracotta", "Support" : "", "Disp_Medium" : "Terracotta", "Info_Page_Comm" : "Real and mythical animals, including lions, boars, sphinxes, and panthers, parade through the three decorative zones. These animals, popular decoration on Corinthian vases, originate in Near Eastern art. Note the alternation between predatory and grazing animals. Most of the animals are in profile, but the frontal faces of the panthers make eye contact with the viewer.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Lillian and C.W. Duncan Foundation, Dr. and Mrs. George Kozmetsky, Archer M. Huntington Museum Fund, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "ceramic", "Creation_Place2" : "Greek-Corinthian", "Department" : "", "Obj_Name" : "", "Period" : "Ancient", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.39.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.39.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.39.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.39.tif", "IsPrimary" : "1", "_SurrogateID" : "2857", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.39-a.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.39-a.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.39-a.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.39-a.tif", "IsPrimary" : "0", "_SurrogateID" : "4313", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.39-b.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.39-b.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.39-b.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.39-b.tif", "IsPrimary" : "0", "_SurrogateID" : "4314", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.39_bottom-b.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.39_bottom-b.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.39_bottom-b.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.39_bottom-b.tif", "IsPrimary" : "0", "_SurrogateID" : "4315", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.39_bottom-a.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.39_bottom-a.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.39_bottom-a.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.39_bottom-a.tif", "IsPrimary" : "0", "_SurrogateID" : "4316", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14922, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14922", "Disp_Access_No" : "1984.105", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1470", "_Disp_Start_Dat" : "1465", "_Disp_End_Date" : "1475", "Disp_Title" : "Saint Bernard", "Alt_Title" : "", "Obj_Title" : "Saint Bernard", "Series_Title" : "", "Disp_Maker_1" : "Anonymous", "Sort_Artist" : "Anonymous", "Disp_Dimen" : "49.7 cm x 36 cm (19 9/16 in. x 14 3/16 in.)", "Disp_Height" : "49.7 cm", "Disp_Width" : "36 cm", "Dimen_Extent" : "sight", "Medium" : "Oil, tempera, and gold leaf", "Support" : "wood panel", "Disp_Medium" : "Oil, tempera, and gold leaf on wood panel", "Info_Page_Comm" : "This painting presents an unflattering, naturalistic portrayal of an elderly man through the artist's meticulous depiction of wrinkles, veins, warts, and graying hair. The figure has been considered to be Saint Bernard of Clairvaux, who led the reform of the Cistercian Order in twelfth-century France. He wears a white habit, which is usually associated with the Order, and holds an abbot's crozier. The inscription on the ribbonlike banderole reads, “Monstra te esse matrem (Show thyself to be a mother),” the words that Bernard used in his prayer before a statue of Mary. According to legend, the statue came to life and spouted milk from her breast in response to his plea. It is unclear, however, if the present work was originally meant to be an image of Bernard. A close examination of the paint layers has recently revealed that the banderole and the upper half of the crozier, along with the blue clouds in the top corners, are later additions. It is possible that the painting was modified to represent the saint, sometime after its creation. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Charles and Loretta Marsh, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Rare, gorgeous, has its original panel. Condition issues, conservation issues. Needs restoration in the middle. Would like to see the back. (FC:jb 4/15/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.105.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.105.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.105.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.105.tif", "IsPrimary" : "1", "_SurrogateID" : "1289", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14925, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14925", "Disp_Access_No" : "1984.102", "_AccNumSort1" : "", "Disp_Create_DT" : "3rd century BCE", "_Disp_Start_Dat" : "300 BCE", "_Disp_End_Date" : "201 BCE", "Disp_Title" : "Standing Female", "Alt_Title" : "", "Obj_Title" : "Standing Female", "Series_Title" : "", "Disp_Maker_1" : "Anonymous", "Sort_Artist" : "Anonymous", "Disp_Dimen" : "27.3 cm x 7.6 cm x 6.4 cm (10 3/4 in. x 3 in. x 2 1/2 in.)", "Disp_Height" : "27.3 cm", "Disp_Width" : "7.6 cm", "Dimen_Extent" : "HLW", "Medium" : "Terracotta", "Support" : "", "Disp_Medium" : "Terracotta", "Info_Page_Comm" : "Known as “Tanagra figurines” after the site in Boeotia in central Greece, mold-made female statuettes like this were widely popular in the Hellenistic period. Many of them had funerary purposes, which is reflected in their appearance as decoration on South Italian vases placed in tombs. The oinochoe to the right shows a similar figure on top.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase as a gift of Dennis R. and Elmer Kapp, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Greek", "Department" : "", "Obj_Name" : "", "Period" : "Ancient", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.102.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.102.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.102.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.102.tif", "IsPrimary" : "1", "_SurrogateID" : "2856", "Image_Type" : "", "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" : 14951, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14951", "Disp_Access_No" : "1983.14", "_AccNumSort1" : "", "Disp_Create_DT" : "1971-1975", "_Disp_Start_Dat" : "1971", "_Disp_End_Date" : "1975", "Disp_Title" : "Graneros III [Graneries III]", "Alt_Title" : "Granaries III", "Obj_Title" : "Graneros III [Graineries III]", "Series_Title" : "", "Disp_Maker_1" : "Gonzalo Fonseca", "Sort_Artist" : "Fonseca, Gonzalo", "Disp_Dimen" : "20.3 cm x 54 cm x 50.1 cm (8 in. x 21 1/4 in. x 19 3/4 in.)", "Disp_Height" : "20.3 cm", "Disp_Width" : "54 cm", "Dimen_Extent" : "Base", "Medium" : "Red travertine", "Support" : "", "Disp_Medium" : "Red travertine", "Info_Page_Comm" : "Gonzalo Fonseca’s fascination with history led him to spend time traveling through Latin America, the Middle East, and Europe to see the excavated remains of ancient cities. "Graneros III" suggests the experience of the modern visitor confronting such archaeological sites. The unexplainable architectural features may be puzzling, but their mystery captures our imagination. Fonseca enhances the need to engage directly with the piece by providing movable objects that can be placed in different areas of the work—if one only had access and permission from the curator. Alas, the piece must remain a tempting yet remote enigma.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1983", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Uruguay", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1983.14_side.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1983.14_side.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1983.14_side.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1983.14_side.tif", "IsPrimary" : "0", "_SurrogateID" : "1117", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1983.14.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1983.14.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1983.14.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1983.14.tif", "IsPrimary" : "0", "_SurrogateID" : "1275", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1983.14_corner.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1983.14_corner.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1983.14_corner.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1983.14_corner.tif", "IsPrimary" : "1", "_SurrogateID" : "1276", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14959, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14959", "Disp_Access_No" : "1983.124", "_AccNumSort1" : "", "Disp_Create_DT" : "650 BCE-600 BCE", "_Disp_Start_Dat" : "650 BCE", "_Disp_End_Date" : "600 BCE", "Disp_Title" : "Belt", "Alt_Title" : "", "Obj_Title" : "Belt", "Series_Title" : "", "Disp_Maker_1" : "Anonymous", "Sort_Artist" : "Anonymous", "Disp_Dimen" : "116.8 cm (46 in.)", "Disp_Height" : "116.8 cm", "Disp_Width" : "", "Dimen_Extent" : "Original length", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "The object originates from the ancient culture of Urartu that flourished in present-day Armenia from about 860 BCE to 590 BCE. The Urartians excelled in metalwork, the best examples of which are found in belts like the work presented here. These wide bronze strips were probably sewn to a leather backing and worn as personal decoration. The Blanton’s belt features three horizontal rows of animals and human figures. A chariot with two horses and two figures chases a springing lion, which chases a mounted figure carrying a spear, which chases a galloping bull, which chases a mounted figure carrying a shield. Animal motifs like these inspired ancient Greek art during the eighth and seventh centuries BCE.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1983", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "Metalwork", "Creation_Place2" : "Urartia", "Department" : "", "Obj_Name" : "", "Period" : "ancient", "Style" : "", "Edition" : "", "Curator" : "Very cool, Assyrian-looking belt. (FC:jb 5/8/15) It needs to be on a rotating base. Current mount is flimsy. Interactive software near display case might be helpful. Lighting is key for the display of this work. (FC:jp 6/2/15) ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1983.124.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1983.124.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1983.124.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1983.124.tif", "IsPrimary" : "1", "_SurrogateID" : "1272", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1983.124_detail.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1983.124_detail.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1983.124_detail.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1983.124_detail.tif", "IsPrimary" : "0", "_SurrogateID" : "1273", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15007, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15007", "Disp_Access_No" : "1982.5", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 300 BCE-200 BCE", "_Disp_Start_Dat" : "300 BCE", "_Disp_End_Date" : "200 BCE", "Disp_Title" : "Polychrome Oinochoe (Wine Pitcher)", "Alt_Title" : "", "Obj_Title" : "Polychrome Oinochoe (Wine Pitcher)", "Series_Title" : "", "Disp_Maker_1" : "Anonymous", "Sort_Artist" : "Anonymous", "Disp_Dimen" : "60.3 cm x 15.5 cm (23 3/4 in. x 6 1/8 in.)", "Disp_Height" : "60.3 cm", "Disp_Width" : "15.5 cm", "Dimen_Extent" : "HLW", "Medium" : "Terracotta", "Support" : "", "Disp_Medium" : "Terracotta", "Info_Page_Comm" : "The faded scene on the body of the vase features Eros, the god of love, leading the four-horsed chariot of Nike, the goddess of victory. This object takes the shape of a pitcher, but it has no base and no pouring spout, which indicates that it was not meant to be functional.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1982", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "ceramic", "Creation_Place2" : "South Italian (Canosa)", "Department" : "", "Obj_Name" : "", "Period" : "Ancient", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.5_front.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.5_front.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.5_front.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.5_front.tif", "IsPrimary" : "0", "_SurrogateID" : "4307", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.5_back.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.5_back.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.5_back.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.5_back.tif", "IsPrimary" : "0", "_SurrogateID" : "4308", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.5_left.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.5_left.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.5_left.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.5_left.tif", "IsPrimary" : "1", "_SurrogateID" : "4309", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.5_right.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.5_right.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.5_right.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.5_right.tif", "IsPrimary" : "0", "_SurrogateID" : "4310", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.5_bottom.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.5_bottom.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.5_bottom.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.5_bottom.tif", "IsPrimary" : "0", "_SurrogateID" : "4311", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.5_front_above.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.5_front_above.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.5_front_above.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.5_front_above.tif", "IsPrimary" : "0", "_SurrogateID" : "4312", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15017, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15017", "Disp_Access_No" : "1982.188", "_AccNumSort1" : "", "Disp_Create_DT" : "1980", "_Disp_Start_Dat" : "1980", "_Disp_End_Date" : "1980", "Disp_Title" : "Serie de llamas núm. 2, díptico [Llama Series No. 2, Diptych]", "Alt_Title" : "Llama Series No. 2, Diptych", "Obj_Title" : "Serie de llamas núm. 2, díptico [Llama Series No. 2, Diptych]", "Series_Title" : "", "Disp_Maker_1" : "Miguel Angel Ríos", "Sort_Artist" : "Ríos, Miguel Angel", "Disp_Dimen" : "245 cm x 243.8 cm x 8.9 cm (96 7/16 in. x 96 in. x 3 1/2 in.)", "Disp_Height" : "245 cm", "Disp_Width" : "243.8 cm", "Dimen_Extent" : "HLW", "Medium" : "Acrylic paint, modeling paste, and sand on burlap", "Support" : "", "Disp_Medium" : "Acrylic paint, modeling paste, and sand on burlap", "Info_Page_Comm" : "Miguel Angel Ríos’s works reference landscapes and cultural traditions of his homeland in rural Catamarca via formal motifs of late Modernism. While living in New York City, Ríos created a monochromatic grid from highly abstracted images of the llama, an animal essential to the Andean way of life. Catamarca once formed the southernmost reach of the Inca empire, and Ríos’s llamas may evoke ancient pictograms or the patterning of local textiles made from the animal’s wool. Within the Post-Minimalist grid, the llamas also suggest a negotiation of Ríos’s identity between cultures and an implicit critique of the Eurocentric biases underlying artistic Modernism. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Barbara Duncan Fund, 1982", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.188.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.188.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.188.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.188.tif", "IsPrimary" : "1", "_SurrogateID" : "13146", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15019, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15019", "Disp_Access_No" : "1982.182", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1605-1608", "_Disp_Start_Dat" : "1605", "_Disp_End_Date" : "1608", "Disp_Title" : "Diana and Callisto", "Alt_Title" : "", "Obj_Title" : "Diana and Callisto", "Series_Title" : "", "Disp_Maker_1" : "Jan Brueghel the Elder and Hendrick van Balen", "Sort_Artist" : "Brueghel the Elder and Hendrick van Balen, Jan", "Disp_Dimen" : "26.4 cm x 37.9 cm (10 3/8 in. x 14 15/16 in.)", "Disp_Height" : "26.4 cm", "Disp_Width" : "37.9 cm", "Dimen_Extent" : "panel", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "The goddess Diana and her chaste nymphs have returned from hunting to bathe in their sacred stream, but Callisto is reluctant. Sensing she is hiding something, Diana orders her entourage to forcibly remove Callisto’s garments, revealing her pregnancy. According to Ovid’s "Metamorphoses," Jupiter had disguised himself as Diana and lured Callisto into his embrace. No longer virginal and pure, Callisto was banished from Diana’s sacred waters. Depicting the climactic moment of the myth, this painting alludes to the immediate and eternal punishment of Callisto. Diana leans forward in the same direction as Callisto’s movement backwards, emphasizing their roles as punisher and punished. A bearded iris near Diana represents the goddess Iris, Juno’s messenger of bad tidings. The collection of shells, corals, and accessories for grooming after the bath are abandoned at the bottom right, which signals the final outcome for Callisto. Collaborations between artists of different specialties were fashionable in early seventeenth-century Flanders. Here, as in many pieces by this pair, Hendrick van Balen’s ability to render the female nude and Jan Brueghel’s skills as a landscape painter work in tandem. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1982", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Flemish", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Display case to show copper on back (FC:jb 4/2/15) Could potentially go with Sprangers, northern European gallery (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.182.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.182.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.182.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.182.tif", "IsPrimary" : "1", "_SurrogateID" : "1233", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15020, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15020", "Disp_Access_No" : "1982.18", "_AccNumSort1" : "", "Disp_Create_DT" : "1980", "_Disp_Start_Dat" : "1980", "_Disp_End_Date" : "1980", "Disp_Title" : "Trilce II", "Alt_Title" : "", "Obj_Title" : "Trilce II", "Series_Title" : "", "Disp_Maker_1" : "César Paternosto", "Sort_Artist" : "Paternosto, César", "Disp_Dimen" : "166.3 cm x 166.3 cm x 10.5 cm (65 1/2 in. x 65 1/2 in. x 4 1/8 in.)", "Disp_Height" : "166.3 cm", "Disp_Width" : "166.3 cm", "Dimen_Extent" : "HLW", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "César Paternosto began his career as a hard-edge geometric artist, but in the late 1970s he set out to research ancient American sources of geometrical abstraction. Traveling throughout the Andean region of northern Argentina, Peru, and Bolivia, he studied and acquired scholarly expertise about traditional textiles and Inca stonework, finding in them a source of artistic inspiration. This painting, titled in homage to Peruvian César Vallejo’s 1922 book of poetry "Trilce," exemplifies Paternosto’s artworks after his Andean travels. The four parallel lines, stacked symmetrically in the center, reference the symbolism of numbers within Andean culture, while the earthy monochrome evokes the texture of stone or sand.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Barbara Duncan Fund, 1982", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.18.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.18.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.18.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.18.tif", "IsPrimary" : "1", "_SurrogateID" : "1231", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15034, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15034", "Disp_Access_No" : "1982.1253", "_AccNumSort1" : "", "Disp_Create_DT" : "1972", "_Disp_Start_Dat" : "1972", "_Disp_End_Date" : "1972", "Disp_Title" : "Annual Anatomy Study #2", "Alt_Title" : "", "Obj_Title" : "Annual Anatomy Study #2", "Series_Title" : "", "Disp_Maker_1" : "Arnold Belkin", "Sort_Artist" : "Belkin, Arnold", "Disp_Dimen" : "102.2 cm x 76.4 cm (40 1/4 in. x 30 1/16 in.)", "Disp_Height" : "102.2 cm", "Disp_Width" : "76.4 cm", "Dimen_Extent" : "Sight", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Robert and Carol Straus, 1982", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.1253.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.1253.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.1253.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.1253.tif", "IsPrimary" : "1", "_SurrogateID" : "3219", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15038, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15038", "Disp_Access_No" : "1982.1130", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "La cañada [The Glen]", "Alt_Title" : "The Glen", "Obj_Title" : "La cañada [The Glen]", "Series_Title" : "", "Disp_Maker_1" : "Alice Rahon", "Sort_Artist" : "Rahon, Alice", "Disp_Dimen" : "25.2 cm x 36.8 cm (9 15/16 in. x 14 1/2 in.)", "Disp_Height" : "25.2 cm", "Disp_Width" : "36.8 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "French poet Alice Rahon traveled to Mexico in 1939 and decided to stay when war broke out in Europe, joining a group of fellow expatriates interested in Surrealism. She began painting in the 1940s. In this almost abstract work, she borrows the condensed style and technique of ancient petroglyphs. She lightly scratches the surface with patterns that suggest a nocturnal landscape of trees, flowers, hills, and distant buildings. Their iridescent colors shine like gems in the dark green air of the night. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, University Purchase, 1966; Transfer from the Harry Ransom Center, 1982", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.1130.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.1130.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.1130.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.1130.tif", "IsPrimary" : "1", "_SurrogateID" : "3208", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15039, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15039", "Disp_Access_No" : "1982.1129", "_AccNumSort1" : "", "Disp_Create_DT" : "1946", "_Disp_Start_Dat" : "1946", "_Disp_End_Date" : "1946", "Disp_Title" : "Luciérnagas [Fireflies]", "Alt_Title" : "", "Obj_Title" : "Luciérnagas [Fireflies]", "Series_Title" : "", "Disp_Maker_1" : "Alice Rahon", "Sort_Artist" : "Rahon, Alice", "Disp_Dimen" : "35.2 cm x 98.6 cm (13 7/8 in. x 38 13/16 in.)", "Disp_Height" : "35.2 cm", "Disp_Width" : "98.6 cm", "Dimen_Extent" : "Sight", "Medium" : "Oil and sand", "Support" : "canvas", "Disp_Medium" : "Oil and sand on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Thomas Cranfill, 1977; Transfer from the Harry Ransom Center, 1982", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Mexican", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.1129.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.1129.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.1129.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.1129.tif", "IsPrimary" : "1", "_SurrogateID" : "3207", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15057, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15057", "Disp_Access_No" : "1981.54", "_AccNumSort1" : "", "Disp_Create_DT" : "1931", "_Disp_Start_Dat" : "1931", "_Disp_End_Date" : "1931", "Disp_Title" : "Variations on a Rhythm-G", "Alt_Title" : "", "Obj_Title" : "Variations on a Rhythm-G", "Series_Title" : "", "Disp_Maker_1" : "Raymond Jonson", "Sort_Artist" : "Jonson, Raymond", "Disp_Dimen" : "96.8 cm x 83.8 cm (38 1/8 in. x 33 in.)", "Disp_Height" : "96.8 cm", "Disp_Width" : "83.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "An undulating yellow arc forms the reflection of a letter G. Shapes and lines echo each other throughout the composition, repeating the letter and mirroring elements of its form, such as the ball and pedestal, in both foreground and background. He often deconstructed the lines and patterns in an analytical yet playful fashion, as he has done with the Variations of a Rhythm series from 1931", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the Thomas Gilcrease Foundation, 1948", "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/1981.54.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1981.54.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1981.54.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1981.54.tif", "IsPrimary" : "1", "_SurrogateID" : "1196", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1981.54_backing.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1981.54_backing.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1981.54_backing.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1981.54_backing.tif", "IsPrimary" : "0", "_SurrogateID" : "5971", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15058, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15058", "Disp_Access_No" : "1981.48", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 300 BCE-289 BCE", "_Disp_Start_Dat" : "300 BCE", "_Disp_End_Date" : "289 BCE", "Disp_Title" : "Polychrome Lebes Gamikos (Marriage Vessel) ", "Alt_Title" : "", "Obj_Title" : "Polychrome Lebes Gamikos (Marriage Vessel) ", "Series_Title" : "", "Disp_Maker_1" : "Anonymous", "Sort_Artist" : "Anonymous", "Disp_Dimen" : "81.5 cm (32 1/16 in.)", "Disp_Height" : "81.5 cm", "Disp_Width" : "", "Dimen_Extent" : "HLW", "Medium" : "Terracotta", "Support" : "", "Disp_Medium" : "Terracotta", "Info_Page_Comm" : "Polychrome decoration uses surface paint in vivid shades of pink, blue, and other colors, but it is much less durable than black- or red-figure painting. The male and female figures barely visible on the body of this vase would have been more defined when they were painted. Polychrome vases were designed only for display, usually in funerary contexts.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. 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On each side of the exterior, two pairs of youths practice with javelins in a gymnasium. Gymnasia in Athens were centers for education and athletic training.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund and the James R. 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While it may appear reductive at first glance, Marden considers his paintings to be subjective, contemplative objects whose truths are disclosed slowly over time. “I believe these are highly emotional paintings not to be admired for any technical or intellectual reason, but to be felt,” Marden once proclaimed. UT Austin art historian Richard Shiff argues that the tension between stillness and movement in "Fave" stems from Marden’s careful observations of the Hudson River in New York, where the artist lives and works. "Fave" calls to mind the color shifts of water as it reflects atmospheric changes. Marden once described the sky above the sea as “blue, gray, yellow, sulphur, turquoise, yellow, blue,” indicating his ability to see multiple layers of color at once.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. 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In 1968 the artist began a series of large-scale, white grid paintings, mixing acrylic paint with glass microspheres—a material used to give road signs and dividing lines their reflective look—to transform the flat canvas into a luminescent plane. The result encourages movement around the work’s surface, inviting us to engage with its projected light from a variety of angles and distances. Indeed, viewers must encounter it experientially, as it cannot accurately be captured in photographs. As Corse explained in an interview, “When I first started putting glass microspheres in paint, I was really putting the light inside the painting. I didn’t want to paint a picture of the experience of light—I wanted the painting to be the light experience itself.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mari and James A. 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Students drawing by the light of an oil lamp and candle dominate the composition. Accessories of the sculptor’s art fill the foreground and the shelf behind: models, skeletal fragments, and various volumes. Bandinelli himself stands at the far right. On his coat and above the mantle appear a cross denoting the knighthood conferred by his principal early patron, Pope Clement VII. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. 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Blanton Curatorial Endowment Fund, 2002", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "English", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2846.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2846.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2846.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2846.tif", "IsPrimary" : "1", "_SurrogateID" : "8241", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16616, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16616", "Disp_Access_No" : "2002.2838", "_AccNumSort1" : "", "Disp_Create_DT" : "1974", "_Disp_Start_Dat" : "1974", "_Disp_End_Date" : "1974", "Disp_Title" : "# 56", "Alt_Title" : "", "Obj_Title" : "# 56", "Series_Title" : "", "Disp_Maker_1" : "Roy Colmer", "Sort_Artist" : "Colmer, Roy", "Disp_Dimen" : "192.3 cm x 151.9 cm (75 11/16 in. x 59 13/16 in.)", "Disp_Height" : "192.3 cm", "Disp_Width" : "151.9 cm", "Dimen_Extent" : "canvas", "Medium" : "Acrylic", "Support" : "cotton duck", "Disp_Medium" : "Acrylic on cotton duck", "Info_Page_Comm" : "Although Roy Comer is perhaps best known for his films and photographs, we might think of his paintings from the early- to mid-1970s as precursors to his work in film. Inspired in part by his instructor Almir Mavignier, Colmer sought to convey a sense of instability and fluctuation in his paintings. #54 and #56 are among the last works on canvas the artist produced before committing to a life as a filmmaker (and eventually a photographer). Colmer first began to experiment with film in 1971, while he was in residence at the University of Iowa’s Intermedia Program. There he learned that in film he could capture what had so far eluded him in painting: real (as opposed to virtual) movement. As Colmer stated in a 1975 interview, “There’s no way of arriving at real movement with painting. With film and video you automatically have that. So for a kinetic painter to go to film seems to be a natural transition.” Colmer’s paintings of the 1970s share a great deal with his films of the same period. Most importantly, both impart to color what one writer described as “an almost liquid quality.” This is especially true of #54 and #56. Each work is comprised of crisp horizontal stripes that Colmer created with the aid of masking tape. There is a relative consistency in color as the viewer scans the paintings from top to bottom. Irregular fields of blue, white, and pink occupy #54, while misshapen clouds of yellow, blue, and red occupy #56. However, the stripes change dramatically in hue, value, and intensity as the viewer scans the paintings from left to right. One set of stripes in #56, for instance, gradually metamorphoses from rust to turquoise to pale pink. Colmer’s adroit handling of color generates a rippling effect—his canvases appear to undulate, surging out towards the viewer in some places and ebbing away from the viewer in others. In addition to the swell of a wave as it approaches the shore, they also call to mind, as one viewer noted, “the soft-focus visual crackle of a maleficent color TV.” Colmer has said of his paintings and films of the 1970s, “they are all involved with instant results, fast ways of creating images.” To this end, the artist used an industrial spray gun to paint both #54 and #56. The spray gun allowed him to work quickly and efficiently, but it also had the result of erasing evidence of the artist’s touch or, as Colmer himself put it, “shed[ding] the signature of the artist."", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Claudia Colmer, 2002", "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/2002.2838.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2838.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2838.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2838.tif", "IsPrimary" : "1", "_SurrogateID" : "2012", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16615, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16615", "Disp_Access_No" : "2002.2837", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "# 54", "Alt_Title" : "", "Obj_Title" : "# 54", "Series_Title" : "", "Disp_Maker_1" : "Roy Colmer", "Sort_Artist" : "Colmer, Roy", "Disp_Dimen" : "193.4 cm x 152.6 cm (76 1/8 in. x 60 1/16 in.)", "Disp_Height" : "193.4 cm", "Disp_Width" : "152.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Acrylic", "Support" : "cotton duck", "Disp_Medium" : "Acrylic on cotton duck", "Info_Page_Comm" : "Although Roy Comer is perhaps best known for his films and photographs, we might think of his paintings from the early- to mid-1970s as precursors to his work in film. 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Each work is comprised of crisp horizontal stripes that Colmer created with the aid of masking tape. There is a relative consistency in color as the viewer scans the paintings from top to bottom. Irregular fields of blue, white, and pink occupy #54, while misshapen clouds of yellow, blue, and red occupy #56. However, the stripes change dramatically in hue, value, and intensity as the viewer scans the paintings from left to right. One set of stripes in #56, for instance, gradually metamorphoses from rust to turquoise to pale pink. Colmer’s adroit handling of color generates a rippling effect—his canvases appear to undulate, surging out towards the viewer in some places and ebbing away from the viewer in others. In addition to the swell of a wave as it approaches the shore, they also call to mind, as one viewer noted, “the soft-focus visual crackle of a maleficent color TV.” Colmer has said of his paintings and films of the 1970s, “they are all involved with instant results, fast ways of creating images.” To this end, the artist used an industrial spray gun to paint both #54 and #56. The spray gun allowed him to work quickly and efficiently, but it also had the result of erasing evidence of the artist’s touch or, as Colmer himself put it, “shed[ding] the signature of the artist."", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Claudia Colmer, 2002", "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/2002.2837.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2837.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2837.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2837.tif", "IsPrimary" : "1", "_SurrogateID" : "2011", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16754, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16754", "Disp_Access_No" : "2003.6", "_AccNumSort1" : "", "Disp_Create_DT" : "1796", "_Disp_Start_Dat" : "1796", "_Disp_End_Date" : "1796", "Disp_Title" : "Self-Portrait", "Alt_Title" : "", "Obj_Title" : "Self-Portrait", "Series_Title" : "", "Disp_Maker_1" : "Jean-Jacques de Boissieu", "Sort_Artist" : "Boissieu, Jean-Jacques de", "Disp_Dimen" : "39.2 cm x 31.5 cm (15 7/16 in. x 12 3/8 in.)", "Disp_Height" : "39.2 cm", "Disp_Width" : "31.5 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching, drypoint, engraving and roulette", "Support" : "", "Disp_Medium" : "Etching, drypoint, engraving and roulette", "Info_Page_Comm" : "Known for his exquisite landscapes and genre scenes, Jean-Jacques de Boissieu also made a number of portraits. This late self-portrait shows his debt to the seventeenth-century Dutch masters, notably Rembrandt and Adriaen van Ostade. Posed casually in a compressed space, the instruments of his trade arrayed in the foreground, the artist appears with his elbow resting on a closed book as he holds up a copperplate with a portrait of his wife. In a later state, after her death, this portrait was replaced with a landscape. In postrevolutionary France Boissieu was a paragon of the bourgeois amateur artist. By the time he made this self-portrait, he had established himself as one of the best reproductive printmakers in the country. Collectors prized his original etchings for their sensitive handling of light and their rich textures, as did the artists engaged in the Etching Revival in the mid-nineteenth century, such as Charles Meryon and Félix Braquemond. This is one of nine Boissieu prints in the museum’s collection, part of a distinguished group of etchings by late eighteenth-century amateurs, such as Jean-Pierre Norblin and Marcenay de Guy, who pursued pure, personal etching at a time when engraving and other complex reproductive techniques dominated. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Jack S. Blanton Curatorial Endowment Fund, 2003", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "French", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2003.6.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.6.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.6.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2003.6.tif", "IsPrimary" : "1", "_SurrogateID" : "2133", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16676, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16676", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "2003", "_Disp_Start_Dat" : "2003", "_Disp_End_Date" : "2003", "Disp_Title" : "Letters from Texas (23)", "Alt_Title" : "", "Obj_Title" : "Letters from Texas (20, 21, 22, 23)", "Series_Title" : "", "Disp_Maker_1" : "Amy Sillman", "Sort_Artist" : "Sillman, Amy", "Disp_Dimen" : "66 cm x 152.4 cm (26 in. x 60 in.)", "Disp_Height" : "66 cm", "Disp_Width" : "152.4 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Partial and pledged gift of Jeanne and Michael Klein, 2003", "Copyright_Type" : "all except 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/T2003.2.1-4_4-4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2003.2.1-4_4-4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2003.2.1-4_4-4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2003.2.1-4_4-4.tif", "IsPrimary" : 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"Partial and pledged gift of Jeanne and Michael Klein, 2003", "Copyright_Type" : "all except 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/T2003.2.1-4_4-4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2003.2.1-4_4-4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2003.2.1-4_4-4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2003.2.1-4_4-4.tif", "IsPrimary" : "0", "_SurrogateID" : "9417", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T2003.2.1-4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T2003.2.1-4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T2003.2.1-4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/T2003.2.1-4.tif", "IsPrimary" : "1", "_SurrogateID" : "2563", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15921, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15921", "Disp_Access_No" : "2017.1062", "_AccNumSort1" : "", "Disp_Create_DT" : "1698", "_Disp_Start_Dat" : "1698", "_Disp_End_Date" : "1698", "Disp_Title" : "Sleeping Shepherdess (Fall)", "Alt_Title" : "", "Obj_Title" : "Sleeping Shepherdess (Fall)", "Series_Title" : "", "Disp_Maker_1" : "Giuseppe Maria Crespi", "Sort_Artist" : "Crespi, Giuseppe Maria", "Disp_Dimen" : "15.9 cm x 22.9 cm (6 1/4 in. x 9 in.)", "Disp_Height" : "15.9 cm", "Disp_Width" : "22.9 cm", "Dimen_Extent" : "panel", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "Giuseppe Maria Crespi’s paintings are characterized by the masterful treatment of light achieved by free brushwork and sophisticated use of colors, which he learned from Venetian art. This luminous quality is most apparent in his small paintings on copper executed for private patrons. On the smooth surface, the painter’s virtuoso strokes create intimate and charming images that glisten against dark backgrounds. The depiction of contemporary life was a passion for Crespi throughout his career. These three small paintings of shepherdesses represent bucolic reveries, without specific literary sources attached to them. The works are meant to evoke a poetic mood rather than to communicate a message. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "For Woman Surprised and Sleeping Shepherdess: Keep in play (there is one more in storage that is very good) Pair with other two potentially Fantastic lighting, charming Could be in display case with chairs surrounding so that they don''t take up a wall (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1062.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1062.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1062.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1062.tif", "IsPrimary" : "1", "_SurrogateID" : "2594", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15922, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15922", "Disp_Access_No" : "2017.1063", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1695-1700", "_Disp_Start_Dat" : "1695", "_Disp_End_Date" : "1700", "Disp_Title" : "Sleeping Shepherdess Teased by a Boy", "Alt_Title" : "", "Obj_Title" : "Sleeping Shepherdess Teased by a Boy", "Series_Title" : "", "Disp_Maker_1" : "Giuseppe Maria Crespi", "Sort_Artist" : "Crespi, Giuseppe Maria", "Disp_Dimen" : "15.88 cm x 22.86 cm (6 1/4 in. x 9 in.)", "Disp_Height" : "15.88 cm", "Disp_Width" : "22.86 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "Giuseppe Maria Crespi’s paintings are characterized by the masterful treatment of light achieved by free brushwork and sophisticated use of colors, which he learned from Venetian art. This luminous quality is most apparent in his small paintings on copper executed for private patrons. On the smooth surface, the painter’s virtuoso strokes create intimate and charming images that glisten against dark backgrounds. The depiction of contemporary life was a passion for Crespi throughout his career. These three small paintings of shepherdesses represent bucolic reveries, without specific literary sources attached to them. The works are meant to evoke a poetic mood rather than to communicate a message.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Could pair with other Crespi(s). Louis Waldman thinks this is charming. (FC:jb 5/23/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1063.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1063.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1063.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1063.tif", "IsPrimary" : "1", "_SurrogateID" : "2595", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15923, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15923", "Disp_Access_No" : "2017.1064", "_AccNumSort1" : "", "Disp_Create_DT" : "1698", "_Disp_Start_Dat" : "1698", "_Disp_End_Date" : "1698", "Disp_Title" : "Woman Surprised by a Boy (Spring)", "Alt_Title" : "", "Obj_Title" : "Woman Surprised by a Boy (Spring)", "Series_Title" : "", "Disp_Maker_1" : "Giuseppe Maria Crespi", "Sort_Artist" : "Crespi, Giuseppe Maria", "Disp_Dimen" : "15.9 cm x 22.9 cm (6 1/4 in. x 9 in.)", "Disp_Height" : "15.9 cm", "Disp_Width" : "22.9 cm", "Dimen_Extent" : "panel", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "Giuseppe Maria Crespi’s paintings are characterized by the masterful treatment of light achieved by free brushwork and sophisticated use of colors, which he learned from Venetian art. This luminous quality is most apparent in his small paintings on copper executed for private patrons. On the smooth surface, the painter’s virtuoso strokes create intimate and charming images that glisten against dark backgrounds. The depiction of contemporary life was a passion for Crespi throughout his career. These three small paintings of shepherdesses represent bucolic reveries, without specific literary sources attached to them. The works are meant to evoke a poetic mood rather than to communicate a message.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "For Woman Surprised and Sleeping Shepherdess: Keep in play (there is one more in storage that is very good) Pair with other two potentially Fantastic lighting, charming Could be in display case with chairs surrounding so that they don''t take up a wall (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1064.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1064.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1064.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1064.tif", "IsPrimary" : "1", "_SurrogateID" : "2596", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16027, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16027", "Disp_Access_No" : "2017.1182", "_AccNumSort1" : "", "Disp_Create_DT" : "after 1590", "_Disp_Start_Dat" : "1591", "_Disp_End_Date" : "1600", "Disp_Title" : "Saint Jerome in the Wilderness", "Alt_Title" : "", "Obj_Title" : "Saint Jerome in the Wilderness", "Series_Title" : "", "Disp_Maker_1" : "Jacopo Palma il Giovane", "Sort_Artist" : "Jacopo Palma il Giovane", "Disp_Dimen" : "22.1 cm x 16.8 cm (8 11/16 in. x 6 5/8 in.)", "Disp_Height" : "22.1 cm", "Disp_Width" : "16.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil on copper, attached to wood panel", "Support" : "", "Disp_Medium" : "Oil on copper, attached to wood panel", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition issues, conservation: needs to be cleaned. Could get higher ranking if conserved. Top conservation list. Could go in display case. See what it looks like without the frame. (FC:jb 4/24/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1182.TIF", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1182.TIF", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1182.TIF", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1182.TIF", "IsPrimary" : "1", "_SurrogateID" : "10663", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16036, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16036", "Disp_Access_No" : "2017.1146", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1390-1395", "_Disp_Start_Dat" : "1390", "_Disp_End_Date" : "1395", "Disp_Title" : "Saint Bernard", "Alt_Title" : "", "Obj_Title" : "Saint Bernard", "Series_Title" : "", "Disp_Maker_1" : "Niccolò di Pietro Gerini", "Sort_Artist" : "Gerini, Niccolò di Pietro", "Disp_Dimen" : "22.6 cm x 25 cm (8 7/8 in. x 9 13/16 in.)", "Disp_Height" : "22.6 cm", "Disp_Width" : "25 cm", "Dimen_Extent" : "canvas", "Medium" : "Tempera with gold leaf on wood panel", "Support" : "", "Disp_Medium" : "Tempera with gold leaf on wood panel", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Could potentially be used for a double hang (FC:jb 4/2/15) Ranking adjusted (FC:jp 5/26/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1146.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1146.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1146.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1146.tif", "IsPrimary" : "1", "_SurrogateID" : "2612", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1146_with_frame.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1146_with_frame.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1146_with_frame.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1146_with_frame.tif", "IsPrimary" : "0", "_SurrogateID" : "2613", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16049, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16049", "Disp_Access_No" : "2017.1108", "_AccNumSort1" : "", "Disp_Create_DT" : "1590s", "_Disp_Start_Dat" : "1590", "_Disp_End_Date" : "1590", "Disp_Title" : "Saint Catherine of Alexandria", "Alt_Title" : "", "Obj_Title" : "Saint Catherine of Alexandria", "Series_Title" : "", "Disp_Maker_1" : "Paolo Farinati", "Sort_Artist" : "Farinati, Paolo", "Disp_Dimen" : "23.2 cm x 20.2 cm (9 1/8 in. x 7 15/16 in.)", "Disp_Height" : "23.2 cm", "Disp_Width" : "20.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Conservation, condition issues: needs to be cleaned. Not in great condition. Could be 2+ if cleaned. On copper, display case. (FC:jb 4/15/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1108.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1108.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1108.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1108.tif", "IsPrimary" : "1", "_SurrogateID" : "3429", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16054, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16054", "Disp_Access_No" : "2017.1074", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1634", "_Disp_Start_Dat" : "1629", "_Disp_End_Date" : "1639", "Disp_Title" : "Personification of Constancy", "Alt_Title" : "", "Obj_Title" : "Personification of Constancy", "Series_Title" : "", "Disp_Maker_1" : "Cesare Dandini", "Sort_Artist" : "Dandini, Cesare", "Disp_Dimen" : "73 cm x 63 cm (28 3/4 in. x 24 13/16 in.)", "Disp_Height" : "73 cm", "Disp_Width" : "63 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "One of the principal painters of the second quarter of the century in Florence, and the favorite of the Medici family, Dandini epitomizes the basic conservatism of the school and its patrons. Although trained by several of the city’s more progressive painters, he developed a style in the 1630s that is characterized by lucid design, exaggerated geometry, impenetrable psychology, and high finish. The Allegory of Constancy, with its subject precisely following the prescription of Cesare Ripa’s famed book of emblems, is an excellent example of this rather abstract, practically anti-naturalistic style. At one level, this style represents a self-conscious return to the art of the Florentine past, early Mannerism, and the works of Andrea del Sarto and Pontormo in particular. At another, it bespeaks the growing insecurities, intellectualism, and hermeticism of a center and court in decline.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Beautiful firelight reflected onto the sword (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/214.1999.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/214.1999.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/214.1999.tif", "IIIF_URL": "http://iiif.gallerysystems.com/214.1999.tif", "IsPrimary" : "0", "_SurrogateID" : "2601", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1074-2018.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1074-2018.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1074-2018.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1074-2018.tif", "IsPrimary" : "1", "_SurrogateID" : "18065", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16057, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16057", "Disp_Access_No" : "2017.1426", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1630", "_Disp_Start_Dat" : "1625", "_Disp_End_Date" : "1635", "Disp_Title" : "Madonna and Child with Saints Cecilia, Valerian, and Tibertius", "Alt_Title" : "", "Obj_Title" : "Madonna and Child with Saints Cecilia, Valerian, and Tibertius", "Series_Title" : "", "Disp_Maker_1" : "Claude Vignon", "Sort_Artist" : "Vignon, Claude", "Disp_Dimen" : "23.5 cm x 30.16 cm (9 1/4 in. x 11 7/8 in.)", "Disp_Height" : "23.5 cm", "Disp_Width" : "30.16 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "As the patron saint of music, Cecilia is typically depicted with an instrument; here a small pipe organ. To indicate her purity and devotion, Claude Vignon placed Cecilia at the feet of Mary, who appears as royalty, illuminating the scene with a golden crown. Saints Valerian and Tiburtius hold palms of martyrdom as Cecilia gazes upon baby Jesus. A devout Christian from youth, Cecilia took a vow of chastity before being betrothed to Valerian, a Roman nobleman. She lamented the match, invoking the saints to protect her virginity. Before consummation, she informed Valerian of her vow, claiming that she was protected by an angel whom he could see only if baptized. Valerian was baptized and returned to see the angel crowning Cecilia with a chaplet of rose and lily. Cecilia, Valerian, and his brother Tiburtius were all martyred by order of the Roman governor Almachius.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Copper, display case. Condition issues, conservation: needs to be cleaned. (FC:jb 4/15/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1426.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1426.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1426.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1426.tif", "IsPrimary" : "1", "_SurrogateID" : "2671", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16076, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16076", "Disp_Access_No" : "2017.1274", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1525-1527", "_Disp_Start_Dat" : "1525", "_Disp_End_Date" : "1527", "Disp_Title" : "The Entombment of Christ", "Alt_Title" : "", "Obj_Title" : "The Entombment of Christ", "Series_Title" : "", "Disp_Maker_1" : "Parmigianino (Francesco Mazzola)", "Sort_Artist" : "Parmigianino (Francesco Mazzola)", "Disp_Dimen" : "24.4 cm x 18.8 cm (9 5/8 in. x 7 3/8 in.)", "Disp_Height" : "24.4 cm", "Disp_Width" : "18.8 cm", "Dimen_Extent" : "panel", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Parmigianino was the most elegant and refined of all sixteenth-century Italian artists. Provincial but inspired by his visionary compatriot Correggio, he tended from the outset toward eccentric form and idiosyncratic expression. Affected by Raphael during a sojourn in Rome, his style became more self-conscious and rigorous. Increasingly abstracted and impossibly beautiful, Parmigianino’s late works determined the course of Mannerism and remained the measure of high artifice through the eighteenth century. His etchings were the first to essay the technique’s conceptual relation with drawing and potential for original expression. This small panel is the most important surviving link between Parmigianino’s painting and printmaking. It was once regarded as a copy after his most developed and famous etching. The two compositions, however, differ in numerous details, and the elaboration of the panel departs from a loose underdrawing in dark pigment—indicative of an evolving rather than a derivative conception. The quality of the painting is confirmed by the soundness of its figures, the modulation of light, and the incisiveness of touch. Still close to Raphael’s designs, the painting was probably executed in Rome. Later, in Bologna, it would have served as the model for the etching. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "11065", "Rel_Obj_Title" : "The Entombment of Christ" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1274.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1274.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1274.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1274.tif", "IsPrimary" : "1", "_SurrogateID" : "3360", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16082, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16082", "Disp_Access_No" : "2017.940", "_AccNumSort1" : "", "Disp_Create_DT" : "1490s", "_Disp_Start_Dat" : "1490", "_Disp_End_Date" : "1490", "Disp_Title" : "Supper at Bethany", "Alt_Title" : "", "Obj_Title" : "Supper at Bethany", "Series_Title" : "", "Disp_Maker_1" : "Bernardino Butinone", "Sort_Artist" : "Butinone, Bernardino", "Disp_Dimen" : "25.4 cm x 20.5 cm (10 in. x 8 1/16 in.)", "Disp_Height" : "25.4 cm", "Disp_Width" : "20.5 cm", "Dimen_Extent" : "panel", "Medium" : "Tempera", "Support" : "wood panel", "Disp_Medium" : "Tempera on wood panel", "Info_Page_Comm" : "Coming to the town of Bethany, Jesus and his disciples were invited to a supper in the house of Lazarus. When they sat down at the table, Mary Magdalene, sister of Lazarus, anointed Jesus' feet with costly perfume and wiped it with her hair. Considered to be a prefiguration of Jesus' death and burial, this story was one of the popular subjects in Christian art. The Blanton's painting belongs to a series of fifteen panels that illustrate important moments from the life of Jesus. As a whole, they would have formed a part of a large altarpiece and functioned as the Bible for those who could not read. In order to enhance the illusion of space, Bernardino Butinone constructs the scene using linear perspective that was developed earlier in the century. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Ranking adjusted (FC:jp 5/26/15) Ranking adjusted from B to B+ (FC:jp 7/10/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.940.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.940.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.940.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.940.tif", "IsPrimary" : "1", "_SurrogateID" : "2764", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16096, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16096", "Disp_Access_No" : "2017.894", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1577", "_Disp_Start_Dat" : "1572", "_Disp_End_Date" : "1582", "Disp_Title" : "Sacrifice of Isaac", "Alt_Title" : "", "Obj_Title" : "Sacrifice of Isaac", "Series_Title" : "", "Disp_Maker_1" : "Jacopo Bassano (Jacopo da Ponte)", "Sort_Artist" : "Bassano (Jacopo da Ponte), Jacopo", "Disp_Dimen" : "26.2 cm x 33.6 cm (10 5/16 in. x 13 1/4 in.)", "Disp_Height" : "26.2 cm", "Disp_Width" : "33.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "On the grassy knoll of a mountain, Abraham prepares to carry out a divine order to sacrifice his son, Isaac, who kneels with his hands bound behind his back. Suddenly, an angel appears to stay Abraham’s knife-wielding hand, saying that God is satisfied by the proof of Abraham’s fear and reverence. Jacopo Bassano’s mastery of dynamic contours appears in the lively, varied lines of Abraham’s outstretched arm and the clouds and dark mountains echoing it. His expressive brushstrokes and his playful use of perspective, animated by the figures’ diverse postures, also demonstrate his confidence as a painter. This work is probably a copy of a background scene from Bassano’s popular series depicting the four seasons. To meet popular demand, the artist and his workshop created numerous versions of the series. In fact, previous scholarship suggested that this might be a fragment from a lost painting in the series. Close examination of the painting disproved this theory, however; the painting’s edges are mostly untouched and not cut from a larger canvas.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.894.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.894.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.894.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.894.tif", "IsPrimary" : "1", "_SurrogateID" : "2744", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16179, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16179", "Disp_Access_No" : "2017.1168", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1616-1617", "_Disp_Start_Dat" : "1616", "_Disp_End_Date" : "1617", "Disp_Title" : "Landscape with Tobias and the Angel", "Alt_Title" : "", "Obj_Title" : "Landscape with Tobias and the Angel", "Series_Title" : "", "Disp_Maker_1" : "Guercino (Giovanni Francesco Barbieri)", "Sort_Artist" : "Guercino (Giovanni Francesco Barbieri)", "Disp_Dimen" : "31 cm x 40.5 cm (12 3/16 in. x 15 15/16 in.)", "Disp_Height" : "31 cm", "Disp_Width" : "40.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "Archangel Raphael points to a great fish located at the painting’s bottom edge and instructs a surprised, bathing Tobias to seize it. Tobias, the son of the title character in the Book of Tobit, would later use the fish’s entrails to cure the blindness of his father and to dispel a demon tormenting his future wife, Sara. Guercino was a leading painter in the Bolognese school of the seventeenth century. He was known for his ability to communicate emotion through human gesture and expression. His talent for depicting contrasts in light also appears in the painting’s dark landscape lit by a setting sun, which echoes Tobias’ story of faith and revelation. This rare work is likely Guercino’s only landscape painting on copper to incorporate a religious narrative. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1168.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1168.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1168.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1168.tif", "IsPrimary" : "1", "_SurrogateID" : "2618", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16184, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16184", "Disp_Access_No" : "2017.865", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "The Virgin Annunciate", "Alt_Title" : "", "Obj_Title" : "The Virgin Annunciate", "Series_Title" : "", "Disp_Maker_1" : "Anonymous, Florentine", "Sort_Artist" : "Anonymous, Florentine", "Disp_Dimen" : "31.7 cm x 22.9 cm (12 1/2 in. x 9 in.)", "Disp_Height" : "31.7 cm", "Disp_Width" : "22.9 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil on gold ground panel", "Support" : "", "Disp_Medium" : "Oil on gold ground panel", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.865.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.865.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.865.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.865.tif", "IsPrimary" : "1", "_SurrogateID" : "2742", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16205, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16205", "Disp_Access_No" : "2017.1400", "_AccNumSort1" : "", "Disp_Create_DT" : "mid 1770s", "_Disp_Start_Dat" : "1770", "_Disp_End_Date" : "1770", "Disp_Title" : "The Storyteller", "Alt_Title" : "", "Obj_Title" : "The Storyteller", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Domenico Tiepolo", "Sort_Artist" : "Tiepolo, Giovanni Domenico", "Disp_Dimen" : "33.8 cm x 57.1 cm (13 5/16 in. x 22 1/2 in.)", "Disp_Height" : "33.8 cm", "Disp_Width" : "57.1 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Standing on a chair before a crowd in a piazza, a storyteller points to a portable image that helps illustrate his story. The baroque guitar on his back and the triangle in his female assistant's hand suggest that their performance also involved music. Not everyone is absorbed in his story, however. The young lady in a bright orange dress turns her head to respond to the man in a mask, whose suspicious intentions seem to have been noticed by the wary dog in the foreground. The diverse gestures, facial expressions, and colorful attire of the audience offer a glimpse of a popular carnival activity in eighteenth-century Venice. The low viewpoint and the long horizontal format help the viewer to witness the event at the eye level of the depicted figures, which adds to the sense of reality of the painted scene.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Problematic but keeping in (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1400.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1400.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1400.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1400.tif", "IsPrimary" : "1", "_SurrogateID" : "2661", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16209, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16209", "Disp_Access_No" : "2017.1297", "_AccNumSort1" : "", "Disp_Create_DT" : "1740s", "_Disp_Start_Dat" : "1740", "_Disp_End_Date" : "1740", "Disp_Title" : "Young Girl with a Basket of Apples", "Alt_Title" : "", "Obj_Title" : "Young Girl with a Basket of Apples", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Piazzetta", "Sort_Artist" : "Piazzetta, Giovanni Battista", "Disp_Dimen" : "34.29 cm x 28.58 cm (13 1/2 in. x 11 1/4 in.)", "Disp_Height" : "34.29 cm", "Disp_Width" : "28.58 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Like the art of Ricci, Piazzetta’s represents an alternative to the formulae of the Late Baroque and a source of 18th-century Venetian painting. It is, however, opposite in temper and direction. Trained in Bologna, Piazzetta brought back to Venice a naturalism based upon systematic drawing, featuring an intense chiaroscuro, and concerned with dramatic expression. He then reconciling this approach with the mobile light and personalized brushwork of his native tradition, while resisting its bright color and decorative values. He would never undertake the monumental decorative projects that were the staple of the age, and unlike his compatriots who mastered that genre, he never worked outside of Venice. But his religious works possess an optical intensity and a visionary power that are equal to the greatest works the early Baroque. Two of Piazzetta’s special researches are reflected in this delightful picture. First, it relates in subject to the pastoral and genre scenes, which, when essayed on a large scale, possess a startling theatricality and an ambiguous psychology (opposite to that of Ceruti’s Peasant Girl, to the right). Second, the picture relates to Piazzetta’s lifelong study of plastic form and personality through “character studies”—black chalk drawings of bust-length types as well as individuals. (The Suida-Manning Collection includes one of the earliest and finest of these studies, among three drawings by the artist.) On this modest scale, with an unencumbered pursuit of momentary response, the picture approaches the vivaciousness and charm of a contemporary like Fragonard. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Apples and orange very well painted Red ribbon has disintegrated (lead white has taken over pigment) Could incorporate Piazetta drawings, although it doesn''t work well unless it''s a colored drawing; could put Venetian drawings on the short walls (FC:jb 4/6/15) Status provisional based on conversation with FC. Need to confirm. (JP 4/30/15) ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1297.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1297.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1297.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1297.tif", "IsPrimary" : "1", "_SurrogateID" : "2757", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16210, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16210", "Disp_Access_No" : "2017.1283", "_AccNumSort1" : "", "Disp_Create_DT" : "1717", "_Disp_Start_Dat" : "1717", "_Disp_End_Date" : "1717", "Disp_Title" : "Justice Fulminating the Vices", "Alt_Title" : "", "Obj_Title" : "Justice Fulminating the Vices", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Antonio Pellegrini", "Sort_Artist" : "Pellegrini, Giovanni Antonio", "Disp_Dimen" : "34.6 cm x 32.3 cm (13 5/8 in. x 12 11/16 in.)", "Disp_Height" : "34.6 cm", "Disp_Width" : "32.3 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Giovanni Antonio Pellegrini represents eighteenth-century Venetian painting at its most exuberant. He was first trained in Milan with the idiosyncratic Paolo Pagani, but his style depends more on the sensuous and decorative aspects of Sebastiano Ricci. Pellegrini’s drawing is broad and soft, his palette warm and pastel, and his paint handling dense and fluid. Defying gravity, bordering on the caricatural, this painterly virtuosity was a tremendous success across Europe, with the artist called to execute significant fresco cycles and numerous canvases in England, France, and Germany. During a year-long sojourn in Antwerp, Pellegrini carried out three major decorative projects. This painting is an unpublished oil sketch for one of these, a much-admired canvas for the ceiling of the Salle du Petit Collège in the city’s town hall. Appropriate to that setting, it represents the figures of Justice and Prudence crushing two male figures identifiable as Avarice and Deceit. Phosphorescent in color, practically sculpted in paint, this sketch dramatizes the material properties for which Pellegrini was so highly regarded. These properties are conspicuous in the wake of a recent cleaning and relining of the canvas. The Suida-Manning Collection includes two other paintings by Pellegrini: a comparably rich, half-length figure of Bellona from around 1713–1714, and a more summary Venus and Cupid, which may have come from a decorative ensemble. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Frame takes away from object Impressive brushwork Strong contrast between light and dark (FC:jb 4/6/15) Possible medallion hang with two Pellegrinis in middle, with this lower (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1283.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1283.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1283.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1283.tif", "IsPrimary" : "1", "_SurrogateID" : "2634", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16215, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16215", "Disp_Access_No" : "2017.942", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1790", "_Disp_Start_Dat" : "1785", "_Disp_End_Date" : "1795", "Disp_Title" : "Madonna and Child", "Alt_Title" : "", "Obj_Title" : "Madonna and Child", "Series_Title" : "", "Disp_Maker_1" : "Giuseppe Cades", "Sort_Artist" : "Cades, Giuseppe", "Disp_Dimen" : "34.8 cm x 26 cm (13 11/16 in. x 10 1/4 in.)", "Disp_Height" : "34.8 cm", "Disp_Width" : "26 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, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.942.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.942.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.942.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.942.tif", "IsPrimary" : "1", "_SurrogateID" : "2680", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16229, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16229", "Disp_Access_No" : "2017.1369", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1516", "_Disp_Start_Dat" : "1511", "_Disp_End_Date" : "1521", "Disp_Title" : "Portrait of a Man", "Alt_Title" : "", "Obj_Title" : "Portrait of a Man", "Series_Title" : "", "Disp_Maker_1" : "Sebastiano del Piombo", "Sort_Artist" : "Sebastiano del Piombo", "Disp_Dimen" : "36.4 cm x 25.9 cm (14 5/16 in. x 10 3/16 in.)", "Disp_Height" : "36.4 cm", "Disp_Width" : "25.9 cm", "Dimen_Extent" : "panel", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Although no information on the sitter exists, the individualized facial features and contemporary dress indicate that this is a portrait. The painting was not, however, originally of this size and format. Examination of the panel shows that it was cut down from a much larger composition and later balanced with the addition of a narrow strip along the right side. It is possible that the original painting represented the sitter in three-quarter length against a dark green background, not unlike the "Portrait of a Humanist" from around 1520 (National Gallery of Art, Washington, D.C.). One of the most celebrated painters of the Italian Renaissance, Sebastiano del Piombo combined the resplendent colors characteristic of Venetian painting with clear modeling of form prized by central Italian artists. Applied to portraiture, this combination resulted in a particularly moving likeness of an individual. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Potentially next to Cambiaso (FC:jb 4/2/15) Potentially in display case on the floor or portrait gallery (FC:jb 4/2/15) ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1369.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1369.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1369.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1369.tif", "IsPrimary" : "1", "_SurrogateID" : "2652", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16250, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16250", "Disp_Access_No" : "2017.1162", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1640-1645", "_Disp_Start_Dat" : "1640", "_Disp_End_Date" : "1645", "Disp_Title" : "Saints Mary Magdalene, Catherine of Alexandria, Catherine of Siena, Lucy, and Dorothy", "Alt_Title" : "", "Obj_Title" : "Saints Mary Magdalene, Catherine of Alexandria, Catherine of Siena, Lucy, and Dorothy", "Series_Title" : "", "Disp_Maker_1" : "Francesco Guarino", "Sort_Artist" : "Guarino, Francesco", "Disp_Dimen" : "39.2 cm x 26.6 cm (15 7/16 in. x 10 1/2 in.)", "Disp_Height" : "39.2 cm", "Disp_Width" : "26.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Could be shown in display case in middle of the room to show copper (FC:jb 4/6/15) Figures awkwardly proportioned but still in play (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1162.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1162.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1162.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1162.tif", "IsPrimary" : "1", "_SurrogateID" : "2616", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16254, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16254", "Disp_Access_No" : "2017.1024", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1640", "_Disp_Start_Dat" : "1635", "_Disp_End_Date" : "1645", "Disp_Title" : "Noah Leading the Animals into the Ark", "Alt_Title" : "", "Obj_Title" : "Noah Leading the Animals into the Ark", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Benedetto Castiglione", "Sort_Artist" : "Castiglione, Giovanni Benedetto", "Disp_Dimen" : "39.5 cm x 57.3 cm (15 9/16 in. x 22 9/16 in.)", "Disp_Height" : "39.5 cm", "Disp_Width" : "57.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Oil on antique laid paper mounted on cradled wood panel", "Support" : "", "Disp_Medium" : "Oil on antique laid paper mounted on cradled wood panel", "Info_Page_Comm" : "This oil sketch reveals two fundamental debts to Netherlandish art. The technique, especially employed in such a loose and summary manner, derives from the frequent preparatory studies of the great Flemish painters, Rubens and Van Dyck, who were active at Genoa early in the century. And the subject responds to the Genoese taste for animal paintings that was acquired from 17th-century Holland. Castiglione rarely essayed animals as such, but many of his habitual historical subjects are pretexts for featuring them. The constancy of his interest and the continuity in these subjects are made clear by the comparison of this study with his large etching from more than a decade later. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Should be on display with conservator''s approval. (FC:jp 4/22/2015)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1024.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1024.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1024.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1024.tif", "IsPrimary" : "1", "_SurrogateID" : "2763", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16257, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16257", "Disp_Access_No" : "2017.1126", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1608-1613", "_Disp_Start_Dat" : "1608", "_Disp_End_Date" : "1613", "Disp_Title" : "Martyrdom of Saint Cecilia", "Alt_Title" : "", "Obj_Title" : "Martyrdom of Saint Cecilia", "Series_Title" : "", "Disp_Maker_1" : "Guy François", "Sort_Artist" : "François, Guy", "Disp_Dimen" : "126.4 cm x 97.2 cm (49 3/4 in. x 38 1/4 in.)", "Disp_Height" : "126.4 cm", "Disp_Width" : "97.2 cm", "Dimen_Extent" : "sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This picture is an early and almost programmatic response to Caravaggio’s lessons. It has long been attributed to Carlo Saraceni, a Venetian painter active in Rome, one of the earliest to espouse the new naturalistic language. It is better seen as a capital work of François, who was also in Rome from 1608 until 1613, then the very first to bring Caravaggism to France. Although extremely similar and usually confused with Saraceni’s, the works of the Frenchman can be distinguished by their slightly more regular shapes and exact contours, which result in compositions of more pronounced pattern than atmospheric space. Precisely this difference is clear in comparing the present composition with a nearly identical version by Saraceni that was recently identified and acquired by Los Angeles. The identity of these pictures also answers any question about the fact and intimate nature of the two painters’ collaboration.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Among FC''s top twenty. Copy. (FC:jb 5/22/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1126.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1126.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1126.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1126.tif", "IsPrimary" : "1", "_SurrogateID" : "2650", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16268, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16268", "Disp_Access_No" : "2017.1362", "_AccNumSort1" : "", "Disp_Create_DT" : "1540s", "_Disp_Start_Dat" : "1540", "_Disp_End_Date" : "1540", "Disp_Title" : "Diana and Callisto", "Alt_Title" : "", "Obj_Title" : "Diana and Callisto", "Series_Title" : "", "Disp_Maker_1" : "Andrea Schiavone (Andrea Meldolla)", "Sort_Artist" : "Schiavone (Andrea Meldolla), Andrea", "Disp_Dimen" : "40 cm x 132.5 cm (15 3/4 in. x 52 3/16 in.)", "Disp_Height" : "40 cm", "Disp_Width" : "132.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "This lovely panel appears to render the passage from Ovid’s Metamorphoses in which Diana and her nymphs discover that one of their companions, Callisto, has been made pregnant by Jupiter. The exaggerated horizontal format and size indicate that it originally served as part of an interior ensemble or piece of furniture, perhaps a cassone (storage chest) or spalliera (chair back). Especially considering this function, the panel is in excellent condition. Bonifazio was perhaps the first painter in Venice to explore ways of reconciling the school’s traditional insistence upon more naturalistic representation with Central Italian concerns of the moment: complex design, complicated linear rhythm, and self-conscious elegance. In this exploration of a distinctively Venetian Mannerism, his work anticipated and helped prepare the brilliant researches of Tintoretto and Veronese. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional. Could go above a doorway or in a medallion hang. Should be in galleries. Needs to be unframed, picture might go beyond frame (FC:jb 4/14/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1362.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1362.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1362.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1362.tif", "IsPrimary" : "1", "_SurrogateID" : "9155", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16276, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16276", "Disp_Access_No" : "2017.1416", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1563", "_Disp_Start_Dat" : "1558", "_Disp_End_Date" : "1568", "Disp_Title" : "Head of Saint Michael", "Alt_Title" : "", "Obj_Title" : "Head of Saint Michael", "Series_Title" : "", "Disp_Maker_1" : "Paolo Veronese", "Sort_Artist" : "Veronese, Paolo", "Disp_Dimen" : "41 cm x 32.1 cm (16 1/8 in. x 12 5/8 in.)", "Disp_Height" : "41 cm", "Disp_Width" : "32.1 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting is a fragment of a fifteen-foot-tall altarpiece painted for the church of San Francesco at Lendinara, a small town near Padua, Italy. Commissioned by the cousins Antonio and Girolamo Petrobelli, the painting was one of the major projects of Paolo Veronese’s career. By 1785 the church was abandoned and demolished, and the altarpiece was cut and sold in pieces in 1788 to maximize profits. Four fragments have been identified to date. The original canvas had the body of Jesus supported by angels in the upper register and the two donors with their respective patrons—Saint Anthony Abbot and Saint Jerome—in the lower register. Saint Michael stood in the center, holding in his right hand a spear pointed at the demon and in his left scales to weigh souls on Judgment Day. The upright form of the archangel figure connects the upper and lower sections of the composition, while also reflecting the intermediary role of the much-venerated saint.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Needs illustration of the larger image from which it was cut (FC:jb 4/2/15) Possibly higher up (FC:jb 4/2/15) Medallion (FC:jb 4/2/15) Possible pair with other Veroneses, distinct palette (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1416-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1416-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1416-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1416-2.tif", "IsPrimary" : "1", "_SurrogateID" : "2761", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1416-recon1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1416-recon1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1416-recon1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1416-recon1.tif", "IsPrimary" : "0", "_SurrogateID" : "7902", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1416-install.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1416-install.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1416-install.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1416-install.tif", "IsPrimary" : "0", "_SurrogateID" : "7903", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16297, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16297", "Disp_Access_No" : "2017.934", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1500", "_Disp_Start_Dat" : "1495", "_Disp_End_Date" : "1505", "Disp_Title" : "Madonna and Child", "Alt_Title" : "", "Obj_Title" : "Madonna and Child", "Series_Title" : "", "Disp_Maker_1" : "Follower of Bramantino (Bartolomeo Suardi)", "Sort_Artist" : "Bramantino (Bartolomeo Suardi), Follower of", "Disp_Dimen" : "43 cm x 35.5 cm (16 15/16 in. x 14 in.)", "Disp_Height" : "43 cm", "Disp_Width" : "35.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "wood panel", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "This panel is a fine example of late 15th-century Milanese painting. While grounded in the ornamental style that had dominated the school before the arrival of Leonardo, and conditioned by early Netherlandish painting, it incorporates the geometric order that the most ambitious local painters were deducing from his art. In a major study, William Suida described it as an early work by Bramantino, the most cerebral and rigorous exponent of this kind of synthesis. It is much more likely by a master who also absorbed the charming, anecdotal style of another local, Ambrogio Bergognone, and anticipated the greatest native painter of the next generation, Bernardino Luini.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Possible condition issues (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.934.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.934.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.934.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.934.tif", "IsPrimary" : "1", "_SurrogateID" : "2679", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16299, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16299", "Disp_Access_No" : "2017.1003", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1741", "_Disp_Start_Dat" : "1736", "_Disp_End_Date" : "1746", "Disp_Title" : "Portrait of a Lady as Queen Berenice II of Egypt", "Alt_Title" : "", "Obj_Title" : "Queen Berenice II of Egypt (c. 273–221 BCE), Wife of Ptolemy III, Cutting Her Hair as a Sacrifice to the Goddess Aphrodite", "Series_Title" : "", "Disp_Maker_1" : "Rosalba Carriera", "Sort_Artist" : "Carriera, Rosalba", "Disp_Dimen" : "43 cm x 33.4 cm (16 15/16 in. x 13 1/8 in.)", "Disp_Height" : "43 cm", "Disp_Width" : "33.4 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, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Good enough to stay in play, largely because it''s by a female artist Could have been cut from larger painting Could possibly be a copy (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1003.TIF", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1003.TIF", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1003.TIF", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1003.TIF", "IsPrimary" : "1", "_SurrogateID" : "10780", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16307, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16307", "Disp_Access_No" : "2017.914", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1500", "_Disp_Start_Dat" : "1495", "_Disp_End_Date" : "1505", "Disp_Title" : "Christ on the Road to Calvary", "Alt_Title" : "", "Obj_Title" : "Christ on the Road to Calvary", "Series_Title" : "", "Disp_Maker_1" : "Attributed to Giovanni Ambrogio Bevilacqua", "Sort_Artist" : "Bevilacqua, Attributed to Giovanni Ambrogio", "Disp_Dimen" : "44.5 cm x 21.6 cm (17 1/2 in. x 8 1/2 in.)", "Disp_Height" : "44.5 cm", "Disp_Width" : "21.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Tempera on wood panel", "Support" : "", "Disp_Medium" : "Tempera on wood panel", "Info_Page_Comm" : "If not a significant agent in the development of Milanese painting, Bevilacqua does epitomize the complicated situation of that school at the close of the 15th century. On the one hand, through appropriations from more innovative compatriots like Foppa and Bergognone, his style reflects a wide range of progressive elements, from the leading painter in North Italy, Mantegna, to early Netherlandish painting. On the other, these appropriations are subsumed by the school’s traditional concerns with rich decoration and material splendor, and there is no sign of the influence of long-time resident Leonardo da Vinci. Praised by the early chroniclers of Milanese painting, Bevilacqua was nearly forgotten until his rediscovery as a coherent personality in recent decades. This panel confirms a painter of conservative cast but narrative gift and considerable refinement. The only example of his work in this country, it must have been served as part of a portable altarpiece for private devotion. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Needs more prominence (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.914.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.914.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.914.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.914.tif", "IsPrimary" : "1", "_SurrogateID" : "6462", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16308, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16308", "Disp_Access_No" : "2017.1034", "_AccNumSort1" : "", "Disp_Create_DT" : "1640s", "_Disp_Start_Dat" : "1640", "_Disp_End_Date" : "1640", "Disp_Title" : "Carnival Procession with a Wagon", "Alt_Title" : "", "Obj_Title" : "Carnival Procession with a Wagon", "Series_Title" : "", "Disp_Maker_1" : "Michelangelo Cerquozzi", "Sort_Artist" : "Cerquozzi, Michelangelo", "Disp_Dimen" : "44.45 cm x 56.52 cm (17 1/2 in. x 22 1/4 in.)", "Disp_Height" : "44.45 cm", "Disp_Width" : "56.52 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil on canvas", "Support" : "", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Pair with Passeri (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1034.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1034.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1034.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1034.tif", "IsPrimary" : "1", "_SurrogateID" : "2591", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16310, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16310", "Disp_Access_No" : "2017.1099", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Diana of the Hunt", "Alt_Title" : "", "Obj_Title" : "Diana of the Hunt", "Series_Title" : "", "Disp_Maker_1" : "Michel Dorigny", "Sort_Artist" : "Dorigny, Michel", "Disp_Dimen" : "44.6 cm x 41 cm (17 9/16 in. x 16 1/8 in.)", "Disp_Height" : "44.6 cm", "Disp_Width" : "41 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil on canvas", "Support" : "", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Could go in mythology section. (FC:jb 4/23/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1099.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1099.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1099.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1099.tif", "IsPrimary" : "1", "_SurrogateID" : "4506", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16316, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16316", "Disp_Access_No" : "2017.901", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1680", "_Disp_Start_Dat" : "1675", "_Disp_End_Date" : "1685", "Disp_Title" : "The Annunciation", "Alt_Title" : "", "Obj_Title" : "The Annunciation", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Beinaschi", "Sort_Artist" : "Beinaschi, Giovanni Battista", "Disp_Dimen" : "46.6 cm x 35.6 cm (18 3/8 in. x 14 in.)", "Disp_Height" : "46.6 cm", "Disp_Width" : "35.6 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, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Conservation, condition issues: needs to be cleaned 2+ if cleaned. (FC:jb 4/14/15) ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.901.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.901.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.901.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.901.tif", "IsPrimary" : "1", "_SurrogateID" : "3430", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16324, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16324", "Disp_Access_No" : "2017.838", "_AccNumSort1" : "", "Disp_Create_DT" : "18th century", "_Disp_Start_Dat" : "1700", "_Disp_End_Date" : "1799", "Disp_Title" : "The Assumption of the Virgin", "Alt_Title" : "", "Obj_Title" : "The Assumption of the Virgin", "Series_Title" : "", "Disp_Maker_1" : "Anonymous", "Sort_Artist" : "Anonymous", "Disp_Dimen" : "47.5 cm x 40.2 cm (18 11/16 in. x 15 13/16 in.)", "Disp_Height" : "47.5 cm", "Disp_Width" : "40.2 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, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Spanish", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition issues, conservation. Needs work. 2 for condition, 2+ composition. Would be nice in oil sketch room. Also requires more research. (FC:jb 4/24/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.838.TIF", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.838.TIF", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.838.TIF", "IIIF_URL": "http://iiif.gallerysystems.com/2017.838.TIF", "IsPrimary" : "1", "_SurrogateID" : "10638", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16332, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16332", "Disp_Access_No" : "2017.1393", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1732", "_Disp_Start_Dat" : "1727", "_Disp_End_Date" : "1737", "Disp_Title" : "Madonna and Child", "Alt_Title" : "", "Obj_Title" : "Madonna and Child", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Tiepolo", "Sort_Artist" : "Tiepolo, Giovanni Battista", "Disp_Dimen" : "48.3 cm x 40.5 cm (19 in. x 15 15/16 in.)", "Disp_Height" : "48.3 cm", "Disp_Width" : "40.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Revealed by conservation treatment in 1999, this is a very fine and particularly moving work of Tiepolo’s early maturity. Its strong chiaroscuro, pronounced plasticity, palette dominated by an fiery red, as well as an earnest psychology, still echo his earliest style and the formative influence of Piazzetta (compare the picture to the right). These characteristics are, however, tempered, with the contrasts no longer stark, the plasticity no longer caricatural, the palette more balanced, and the expression transformed from the histrionic toward a lofty ethos and in this case subdued pathos. Most significantly, the density and busyness of earlier compositions has given way to simpler organization and subtler rhythms. Even on this small scale the development is evident in an interweaving of shapes and interpenetration of volumes. Especially striking and appropriately expressive is the combination of the Child rendered from low viewpoint, therefore practically convex and heroic, and the Virgin oppositely, therefore concave and sorrowful. In this tempering of Tiepolo’s first manner and growing sophistication, this picture is properly related to the grand series of canvases of Roman history for the Ca’ Dolfin in Venice (circa 1726-28).", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Requires more research and strong argument to keep Condition issues, pigment may have shifted, creating color imbalance; possibly cut from larger canvas; could this be saved by a conservator? (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1393.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1393.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1393.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1393.tif", "IsPrimary" : "1", "_SurrogateID" : "2660", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16341, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16341", "Disp_Access_No" : "2017.1035", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1737-1738", "_Disp_Start_Dat" : "1737", "_Disp_End_Date" : "1738", "Disp_Title" : "Young Peasant Woman Holding a Wine Flask", "Alt_Title" : "", "Obj_Title" : "Young Peasant Woman Holding a Wine Flask", "Series_Title" : "", "Disp_Maker_1" : "Giacomo Ceruti (Il Pitocchetto)", "Sort_Artist" : "Ceruti (Il Pitocchetto), Giacomo", "Disp_Dimen" : "49 cm x 39.5 cm (19 5/16 in. x 15 9/16 in.)", "Disp_Height" : "49 cm", "Disp_Width" : "39.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Giacomo Ceruti specialized in portraiture, depicting both conventional sitters and anonymous subjects from the periphery of society. This painting exemplifies the latter. Employing the visual idioms reserved for the portraits of the upper class, the artist bestows individuality and dignity on the peasant woman, her simple garments, and heavy hands. Her unaffected, confident gaze and pose anticipate the egalitarian spirit of the next century. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Needs ranking Charming portrait (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1035.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1035.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1035.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1035.tif", "IsPrimary" : "1", "_SurrogateID" : "2737", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16349, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16349", "Disp_Access_No" : "2017.811", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "An Allegory of the Arts", "Alt_Title" : "", "Obj_Title" : "An Allegory of the Arts", "Series_Title" : "", "Disp_Maker_1" : "Anonymous", "Sort_Artist" : "Anonymous", "Disp_Dimen" : "51.44 cm x 39.37 cm (20 1/4 in. x 15 1/2 in.)", "Disp_Height" : "51.44 cm", "Disp_Width" : "39.37 cm", "Dimen_Extent" : "Sheet", "Medium" : "Red chalk", "Support" : "", "Disp_Medium" : "Red chalk", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "drawing", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.811.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.811.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.811.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.811.tif", "IsPrimary" : "1", "_SurrogateID" : "3728", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16352, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16352", "Disp_Access_No" : "2017.1409", "_AccNumSort1" : "", "Disp_Create_DT" : "early 1730s", "_Disp_Start_Dat" : "1730", "_Disp_End_Date" : "1730", "Disp_Title" : "The Annunciation", "Alt_Title" : "", "Obj_Title" : "The Annunciation", "Series_Title" : "", "Disp_Maker_1" : "Domenico Antonio Vaccaro", "Sort_Artist" : "Vaccaro, Domenico Antonio", "Disp_Dimen" : "52.1 cm x 41.5 cm (20 1/2 in. x 16 5/16 in.)", "Disp_Height" : "52.1 cm", "Disp_Width" : "41.5 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, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "The current date of the painting (after circa 1720) is credited to Nicola Spinosa, director of the Museo Nazionale di Capodimonte in Naples, through correspondence with Jonathan Bober 2 April 2009. Should be in play at the lower level. Falling out of its frame, not a good fit. Conservation issues, condition issues: needs to be cleaned, especially the putti and cloud (FC:jb 4/9/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1409.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1409.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1409.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1409.tif", "IsPrimary" : "1", "_SurrogateID" : "2665", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16359, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16359", "Disp_Access_No" : "2017.1072", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1625 - 1650", "_Disp_Start_Dat" : "1625", "_Disp_End_Date" : "1650", "Disp_Title" : "Portrait of a Man", "Alt_Title" : "", "Obj_Title" : "Portrait of a Man", "Series_Title" : "", "Disp_Maker_1" : "Attributed to Francesco Curradi", "Sort_Artist" : "Curradi, Attributed to Francesco", "Disp_Dimen" : "54.61 cm x 41.28 cm (21 1/2 in. x 16 1/4 in.)", "Disp_Height" : "54.61 cm", "Disp_Width" : "41.28 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Judging from the sitter’s dress—a collar with lace trim and a hairstyle of loose curls—we can date this painting between 1625 and 1650, about when both these styles were in fashion. Flat collars would be replaced by the neckcloth, a strip of lace or muslin twisted around the neck and tied at the throat. In the latter half of the century, natural hair would be traded for wigs. Francesco Curradi, a Florentine draftsman and painter, appears to have reused this sitter’s face for figures in other paintings, including the archangel Michael in the "Vision of Saint Philip Benizi" at the church of Santa Maria dei Servi in Siena. When viewed under ultraviolet light, the painting shows signs of retouching, particularly in the sitter’s original lace collar, which was likely enhanced after losses from age and cleaning. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition, conservation issues: needs to be cleaned. 2+ if cleaned. Could go in portrait gallery (FC:jb 4/14/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1072.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1072.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1072.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1072.tif", "IsPrimary" : "1", "_SurrogateID" : "3443", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16363, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16363", "Disp_Access_No" : "2017.1321", "_AccNumSort1" : "", "Disp_Create_DT" : "18th century", "_Disp_Start_Dat" : "1700", "_Disp_End_Date" : "1799", "Disp_Title" : "The Immaculate Conception", "Alt_Title" : "", "Obj_Title" : "The Immaculate Conception", "Series_Title" : "", "Disp_Maker_1" : "Attributed to Francesco Polazzo", "Sort_Artist" : "Polazzo, Attributed to Francesco", "Disp_Dimen" : "56.52 cm x 34.29 cm (22 1/4 in. x 13 1/2 in.)", "Disp_Height" : "56.52 cm", "Disp_Width" : "34.29 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, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition issues, conservation issues: needs cleaning. 2+ when cleaned (FC:jb 5/13/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1321.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1321.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1321.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1321.tif", "IsPrimary" : "1", "_SurrogateID" : "10570", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16365, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16365", "Disp_Access_No" : "2017.1340", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1720", "_Disp_Start_Dat" : "1715", "_Disp_End_Date" : "1725", "Disp_Title" : "Return of the Prodigal Son", "Alt_Title" : "", "Obj_Title" : "Return of the Prodigal Son", "Series_Title" : "", "Disp_Maker_1" : "Sebastiano Ricci", "Sort_Artist" : "Ricci, Sebastiano", "Disp_Dimen" : "57 cm x 50.8 cm (22 7/16 in. x 20 in.)", "Disp_Height" : "57 cm", "Disp_Width" : "50.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In a parable (Luke 15:11-32) Christ told of the younger son of a rich man who demanded his share of the patrimony, squandered it, and found himself in misery. Repenting, he returned to his father, who welcomed him back, telling the older brother, “to celebrate and rejoice, because this brother of yours was dead and has come to life; he was lost and has been found." Combining a critique of attachment to material well-being, with an affirmation of forgiveness and an allusion to eternal life, the culminating scene was a frequent subject of Baroque painting. This interpretation is a splendid example of Ricci’s mature style. The returning son kneels upon the threshold while the father extends open arms. While its small scale and rich touch might suggest a preparatory study, its compositional equilibration and regular finish indicate a completed work. Newly evident and impressive following conservation in 2001 are the clear tonality revived from Veronese, the pronounced chiaroscuro inspired by contemporary Bolognese painters, and the dramatic sweep despite its size. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition is very good Some aspects could be painted better (knee and right leg not very successful) Back of woman holding baby looks flat Architectural details are nice The way the figures are rendered is a problem Strong greens (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1340.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1340.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1340.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1340.tif", "IsPrimary" : "1", "_SurrogateID" : "2646", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16369, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16369", "Disp_Access_No" : "2017.1203", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1671", "_Disp_Start_Dat" : "1666", "_Disp_End_Date" : "1676", "Disp_Title" : "Mercury Transforming Chelone into a Turtle", "Alt_Title" : "", "Obj_Title" : "Mercury Transforming Chelone into a Turtle", "Series_Title" : "", "Disp_Maker_1" : "Filippo Lauri", "Sort_Artist" : "Lauri, Filippo", "Disp_Dimen" : "59 cm x 71.2 cm (23 1/4 in. x 28 1/16 in.)", "Disp_Height" : "59 cm", "Disp_Width" : "71.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Mercury, here seen in his winged hat, invited all gods, humans, and animals to his father Jupiter’s wedding to the goddess Juno. Everyone came, except the nymph Chelone, who mocked the union. Enraged by her arrogance, Mercury threw Chelone’s house into the river and turned her into a turtle. This painting diverges from the popular version of the story and presents Juno as the protagonist who condemns Chelone. Mercury occupies a secondary place behind the seated Jupiter. Cupid, the god of love, evokes the nuptial context of the scene, which is also highlighted by the youthful features of Jupiter and Juno. The oval shape of the canvas likely indicates that it was a decorative painting to be placed over a doorway or a window. Filippo Lauri was renowned for depicting landscapes, architecture, flowers, and animals to embellish important palaces in Rome. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Pair with Lauri''s Venus and Adonis (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1203.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1203.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1203.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1203.tif", "IsPrimary" : "1", "_SurrogateID" : "2748", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16370, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16370", "Disp_Access_No" : "2017.1205", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1671", "_Disp_Start_Dat" : "1666", "_Disp_End_Date" : "1676", "Disp_Title" : "Venus and Adonis", "Alt_Title" : "Cupid Shooting Arrows at Lovers; Diana and Actaeon?", "Obj_Title" : "Venus and Adonis", "Series_Title" : "", "Disp_Maker_1" : "Filippo Lauri", "Sort_Artist" : "Lauri, Filippo", "Disp_Dimen" : "59 cm x 71.2 cm (23 1/4 in. x 28 1/16 in.)", "Disp_Height" : "59 cm", "Disp_Width" : "71.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Ovid’s "Metamorphoses" tells the tragic love story of Venus and Adonis. The goddess was so enamored of the handsome hunter that she even dressed herself like a huntress and wandered in the woods with him. But their love affair came to an abrupt end, when a boar killed Adonis. He had disregarded Venus’ warning about ferocious animals. Mourning her lover’s death, the goddess turned his blood into the anemone flower. Filippo Lauri enhances the drama of the moment when Venus falls in love with Adonis. Cupid’s arrow inflames her with passion for Adonis, who is lying under a myrtle tree. (The tree evokes his birth from the myrtle into which his mother Myrrha transformed.) His spear and hunting dogs prefigure the confrontation with the boar, and his reclining pose foreshadows his death. In the background is the swan-drawn chariot that Venus would drive to rush back to the dying youth. By combining these visual clues from different parts of the narrative, the artist reminds the viewer of the entire story.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Pair with Lauri''s Mercury Transforming... (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1205.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1205.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1205.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1205.tif", "IsPrimary" : "1", "_SurrogateID" : "2749", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16374, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16374", "Disp_Access_No" : "2017.1217", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1628-1630", "_Disp_Start_Dat" : "1628", "_Disp_End_Date" : "1630", "Disp_Title" : "Pastoral Landscape", "Alt_Title" : "", "Obj_Title" : "Pastoral Landscape", "Series_Title" : "", "Disp_Maker_1" : "Claude Lorrain", "Sort_Artist" : "Lorrain, Claude", "Disp_Dimen" : "61.4 cm x 88.2 cm (24 3/16 in. x 34 3/4 in.)", "Disp_Height" : "61.4 cm", "Disp_Width" : "88.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting portrays two shepherds in love, their grazing flocks, and a soft light bathing an Italian palace. As an early pastoral by Claude Lorrain, it combines his sketches of the Roman countryside with imagery from ancient art and poetry, which idealized the shepherd’s life as being one of serenity and peace. Claude roamed the hills and pastures surrounding the city and created carefully observed landscapes that demonstrate the harmonious relationships between humans and nature, a theme apparent in this painting: two lovers embrace, a palace emerges from a natural rock formation, and a town rests on a tree-lined ridge.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition issues (FC:jb 4/2/15) Pair with Poussin landscape (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1217.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1217.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1217.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1217.tif", "IsPrimary" : "1", "_SurrogateID" : "2592", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16375, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16375", "Disp_Access_No" : "2017.855", "_AccNumSort1" : "", "Disp_Create_DT" : "late 14th century", "_Disp_Start_Dat" : "1367", "_Disp_End_Date" : "1399", "Disp_Title" : "Saint Catherine of Alexandria", "Alt_Title" : "", "Obj_Title" : "Saint Catherine of Alexandria", "Series_Title" : "", "Disp_Maker_1" : "Anonymous Venetian", "Sort_Artist" : "Anonymous Venetian", "Disp_Dimen" : "62.2 cm x 33.02 cm (24 1/2 in. x 13 in.)", "Disp_Height" : "62.2 cm", "Disp_Width" : "33.02 cm", "Dimen_Extent" : "panel", "Medium" : "Tempera with gold leaf on wood panel", "Support" : "", "Disp_Medium" : "Tempera with gold leaf on wood panel", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.855.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.855.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.855.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.855.tif", "IsPrimary" : "1", "_SurrogateID" : "2666", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16376, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16376", "Disp_Access_No" : "2017.1285", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Venus and Cupid", "Alt_Title" : "", "Obj_Title" : "Venus and Cupid", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Antonio Pellegrini", "Sort_Artist" : "Pellegrini, Giovanni Antonio", "Disp_Dimen" : "71.12 cm x 61.6 cm (28 in. x 24 1/4 in.)", "Disp_Height" : "71.12 cm", "Disp_Width" : "61.6 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, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up (FC:jb 4/2/15) Medallion (FC:jb 4/2/15) Potentially pair with Bellona, need to see them together (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1285.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1285.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1285.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1285.tif", "IsPrimary" : "1", "_SurrogateID" : "7756", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16384, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16384", "Disp_Access_No" : "2017.1030", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1645-1650", "_Disp_Start_Dat" : "1645", "_Disp_End_Date" : "1650", "Disp_Title" : "Saint Christina", "Alt_Title" : "", "Obj_Title" : "Saint Christina", "Series_Title" : "", "Disp_Maker_1" : "Bernardo Cavallino", "Sort_Artist" : "Cavallino, Bernardo", "Disp_Dimen" : "63.5 cm x 50.8 cm (25 in. x 20 in.)", "Disp_Height" : "63.5 cm", "Disp_Width" : "50.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : ""The Golden Legend" relates that Christina was a beautiful young woman of noble birth in ancient Rome, who was persecuted for her Christian faith. She refused to worship pagan idols, which led her father and the judges of the town to torture her in various ways. They had asps and serpents attack her, threw her into a furnace, and cut out her tongue. She endured all of them but was eventually martyred with two arrows that pierced her heart and her side. For this reason the saint is often represented with an arrow and a palm branch, the symbol of martyrdom. Bernardo Cavallino, one of the leading painters in seventeenth-century Naples, renders Christina’s beauty with feathery brushwork in the depiction of her face, which is emphasized against the dark neutral background. Her parted lips, tilted head, and delicate hand gesture add to the sensuality with which the artist depicted his imagined portraits of female saints.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Needs more light May have been cropped Good frame Conservation issues, canvas coming apart at the bottom left (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1030.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1030.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1030.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1030.tif", "IsPrimary" : "1", "_SurrogateID" : "2734", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16386, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16386", "Disp_Access_No" : "2017.1352", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Saint Agatha", "Alt_Title" : "", "Obj_Title" : "Saint Agatha", "Series_Title" : "", "Disp_Maker_1" : "Pacecco de Rosa (Francesco de Rosa)", "Sort_Artist" : "Rosa (Francesco de Rosa), Pacecco de", "Disp_Dimen" : "63.4 cm x 53 cm (24 15/16 in. x 20 7/8 in.)", "Disp_Height" : "63.4 cm", "Disp_Width" : "53 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "wood panel", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Bottom of a medallion hang. (FC:jb 4/23/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1352.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1352.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1352.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1352.tif", "IsPrimary" : "1", "_SurrogateID" : "4849", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16387, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16387", "Disp_Access_No" : "2017.1367", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1615", "_Disp_Start_Dat" : "1610", "_Disp_End_Date" : "1620", "Disp_Title" : "Orpheus Charming the Beasts", "Alt_Title" : "", "Obj_Title" : "Orpheus Charming the Beasts", "Series_Title" : "", "Disp_Maker_1" : "Sinibaldo Scorza", "Sort_Artist" : "Scorza, Sinibaldo", "Disp_Dimen" : "65.5 cm x 100.2 cm (25 13/16 in. x 39 7/16 in.)", "Disp_Height" : "65.5 cm", "Disp_Width" : "100.2 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, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition issues (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1367.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1367.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1367.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1367.tif", "IsPrimary" : "1", "_SurrogateID" : "2651", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16388, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16388", "Disp_Access_No" : "2017.1244", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1670", "_Disp_Start_Dat" : "1665", "_Disp_End_Date" : "1675", "Disp_Title" : "Pan and Daphnis", "Alt_Title" : "", "Obj_Title" : "Pan and Daphnis ", "Series_Title" : "", "Disp_Maker_1" : "Pieter Mulier the younger", "Sort_Artist" : "Mulier the younger, Pieter", "Disp_Dimen" : "65.6 cm x 49.3 cm (25 13/16 in. x 19 7/16 in.)", "Disp_Height" : "65.6 cm", "Disp_Width" : "49.3 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The beautiful young man holding a panpipe is Daphnis, a Sicilian herdsman and son of Mercury, the god of commerce. It was thought that Daphnis invented pastoral music and that his good looks enchanted many, including Pan, the god of shepherds, flocks, and the wild. Pan wandered the mountains and fields of Arcadia, playing his panpipe, often in lustful chases after nymphs and young men. Here, Pan teaches Daphnis how to play the panpipe as he makes an advance in the guise of instruction. Likely modeled on one of the ancient Roman sculptures discovered in the Renaissance, this painting echoes the ideals of the pastoral lifestyle filled with music and love. Pieter Mulier adds a contemporary touch to the scene through the inclusion of a viol, a string instrument popular in his time.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Dutch", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Would pair well with Lauri works (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1244.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1244.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1244.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1244.tif", "IsPrimary" : "1", "_SurrogateID" : "2658", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16400, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16400", "Disp_Access_No" : "2017.1305", "_AccNumSort1" : "", "Disp_Create_DT" : "1680s", "_Disp_Start_Dat" : "1680", "_Disp_End_Date" : "1680", "Disp_Title" : "An Allegory with Figures in a Garden Setting", "Alt_Title" : "", "Obj_Title" : "An Allegory with Figures in a Garden Setting", "Series_Title" : "", "Disp_Maker_1" : "Domenico Piola", "Sort_Artist" : "Piola, Domenico", "Disp_Dimen" : "71.76 cm x 93.98 cm (28 1/4 in. x 37 in.)", "Disp_Height" : "71.76 cm", "Disp_Width" : "93.98 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Piola was, with his pupil Gregorio De Ferrari, the leading painter in Genoa during the second half of the seventeenth century. With the catalyst of Pietro da Cortona’s High Baroque cycles, in a manner so fluent as to seem automatic, Piola managed to generalize the lessons of Rubens and Van Dyck’s dynamic naturalism and translate them into the grand scale decoration of the native Genoese tradition. Few palaces in Genoa and scarcely a church in Liguria lack a work with the undulating rhythms, variegated modelling, and softly modulated light that are his trademarks. Piola’s works may not be the most resolute in structure or deep in characterization, but they convey a ease, even a joy, that are estimable and historically significant. Here, a beautiful young woman is interrupted by an aged, winged male who holds an hourglass and scythe in one hand and presents a flower with the other. The subject is related in basic elements and composition to a common Baroque allegory, Time revealing Truth. In fact, the explicit vanity of plaiting hair, the implicit one of a mirror, the futile gesture of the little boy, and the flower shift the meaning to the short duration, the precariousness, of physical beauty. In its suave rhythms and decorative amplitude, the painting exemplifies Piola’s mature style. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Medallion, possibly with other garden pictures (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1305.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1305.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1305.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1305.tif", "IsPrimary" : "1", "_SurrogateID" : "2638", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16404, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16404", "Disp_Access_No" : "2017.883", "_AccNumSort1" : "", "Disp_Create_DT" : "1740s", "_Disp_Start_Dat" : "1740", "_Disp_End_Date" : "1740", "Disp_Title" : "The Toilet of Bathsheba", "Alt_Title" : "", "Obj_Title" : "The Toilet of Bathsheba", "Series_Title" : "", "Disp_Maker_1" : "Jacopo Amigoni", "Sort_Artist" : "Amigoni, Jacopo", "Disp_Dimen" : "72.4 cm x 61.6 cm (28 1/2 in. x 24 1/4 in.)", "Disp_Height" : "72.4 cm", "Disp_Width" : "61.6 cm", "Dimen_Extent" : "Canvas", "Medium" : "Oil on canvas", "Support" : "", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up Oval shape very 18th C., could present it for historical nature Venetian medallion hang, could be at top left (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.883.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.883.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.883.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.883.tif", "IsPrimary" : "1", "_SurrogateID" : "3444", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16406, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16406", "Disp_Access_No" : "2017.1177", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1680-1685", "_Disp_Start_Dat" : "1680", "_Disp_End_Date" : "1685", "Disp_Title" : "Holy Family with the Young Saint John the Baptist", "Alt_Title" : "", "Obj_Title" : "Holy Family with the Young Saint John the Baptist", "Series_Title" : "", "Disp_Maker_1" : "Bartolomeo Guidobono", "Sort_Artist" : "Guidobono, Bartolomeo", "Disp_Dimen" : "72.3 cm x 58.2 cm (28 7/16 in. x 22 15/16 in.)", "Disp_Height" : "72.3 cm", "Disp_Width" : "58.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Lovely in description, sweet in disposition, and careful in craft, Bartolomeo Guidobono’s work is a distinctive variation upon the grand manner of late seventeenth-century Genoese painting. His style arose from his first training and lifelong collaboration in the family business of fine porcelain painting. Its larger context is the Genoese taste for Netherlandish painting that goes back to the fifteenth century. After a series of trips to Emilia, Guidobono shifted this already delicate style toward the soft contour, luminous color, and gentleness of Correggio. Later he would reconcile it with the large rhythms and efficient manufacture of Domenico Piola. This "Holy Family" is a beautiful compendium of Guidobono’s early style. Its matrix is surely Genoese, with the figural group suggested by Piola and the pure hues reminiscent of Baciccio. Instead, the grain of light, amplitude of the figures, and tenderness reveal the recent debt to Correggio. Most impressive, however, are the refined drawing and meticulous finish, practically those of a miniature painting. In few other works of Guidobono is the craft more sustained or the reflection of his first activity more apparent. This unorthodox petite manière also anticipates the prettiness of the Rococo and the developing relation of the Genoese school to the French. In fact, the painting was at one time attributed to the eighteenth-century French painter Jean-Baptiste Le Prince.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1177.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1177.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1177.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1177.tif", "IsPrimary" : "1", "_SurrogateID" : "2620", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16407, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16407", "Disp_Access_No" : "2017.1068", "_AccNumSort1" : "", "Disp_Create_DT" : "1710s", "_Disp_Start_Dat" : "1710", "_Disp_End_Date" : "1710", "Disp_Title" : "The Education of Achilles ", "Alt_Title" : "", "Obj_Title" : "The Education of Achilles", "Series_Title" : "", "Disp_Maker_1" : "Donato Creti", "Sort_Artist" : "Creti, Donato", "Disp_Dimen" : "72.5 cm x 59.8 cm (28 9/16 in. x 23 9/16 in.)", "Disp_Height" : "72.5 cm", "Disp_Width" : "59.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Chiron, a mythological being that is half-human, half-horse, or a centaur, taught the art of medicine, hunting, and music to the young Achilles, who would later become the greatest Greek warrior of the Trojan War. In this painting, they are practicing bow hunting. Chiron’s strict but loving mentoring served as a model for tutoring noblemen in ancient Rome and became a popular subject representing humanist education during the fifteenth through the eighteenth centuries in Europe. Active in Bologna, Donato Creti specialized in paintings of classical and mythological themes that feature idealized figures. This particular work is one of several Creti depicted of the education of Achilles. The most famous is still in Bologna: it is set within a more expansive landscape and depicts a lion as their prey.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Would pair well with Lauri and Mulier (FC:jb 4/2/15) Condition issues (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1068.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1068.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1068.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1068.tif", "IsPrimary" : "1", "_SurrogateID" : "2598", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16410, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16410", "Disp_Access_No" : "2017.1279", "_AccNumSort1" : "", "Disp_Create_DT" : "1640s", "_Disp_Start_Dat" : "1640", "_Disp_End_Date" : "1640", "Disp_Title" : "Musical Party in a Garden", "Alt_Title" : "", "Obj_Title" : "Musical Party in a Garden", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Passeri", "Sort_Artist" : "Passeri, Giovanni Battista", "Disp_Dimen" : "73.7 cm x 99 cm (29 in. x 39 in.)", "Disp_Height" : "73.7 cm", "Disp_Width" : "99 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "With its open courtyard littered with fragments of ancient sculpture and bathed in Mediterranean light, the setting here is typical of a garden on the outskirts of Rome. The gentleman at right in contemporary attire introduces the viewer to the party. The woman in the blue mantle, the man in the orange tunic, and the semiclad piper seem engaged in a musical performance of classical inspiration. The group of women in modern costume accompanies them on a spinet. At left two servants ready a table for dining. The meaning of the scene is ambiguous. It may be an Italian version of popular garden scenes depicting the prodigal son as he squanders “his wealth in wild living” (Luke 15). It may also reflect the ideal of a Roman pleasure garden where the classical past and the fashionable present are harmoniously brought together. This pictorial riddle corresponds to Giovanni Battista Passeri’s intellectual character; he was not only a painter but also a writer who authored a collection of biographies of thirty-six painters that offers a lively account of the Italian art scene of the seventeenth century. The Blanton’s painting is one of the very few surviving paintings by the artist. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Pair with Cerquozzi", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1279.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1279.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1279.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1279.tif", "IsPrimary" : "1", "_SurrogateID" : "2632", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16412, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16412", "Disp_Access_No" : "2017.1326", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1653", "_Disp_Start_Dat" : "1648", "_Disp_End_Date" : "1658", "Disp_Title" : "Holy Family", "Alt_Title" : "", "Obj_Title" : "Holy Family", "Series_Title" : "", "Disp_Maker_1" : "Mattia Preti", "Sort_Artist" : "Preti, Mattia", "Disp_Dimen" : "74.3 cm x 63.5 cm (29 1/4 in. x 25 in.)", "Disp_Height" : "74.3 cm", "Disp_Width" : "63.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "With a close-up view of the three figures against an austere background, the painting focuses on the intimate moment shared by Mary, Joseph, and the infant Jesus. Light comes from the top left, illuminating Mary’s graceful young face and elegant hands. At the same time it accentuates the weathered and wrinkled features of Joseph. This contrast between the two figures reflects the tradition that emphasizes Mary’s virginity by stressing Joseph’s advanced age and improbability of fathering a child. The foreshortening of Jesus’ body and the cropping of the Mary and Joseph figures imply the extension of the pictorial space beyond the canvas, which has the effect of including the viewer in the scene as a participant. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1326.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1326.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1326.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1326.tif", "IsPrimary" : "1", "_SurrogateID" : "2643", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16416, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16416", "Disp_Access_No" : "2017.1212", "_AccNumSort1" : "", "Disp_Create_DT" : "1638-1644", "_Disp_Start_Dat" : "1638", "_Disp_End_Date" : "1644", "Disp_Title" : "Saint Agatha", "Alt_Title" : "", "Obj_Title" : "Saint Agatha", "Series_Title" : "", "Disp_Maker_1" : "Lorenzo Lippi", "Sort_Artist" : "Lippi, Lorenzo", "Disp_Dimen" : "75.7 cm x 64.1 cm (29 13/16 in. x 25 1/4 in.)", "Disp_Height" : "75.7 cm", "Disp_Width" : "64.1 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Until recently this painting was attributed to Orazio Riminaldi, an early follower of Caravaggio working out of Pisa. After careful examination and comparisons to other works by Lorenzo Lippi, The Blanton has once again identified it as by the hand of the Florentine master––an attribution made by William Suida when the painting first entered his collection. Lippi shied away from the highly decorative grandeur typical of the time and adopted a clear, pure style resulting in a subtle, dramatic aesthetic. Vague in substance and dreamy in mood, the subject holds a mild erotic charge and suggests the decadence of the city’s culture. This extraordinary painting exhibits Lippi’s unusual palette, his typical facial types––articulated with careful, compact modeling––and his soft, thinly veiled drapery. He renders the early Christian martyr in a traditional manner, accompanied by the instrument of her torture and its result, her severed breasts. Transfixing the viewer with a glance that is at once vulnerable and provocative, she challenges the viewer to sort out devout sympathy from prurient curiosity. Her attributes are so vivid that the usual boundary between the symbolic and the actual breaks down. In this context, with the inherently beautiful handling of the medium, the image is a memorable combination of pungent realism and subtle transgression. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1212.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1212.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1212.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1212.tif", "IsPrimary" : "1", "_SurrogateID" : "2750", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16418, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16418", "Disp_Access_No" : "2017.915.a", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1495-1500", "_Disp_Start_Dat" : "1495", "_Disp_End_Date" : "1500", "Disp_Title" : "Saint Jerome", "Alt_Title" : "", "Obj_Title" : "Saint Jerome", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Ambrogio Bevilacqua", "Sort_Artist" : "Bevilacqua, Giovanni Ambrogio", "Disp_Dimen" : "76 cm x 52.5 cm (29 15/16 in. x 20 11/16 in.)", "Disp_Height" : "76 cm", "Disp_Width" : "52.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Tempera with gold leaf on wood panel", "Support" : "", "Disp_Medium" : "Tempera with gold leaf on wood panel", "Info_Page_Comm" : "Saints Augustine and Jerome are two of the fathers of the Western church who are venerated especially for their scholarly roles in laying the foundation of Christian thought. Jerome translated the Bible into Latin, and Augustine authored "Confessions" and "City of God." Emphasizing the two saints’ literary contributions, these paintings represent them engaged in writing. Their identification is reinforced by their attributes: Saint Augustine is wearing the habit of the Augustinian Order, while Saint Jerome is in his red cardinal’s robe and hat alongside a lion. The curvilinear form of the edges and the low viewpoint indicate that the paintings were most likely the upper corners of an altarpiece composed of multiple panels. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Farther away and higher up (FC:jb 4/2/15) Stays in, important and rare (FC 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.915.a.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.915.a.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.915.a.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.915.a.tif", "IsPrimary" : "1", "_SurrogateID" : "4814", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16419, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16419", "Disp_Access_No" : "2017.915.b", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1495-1500", "_Disp_Start_Dat" : "1495", "_Disp_End_Date" : "1500", "Disp_Title" : "Saint Augustine", "Alt_Title" : "Previously called "Saint Gregory"", "Obj_Title" : "Saint Augustine", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Ambrogio Bevilacqua", "Sort_Artist" : "Bevilacqua, Giovanni Ambrogio", "Disp_Dimen" : "76.2 cm x 57 cm (30 in. x 22 7/16 in.)", "Disp_Height" : "76.2 cm", "Disp_Width" : "57 cm", "Dimen_Extent" : "canvas", "Medium" : "Tempera with gold leaf on wood panel", "Support" : "", "Disp_Medium" : "Tempera with gold leaf on wood panel", "Info_Page_Comm" : "Saints Augustine and Jerome are two of the fathers of the Western church who are venerated especially for their scholarly roles in laying the foundation of Christian thought. Jerome translated the Bible into Latin, and Augustine authored "Confessions" and "City of God." Emphasizing the two saints’ literary contributions, these paintings represent them engaged in writing. Their identification is reinforced by their attributes: Saint Augustine is wearing the habit of the Augustinian Order, while Saint Jerome is in his red cardinal’s robe and hat alongside a lion. The curvilinear form of the edges and the low viewpoint indicate that the paintings were most likely the upper corners of an altarpiece composed of multiple panels.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Farther away and higher up (FC:jb 4/2/15) Stays in, important and rare (FC 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.915.b.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.915.b.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.915.b.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.915.b.tif", "IsPrimary" : "1", "_SurrogateID" : "4815", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16421, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16421", "Disp_Access_No" : "2017.1017", "_AccNumSort1" : "", "Disp_Create_DT" : "late 17th century", "_Disp_Start_Dat" : "1667", "_Disp_End_Date" : "1699", "Disp_Title" : "Jacob Asking for Laban", "Alt_Title" : "", "Obj_Title" : "Jacob Asking for Laban", "Series_Title" : "", "Disp_Maker_1" : "Francesco Castiglione", "Sort_Artist" : "Castiglione, Francesco", "Disp_Dimen" : "78 cm x 84 cm (30 11/16 in. x 33 1/16 in.)", "Disp_Height" : "78 cm", "Disp_Width" : "84 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Fleeing for his life, Jacob seeks refuge with his uncle, Laban, living in “the land of the people of the east.” While Jacob discusses Laban’s whereabouts with shepherds, all the animals in the foreground gaze intently at the viewer. They take center stage, not the humans. Francesco Castiglione follows after his father, Giovanni Benedetto Castiglione, who showcased animals within biblical narratives. In fact, the goat and cattle in the foreground are likely copied from one of his father’s paintings. The work also represents the Genoese fondness for animals in artwork, a taste stimulated by Northern European genre painting and depictions of keenly observed animals. During the early seventeenth century, Dutch and Flemish artists, along with others throughout Europe, moved to Genoa to meet its large demand for art, especially decoration of palaces owned by the city’s wealthy families.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1017.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1017.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1017.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1017.tif", "IsPrimary" : "1", "_SurrogateID" : "2586", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16425, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16425", "Disp_Access_No" : "2017.995", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "The Death of Rachel", "Alt_Title" : "", "Obj_Title" : "The Death of Rachel", "Series_Title" : "", "Disp_Maker_1" : "Antonio Carneo", "Sort_Artist" : "Carneo, Antonio", "Disp_Dimen" : "81.3 cm x 106.7 cm (32 in. x 42 in.)", "Disp_Height" : "81.3 cm", "Disp_Width" : "106.7 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, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "See how it looks next to green Madonna. (FC:jb 4/23/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.995.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.995.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.995.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.995.tif", "IsPrimary" : "1", "_SurrogateID" : "9132", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16433, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16433", "Disp_Access_No" : "2017.1282", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1713-1714", "_Disp_Start_Dat" : "1713", "_Disp_End_Date" : "1714", "Disp_Title" : "Bellona", "Alt_Title" : "", "Obj_Title" : "Bellona", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Antonio Pellegrini", "Sort_Artist" : "Pellegrini, Giovanni Antonio", "Disp_Dimen" : "90.17 cm x 73.66 cm (35 1/2 in. x 29 in.)", "Disp_Height" : "90.17 cm", "Disp_Width" : "73.66 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Pellegrini represents 18th-century Venetian painting at its most exuberant. He was initially trained in Milan with the idiosyncratic Paolo Pagani, but his style is really an exaggeration of the sensuous and decorative aspects of Sebastiano Ricci. In Pellegrini’s works, the drawing is broad and soft, the palette is fiery and luminous, and the paint itself is dense and fluid. Defying gravity, bordering on the caricatural, this painterly virtuosity was a tremendous success across Europe, with Pellegrini called to execute significant fresco cycles and numerous canvases in England, France, and Germany. Bellona is a typically glorious if basically hollow exercise in this purest kind of painting. Already freed from Ricci’s more differentiated handling, but not yet fully dissolved in its drawing and atmospheric in its color, the picture probably dates from the time of Pellegrini’s collaboration with Antonio Bellucci, a Venetian of comparable inclination but lesser brilliance, on a decorative ensemble for the Schloss Bensberg, near Cologne. This is one of three major paintings by Pellegrini in the Collection. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Potentially pair with Venus and Cupid, need to see them together (FC:jb 4/2/15) Don''t need both Pellegrinis unless they are both in medallion or in an upper register (left and right). This one is more engaging because she is looking at us, helmet reflects the light nicely. (FC:jb 4/6/15) Rare to have Pellegrini in American collections (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1282.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1282.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1282.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1282.tif", "IsPrimary" : "1", "_SurrogateID" : "2633", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16434, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16434", "Disp_Access_No" : "2017.1036", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1541", "_Disp_Start_Dat" : "1536", "_Disp_End_Date" : "1546", "Disp_Title" : "The Coronation of the Virgin", "Alt_Title" : "", "Obj_Title" : "The Coronation of the Virgin", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista della Cerva", "Sort_Artist" : "Cerva, Giovanni Battista della", "Disp_Dimen" : "87 cm x 71.5 cm (34 1/4 in. x 28 1/8 in.)", "Disp_Height" : "87 cm", "Disp_Width" : "71.5 cm", "Dimen_Extent" : "panel", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Jesus crowns her mother Mary as God the Father gazes down from above and the Holy Spirit descends in the form of a dove. Playful cherubim in the wreath of cloud add to the jubilant mood. This theme represents the final episode in the life of Mary, when, according to the tradition of the Catholic Church, she was brought to heaven after death and crowned as Queen of Heaven. In order to set the scene for the celestial event, Giovanni Battista della Cerva creates an abstract space relying on colors associated with heaven (blue) and eternity (gold). ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Lost in corner, needs more of a relationship with objects around it (FC:jb 4/2/15) Ranking adjusted (FC:jp 5/26/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1036.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1036.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1036.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1036.tif", "IsPrimary" : "1", "_SurrogateID" : "2740", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16435, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16435", "Disp_Access_No" : "2017.1202", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1715", "_Disp_Start_Dat" : "1710", "_Disp_End_Date" : "1720", "Disp_Title" : "Portrait of a Man", "Alt_Title" : "", "Obj_Title" : "Portrait of a Man", "Series_Title" : "", "Disp_Maker_1" : "Nicolas de Largillière", "Sort_Artist" : "Largillière, Nicolas de", "Disp_Dimen" : "92.2 cm x 75.4 cm (36 5/16 in. x 29 11/16 in.)", "Disp_Height" : "92.2 cm", "Disp_Width" : "75.4 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Nicolas de Largillière was one of the most prolific portraitists of his time, with more than 1500 portraits to his credit. He enjoyed the patronage of the royal families and aristocrats in England and France, who frequently had their painted likenesses reproduced as engravings in order to distribute them widely. Portraiture was generally reserved for the nobility as a means to display an individual’s lineage, social status, personal virtues, and fame. With the rise of the middle class in the seventeenth and eighteenth centuries, however, the bourgeoisie increasingly commissioned portraits of themselves, which is also reflected in Largillière’s oeuvre. The sitter’s casual garb and amiable attitude in this portrait may indicate his friendly relationship with the painter. More specifically, the elegantly unkempt dress, similar to that in Largillière’s portrait of the sculptor Nicolas Coustou painted around 1713, which is now in the collection of the Gemäldegalerie in Berlin, may suggest that the sitter is also an artist. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "In play especially for portrait room Pretty good condition but lots of craquelure Many portraits by this artist, not particularly rare (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1202.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1202.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1202.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1202.tif", "IsPrimary" : "1", "_SurrogateID" : "2624", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16438, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16438", "Disp_Access_No" : "2017.919", "_AccNumSort1" : "", "Disp_Create_DT" : "1620s", "_Disp_Start_Dat" : "1620", "_Disp_End_Date" : "1620", "Disp_Title" : "Danaë", "Alt_Title" : "", "Obj_Title" : "Danaë", "Series_Title" : "", "Disp_Maker_1" : "Jacques Blanchard", "Sort_Artist" : "Blanchard, Jacques", "Disp_Dimen" : "93.4 cm x 128.4 cm (36 3/4 in. x 50 9/16 in.)", "Disp_Height" : "93.4 cm", "Disp_Width" : "128.4 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, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition issues, conservation. Candidate for medallion hang. Louis Waldman: better than other Blanchard. (FC:jb 4/23/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.919.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.919.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.919.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.919.tif", "IsPrimary" : "1", "_SurrogateID" : "2669", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.919-pre.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.919-pre.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.919-pre.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.919-pre.tif", "IsPrimary" : "0", "_SurrogateID" : "10339", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16441, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16441", "Disp_Access_No" : "2017.1033", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1640", "_Disp_Start_Dat" : "1635", "_Disp_End_Date" : "1645", "Disp_Title" : "Portrait of a Widow", "Alt_Title" : "Portrait of a Lady Holding a Book", "Obj_Title" : "Portrait of a Widow", "Series_Title" : "", "Disp_Maker_1" : "Carlo Ceresa", "Sort_Artist" : "Ceresa, Carlo", "Disp_Dimen" : "95.8 cm x 78.5 cm (37 11/16 in. x 30 7/8 in.)", "Disp_Height" : "95.8 cm", "Disp_Width" : "78.5 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, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "FC and JP like the head but details are lost in the garment (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1033.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1033.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1033.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1033.tif", "IsPrimary" : "1", "_SurrogateID" : "2736", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16443, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16443", "Disp_Access_No" : "2017.964", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1569", "_Disp_Start_Dat" : "1564", "_Disp_End_Date" : "1574", "Disp_Title" : "Esther and Ahasuerus", "Alt_Title" : "", "Obj_Title" : "Esther and Ahasuerus", "Series_Title" : "", "Disp_Maker_1" : "Luca Cambiaso", "Sort_Artist" : "Cambiaso, Luca", "Disp_Dimen" : "98.4 cm x 88.5 cm (38 3/4 in. x 34 13/16 in.)", "Disp_Height" : "98.4 cm", "Disp_Width" : "88.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Before the mid 16th century, Genoese patrons generally satisfied their artistic needs by importing works or artists themselves from elsewhere in Italy or even the North. The activity of Luca Cambiaso represents the foundation of a native and highly progressive school of painting. First trained locally by his father, Cambiaso then went to Rome, where he assimilated the current style based on Michelangelo’s painting. Returning to Genoa, he cultivated the geometry and ideality that underpin that style. This led to the development of what is perhaps the most abstract and intellectualized style of the entire Italian Renaissance. Its characteristics are an extreme simplification of form, opacity of expression, broadness of execution, and modality according to the subject and function of the painting. Rendering the Jewish queen’s courageous intercession with the Persian king to save her people, this painting is an outstanding example of Cambiaso’s most conventionally beautiful mode. Expressing the powerful conjunction of physical allure and moral force, the subject was a favorite from around this time through the 18th century. Typical of Cambiaso’s art, the composition is spare, schematic, and still. True to this mode, and appropriate to the subject, the description is relatively generous, the touch, especially in the ornament, delicate, and the tenor gentle. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Higher up (FC:jb 4/2/15) Ranking adjusted (JP 5/19/15) Ranking adjusted (FC:jp 5/26/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.964.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.964.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.964.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.964.tif", "IsPrimary" : "1", "_SurrogateID" : "2578", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16446, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16446", "Disp_Access_No" : "2017.1363", "_AccNumSort1" : "", "Disp_Create_DT" : "17th century", "_Disp_Start_Dat" : "1600", "_Disp_End_Date" : "1699", "Disp_Title" : "Saint James the Greater at the Battle of Clavijo", "Alt_Title" : "", "Obj_Title" : "Saint James the Greater at the Battle of Clavijo", "Series_Title" : "", "Disp_Maker_1" : "Johann Heinrich Schönfeld", "Sort_Artist" : "Schönfeld, Johann Heinrich", "Disp_Dimen" : "99 cm x 127.8 cm (39 in. x 50 5/16 in.)", "Disp_Height" : "99 cm", "Disp_Width" : "127.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Mounted on a white stallion and clad in armor, James the Greater charges toward fleeing enemies. According to legend, James miraculously appeared at the fictional ninth-century Battle of Clavijo, where he helped the outnumbered Spaniards vanquish the Moors. For this reason, Saint James the Greater, or Santiago in Spanish, was venerated as the patron saint of Spain. The legend of the battle had a particular resonance in the sixteenth and seventeenth centuries, as the political and military conflict with the Ottoman Turks in the Mediterranean stoked European fear of Muslims. The red cross on the knight-saint’s breastplate is the insignia of the Order of Santiago, founded in the twelfth century to protect pilgrims to Santiago de Compostela, Spain, and to defend Christendom.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "German", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Title here needs to be changed. Likely Saint James. Shoul be Saint James Vanquishing the Moores? (FC:jb 5/13/15) Could be upstairs in a Northen European section, could be paired Needs a frame Quality, rarity make this 1 (FC:jb 5/13/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1363.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1363.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1363.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1363.tif", "IsPrimary" : "1", "_SurrogateID" : "4850", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16447, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16447", "Disp_Access_No" : "2017.1327", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1657-1659", "_Disp_Start_Dat" : "1657", "_Disp_End_Date" : "1659", "Disp_Title" : "The Martyrdom of Saint Catherine of Alexandria", "Alt_Title" : "", "Obj_Title" : "Martyrdom of Saint Catherine of Alexandria", "Series_Title" : "", "Disp_Maker_1" : "Mattia Preti", "Sort_Artist" : "Preti, Mattia", "Disp_Dimen" : "100.5 cm x 75 cm (39 9/16 in. x 29 1/2 in.)", "Disp_Height" : "100.5 cm", "Disp_Width" : "75 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting represents the moment just before Saint Catherine’s beheading. After the spiked wheels broke into pieces and failed to kill her, the executioner’s sword swings to end her life. As she looks up and prays, an angel descends to crown her with laurel and to give her the palm of martyrdom. The angle of foreshortening suggests that the image was to be viewed from below. This work served as an oil sketch for a painting of the same subject in the ceiling of the church of San Pietro a Maiella in Naples. Between mid-1657 and early 1659 Mattia Preti executed a series of five paintings that represent scenes from the life of Saint Catherine and another five from the life of Saint Peter Celestine, to whom the church is dedicated. For the final version in Naples, the artist departed from the composition in the Blanton’s painting: figures are added on the left, right, and bottom center, and the architectural background is minimized. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up but only raised about a foot, if too high we could lose details; should be raised with caution (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1327.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1327.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1327.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1327.tif", "IsPrimary" : "1", "_SurrogateID" : "2642", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16449, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16449", "Disp_Access_No" : "2017.1419", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1585", "_Disp_Start_Dat" : "1580", "_Disp_End_Date" : "1590", "Disp_Title" : "The Annunciation", "Alt_Title" : "", "Obj_Title" : "The Annunciation", "Series_Title" : "", "Disp_Maker_1" : "Workshop of Paolo Veronese", "Sort_Artist" : "Veronese, Workshop of Paolo", "Disp_Dimen" : "104.5 cm x 82.9 cm (41 1/8 in. x 32 5/8 in.)", "Disp_Height" : "104.5 cm", "Disp_Width" : "82.9 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Of the great Venetian painters of the sixteenth century, Paolo Veronese was the most systematic and subtle in exploring the action, formal implications, and even expressive meanings of light upon color. Early in his development, the forms had been quite arbitrary and the result stylish but implausible. Steadily, his design was regularized according to classical models, his palette reached an unprecedented optical range, and his light became naturalistically descriptive. A small altarpiece probably for private devotion, this picture sets the Virgin and the archangel Gabriel in a handsome loggia, like that of an actual villa by Palladio, with whom the artist often collaborated. It is one of numerous late versions of the subject, with no sign of the workshop participation that had become frequent by then. The highlights have lost little of their energy, coursing across the surfaces and infusing the work with a metaphoric vitality. The figures, however, have been simplified in shape, their cadence slowed and their gesture subdued. And the palette is relatively restricted and uniform in value. In such paintings, the heroic splendor of the artist’s mature style yields to something less calculated and more reflective. The Suida-Manning Collection includes two other paintings from the same period, each a fragment from a larger composition. The composition depends upon a painting by Tintoretto. Infrared examination by Stephen Gritt (Feb. 2010) revealed no variation between underdrawing and execution. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1419.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1419.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1419.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1419.tif", "IsPrimary" : "1", "_SurrogateID" : "2668", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16450, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16450", "Disp_Access_No" : "2017.1417", "_AccNumSort1" : "", "Disp_Create_DT" : "1570s (?)", "_Disp_Start_Dat" : "1570", "_Disp_End_Date" : "1570", "Disp_Title" : "Three Cherubim", "Alt_Title" : "", "Obj_Title" : "Three Cherubim", "Series_Title" : "", "Disp_Maker_1" : "Paolo Veronese", "Sort_Artist" : "Veronese, Paolo", "Disp_Dimen" : "105.41 cm x 81.92 cm (41 1/2 in. x 32 1/4 in.)", "Disp_Height" : "105.41 cm", "Disp_Width" : "81.92 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting is a fragment from a much larger composition. Cherubim along with seraphim form the highest order of angels in the Christian celestial hierarchy. In Byzantine and medieval art they were represented as heads surrounded by six wings. Varied and humanized in the Renaissance, they evolved into the sweet-faced, two-winged creatures seen here, and further into the baby angels, or putti, that populate many paintings. Veronese used groups of cherubim, first in the background of the upper reaches of altarpieces, then more prominently at the boundary between heavenly and earthly zones in various religious works. The group just above Saint Michael in the Petrobelli Altarpiece is typical. Judging by the size of these heads, the heavy weave of canvas, and the broad handling of paint, this fragment must come from a comparably large work, probably an altarpiece. While the type and function of these cherubim are evident, their realization is problematic. The arrangement of the three heads seems awkward, with their foreshortening uncoordinated and the upper two badly crowded. The individual heads lack volume, tending to flatten into simple shapes with no connection to their wings. Even allowing for condition––moderate abrasion and scattered paint losses throughout––the brushwork seems coarse, the accents in heavy pigment––the curls of the cherub on the right––superficial, and the surface inert. The habits are those of Veronese, but the hand shows little understanding of structure or sensitivity. Whatever the source of this fragment, an assistant was responsible for its execution. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "Three Cherubim", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition, conservation issues: needs to be cleaned. Whites are yellow. 2+ with cleaning. Could go in medallion hang. (FC:jb 4/14/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1417.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1417.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1417.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1417.tif", "IsPrimary" : "1", "_SurrogateID" : "2762", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16451, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16451", "Disp_Access_No" : "2017.963", "_AccNumSort1" : "", "Disp_Create_DT" : "early 1570s", "_Disp_Start_Dat" : "1570", "_Disp_End_Date" : "1570", "Disp_Title" : "Ecce Homo", "Alt_Title" : "", "Obj_Title" : "Ecce Homo", "Series_Title" : "", "Disp_Maker_1" : "Luca Cambiaso", "Sort_Artist" : "Cambiaso, Luca", "Disp_Dimen" : "108 cm x 98 cm (42 1/2 in. x 38 9/16 in.)", "Disp_Height" : "108 cm", "Disp_Width" : "98 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : ""Ecce Homo," a Latin phrase meaning “behold the man,” represents a scene from the Passion. Pontius Pilate presents Jesus, bound and crowned with thorns, before a crowd demanding his crucifixion. Here the tumult of the scene is replaced with a quiet, almost meditative atmosphere. The simplicity of narrative closely reflects the religious and artistic environment in which Luca Cambiaso worked. Faced with the rise of Protestantism in the sixteenth century, the Catholic Church carried out a series of reforms, now referred to as the Counter-Reformation. During this period, the Catholic Church encouraged artists to make decorous images with minimal distractions, like this painting, to communicate the Catholic doctrines effectively. Through its simplified composition, Cambiaso’s "Ecce Homo" invites the viewer to focus on the suffering of Jesus. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Ranking adjusted (FC:jp 5/26/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.963.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.963.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.963.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.963.tif", "IsPrimary" : "1", "_SurrogateID" : "2727", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16452, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16452", "Disp_Access_No" : "2017.890", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1703-1704", "_Disp_Start_Dat" : "1703", "_Disp_End_Date" : "1704", "Disp_Title" : "Madonna and Child with Saint Anne Appearing to Pope Paul V", "Alt_Title" : "", "Obj_Title" : "Madonna and Child with Saint Anne Appearing to Pope Paul V", "Series_Title" : "", "Disp_Maker_1" : "Antonio Balestra", "Sort_Artist" : "Balestra, Antonio", "Disp_Dimen" : "109.22 cm x 102.24 cm (43 in. x 40 1/4 in.)", "Disp_Height" : "109.22 cm", "Disp_Width" : "102.24 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting is a capital example of Balestra’s style in its first moments of full synthesis. The diagonal armature and regular construction of its compositions are clichés of late-century Roman altarpieces, and passages like the figure of Pope Paul are so controlled that they suggest an actually Roman hand. But the complication of certain tones and the personality of other passages, like the figure of Saint Zeno, betray Venetian authorship. Featuring Zeno, the patron saint of Verona, and Paul V, the early 17th-century pope who asserted eccelesiastical authority against a defiant Venice, this picture along with its pair was surely conceived as a pendant for an orthodox setting, perhaps a cleric’s private residence, in Balestra’s native city.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition issues, conservation issues: needs to be cleaned. Pair with 25.1999. Medallion hang or on either side of a door. (FC:jb 4/14/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.890.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.890.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.890.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.890.tif", "IsPrimary" : "1", "_SurrogateID" : "2604", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16453, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16453", "Disp_Access_No" : "2017.891", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1703-1704", "_Disp_Start_Dat" : "1703", "_Disp_End_Date" : "1704", "Disp_Title" : "Saint Zeno Healing a Possessed Woman", "Alt_Title" : "", "Obj_Title" : "Saint Zeno Healing a Possessed Woman", "Series_Title" : "", "Disp_Maker_1" : "Antonio Balestra", "Sort_Artist" : "Balestra, Antonio", "Disp_Dimen" : "109.22 cm x 102.24 cm (43 in. x 40 1/4 in.)", "Disp_Height" : "109.22 cm", "Disp_Width" : "102.24 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting is a capital example of Balestra’s style in its first moments of full synthesis. The diagonal armature and regular construction of its compositions are clichés of late-century Roman altarpieces, and passages like the figure of Pope Paul are so controlled that they suggest an actually Roman hand. But the complication of certain tones and the personality of other passages, like the figure of Saint Zeno, betray Venetian authorship. Featuring Zeno, the patron saint of Verona, and Paul V, the early 17th-century pope who asserted eccelesiastical authority against a defiant Venice, this picture along with its pair was surely conceived as a pendant for an orthodox setting, perhaps a cleric’s private residence, in Balestra’s native city.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Condition issues, conservation issues: needs to be cleaned. Pair with 24.1999. Medallion hang or on either side of a door (FC:jb 4/14/15) ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.891.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.891.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.891.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.891.tif", "IsPrimary" : "1", "_SurrogateID" : "2606", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16454, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16454", "Disp_Access_No" : "2017.895", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1542 - 1545", "_Disp_Start_Dat" : "1542", "_Disp_End_Date" : "1545", "Disp_Title" : "Saint John the Baptist", "Alt_Title" : "", "Obj_Title" : "Saint John the Baptist", "Series_Title" : "", "Disp_Maker_1" : "Jacopo Bassano (Jacopo da Ponte)", "Sort_Artist" : "Bassano (Jacopo da Ponte), Jacopo", "Disp_Dimen" : "109.22 cm x 71.76 cm (43 in. x 28 1/4 in.)", "Disp_Height" : "109.22 cm", "Disp_Width" : "71.76 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Cut out from a larger canvas, this painting represents John the Baptist turning his gaze toward the spectator. The saint’s truncated forearm and the direction of his pose, among other elements, suggest that this fragment once formed the right part of a composition, which likely featured the Madonna and Child in the center; there would have been another saint on the left. The farmhouses with thatched roofs in the background demonstrate the painter’s well-known tendency to incorporate rustic elements in religious paintings. The figure’s right eye, left knee, and left foot are reconstructions completed in 2009.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up (FC:jb 4/2/15) ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.895-post-Res.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.895-post-Res.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.895-post-Res.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.895-post-Res.tif", "IsPrimary" : "1", "_SurrogateID" : "6465", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16455, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16455", "Disp_Access_No" : "2017.918", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1634-1635", "_Disp_Start_Dat" : "1634", "_Disp_End_Date" : "1635", "Disp_Title" : "Charity", "Alt_Title" : "", "Obj_Title" : "Charity", "Series_Title" : "", "Disp_Maker_1" : "Jacques Blanchard", "Sort_Artist" : "Blanchard, Jacques", "Disp_Dimen" : "110.5 cm x 142.8 cm (43 1/2 in. x 56 1/4 in.)", "Disp_Height" : "110.5 cm", "Disp_Width" : "142.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Jacques Blanchard represents the personification of Charity as a woman breastfeeding a child and tending to two others around her. According to Cesare Ripa, the three children signify the tripling of Charity’s power when accompanied by Faith and Hope, the other theological virtues. Blanchard makes a creative departure from Ripa’s original text, however, by adding more children to illustrate charity in action: a boy assists a crying girl, and the infant on Charity’s lap reaches compassionately out to her. This scene reinforces a passage in the French edition of "Iconologia" that Charity “usually dwells among innocent and pure souls.” Regarded as a gifted colorist, he worked for King Louis XIV in Paris. The Blanton's painting is one of the few paintings by the artist in the United States.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Medallion (FC:jb 4/2/15) One of two Blanchards (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.918.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.918.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.918.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.918.tif", "IsPrimary" : "1", "_SurrogateID" : "2648", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16458, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16458", "Disp_Access_No" : "2017.1170", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1624-1625", "_Disp_Start_Dat" : "1624", "_Disp_End_Date" : "1625", "Disp_Title" : "Saint Mary Magdalene", "Alt_Title" : "", "Obj_Title" : "Saint Mary Magdalene", "Series_Title" : "", "Disp_Maker_1" : "Guercino (Giovanni Francesco Barbieri)", "Sort_Artist" : "Guercino (Giovanni Francesco Barbieri)", "Disp_Dimen" : "114.94 cm x 94.3 cm (45 1/4 in. x 37 1/8 in.)", "Disp_Height" : "114.94 cm", "Disp_Width" : "94.3 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Guercino's style, its optical intensity and sensory appeal, offered an alternative to the more schematic naturalism of Caravaggio and the early classicism of Annibale Carracci. Guercino, however, was reciprocally affected by those prevailing currents, as well as by the weight of the city’s earlier artistic traditions. Just as other painters like Giovanni Lanfranco and Pietro da Cortona began to explore and extend the possibilities of Guercino’s style, he tempered them. This painting is an excellent example of Guercino’s shift toward a less intuitive style in the aftermath of his sojourn in Rome. Transcending her contemplation of death and repentance of sins, the Magdalene looks heavenward in a rapture that is echoed by the shaft of light from the upper left. Because her figure derives from a painting of around 1619, a Raising of Lazarus in the Louvre, Guercino’s development is all the more apparent. The composition is more deliberate, its forms more constructed, his touch more measured. What painting may have lost in restless vitality, it has gained in solemn power. Later, however, these tendencies would lead to an ever more self-conscious, and nonetheless beautiful, approximation of Baroque classicism. When Guercino went to Rome in 1621-23, he brought with him the style of the Suida-Manning Collection’s exquisite Landscape, to the left. That style, its optical intensity and sensory appeal, offered an alternative to the more schematic naturalism of Caravaggio and the early classicism of Annibale Carracci. Guercino, however, was reciprocally affected by those prevailing currents, as well as by the weight of the city’s earlier artistic traditions. Just as other painters like Giovanni Lanfranco and Pietro da Cortona began to explore and extend the possibilities of Guercino’s style, he tempered them.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up (FC:jb 4/2/15) Medallion (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1170.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1170.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1170.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1170.tif", "IsPrimary" : "1", "_SurrogateID" : "2619", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16459, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16459", "Disp_Access_No" : "2017.905", "_AccNumSort1" : "", "Disp_Create_DT" : "1730s", "_Disp_Start_Dat" : "1730", "_Disp_End_Date" : "1730", "Disp_Title" : "Portrait of a Lady with a Dog", "Alt_Title" : "", "Obj_Title" : "Portrait of a Lady with a Dog", "Series_Title" : "", "Disp_Maker_1" : "Marco Benefial", "Sort_Artist" : "Benefial, Marco", "Disp_Dimen" : "115.5 cm x 86 cm (45 1/2 in. x 33 7/8 in.)", "Disp_Height" : "115.5 cm", "Disp_Width" : "86 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, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Needs status Conservation issues: disintegration of pigment Similar to the Carriera (FC:jb 4/6/15) Status provisional; based on conversation with FC (JP 4/30/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.905.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.905.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.905.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.905.tif", "IsPrimary" : "1", "_SurrogateID" : "10691", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16461, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16461", "Disp_Access_No" : "2017.1060", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1621", "_Disp_Start_Dat" : "1616", "_Disp_End_Date" : "1626", "Disp_Title" : "The Conversion of Saint Paul", "Alt_Title" : "", "Obj_Title" : "The Conversion of Saint Paul", "Series_Title" : "", "Disp_Maker_1" : "Daniele Crespi", "Sort_Artist" : "Crespi, Daniele", "Disp_Dimen" : "118.7 cm x 84.5 cm (46 3/4 in. x 33 1/4 in.)", "Disp_Height" : "118.7 cm", "Disp_Width" : "84.5 cm", "Dimen_Extent" : "panel", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Had Daniele Crespi enjoyed a longer career, and were his works not largely confined to Lombardy, he would be widely known as a master of the first order. He was without doubt the finest painter of the second generation of Baroque painting in Milan. In his paintings the willful deformation and troubling intensity of the school’s first generation have been subjected to a more disciplined sense of design and a more predictable language of expression, reflecting the lessons of recent Florentine painting as well as the emerging Bolognese academy. The resulting style is original in its staging but legible in its action and noble in its feeling. This is one of Crespi’s most important early pictures. The general composition and its compression of space into a single plane derive from a low-relief sculpture designed by Cerano for the façade of the church of San Paolo Converso in Milan. The intricate rhythms and the palette depend more on Giulio Cesare Procaccini, another major figure of the first generation who was Crespi’s principal inspiration if not actual teacher. But the incisive drawing of Saint Paul, the exact modeling of his forms, and the memorable enunciation of the drama announce the fact and direction of a distinctive language. The Suida-Manning Collection includes a second outstanding picture by Crespi, "Ecce Homo" of about two years later.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1060.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1060.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1060.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1060.tif", "IsPrimary" : "1", "_SurrogateID" : "2593", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16462, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16462", "Disp_Access_No" : "2017.1339", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1712-1716", "_Disp_Start_Dat" : "1712", "_Disp_End_Date" : "1716", "Disp_Title" : "Flora", "Alt_Title" : "", "Obj_Title" : "Flora", "Series_Title" : "", "Disp_Maker_1" : "Sebastiano Ricci", "Sort_Artist" : "Ricci, Sebastiano", "Disp_Dimen" : "125.3 cm x 153.7 cm (49 5/16 in. x 60 1/2 in.)", "Disp_Height" : "125.3 cm", "Disp_Width" : "153.7 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Flora was the goddess of flowers who had previously been a nymph by the name of Chloris, known for her sensuous beauty. Ovid’s "Fasti" (8 CE) describes how she was seduced by Zephyrus, the Greek god of the west wind and harbinger of spring, and became his wife. This work captures the moment just before their encounter. Unnoticed by Flora, Zephyrus approaches her from behind, pointing at his future wife and cautioning silence to another putto. At the right, an urn spills over with flowers that celebrate their namesake, Flora. The pose of the goddess makes reference to that of the Crouching Venus, a Hellenistic sculpture type that was repeated in ancient Roman statuary and in Renaissance prints. In addition to the classical theme and composition, Sebastiano Ricci makes full use of the rich colors and free brushwork typical of Venetian painting to render the lush beauty of blossoms and youthful figures. Ricci likely painted this work for a private patron when he was active in London and Paris.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, with support from The Cain Foundation in memory of Effie Marie Cain, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Saved by incredible floral display and size Size and flowers charming; subject matter problematic (particularly the flowers, see Douglas''s research) Condition issues because you can see the ghost of the figure, muddy cloud at top, possibly cut at the top If we do a medallion hang in corner gallery, visitor should see this from much higher up, consider as the centerpiece of medallion (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1339.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1339.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1339.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1339.tif", "IsPrimary" : "1", "_SurrogateID" : "2645", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16464, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16464", "Disp_Access_No" : "2017.1059", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1623", "_Disp_Start_Dat" : "1618", "_Disp_End_Date" : "1628", "Disp_Title" : "Ecce Homo", "Alt_Title" : "", "Obj_Title" : "Ecce Homo", "Series_Title" : "", "Disp_Maker_1" : "Daniele Crespi", "Sort_Artist" : "Crespi, Daniele", "Disp_Dimen" : "127 cm x 97.8 cm (50 in. x 38 1/2 in.)", "Disp_Height" : "127 cm", "Disp_Width" : "97.8 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Had Crespi enjoyed a longer career, and were his works not largely confined to Lombardy, he would be widely known as a master of the first order. He was without doubt the finest painter of the second generation of Baroque painting in Milan. In his paintings the willful deformation and neurotic intensity of the first generation are subjected to a more disciplined design and a more rhetorical expression, which he gathered from contemporary Florentine painters as well as from the emerging school of Bologna. The resulting style is highly original in its staging, admirable in its action, and convincing in its feeling. This picture demonstrates Crespi’s rapid development toward a style of absolute coherence and exceptional theatricality. The composition is related to Caravaggio’s painting of the same subject, and the dramatic chiaroscuro generally reflects Crespi’s intensifying naturalism. The design, with bold rhythms and strong drawing, is conditioned by Florentine interpretations of early Baroque style. And both the palette and striking differentiation of paint handling—compare the rendering of Christ’s tremulous flesh with that of Pilate’s splendid sleeve—are freshly informed by Rubens’s example. But by now these elements have been thoroughly synthesized and reconciled with a persistently Milanese subjectivity. This, Crespi’s mature style, is at once rich in narration, declamatory in form, and charged in expression. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1059.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1059.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1059.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1059.tif", "IsPrimary" : "1", "_SurrogateID" : "2739", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16465, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16465", "Disp_Access_No" : "2017.1384", "_AccNumSort1" : "", "Disp_Create_DT" : "1630s", "_Disp_Start_Dat" : "1630", "_Disp_End_Date" : "1630", "Disp_Title" : "The Assumption of Mary Magdalene", "Alt_Title" : "", "Obj_Title" : "The Assumption of Mary Magdalene", "Series_Title" : "", "Disp_Maker_1" : "Riccardo Taurini", "Sort_Artist" : "Taurini, Riccardo", "Disp_Dimen" : "127.7 cm x 105.3 cm (50 1/4 in. x 41 7/16 in.)", "Disp_Height" : "127.7 cm", "Disp_Width" : "105.3 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "According to "The Golden Legend," Mary Magdalene spent her last thirty years as a hermit in a cave in Sainte-Baume, a mountain ridge in southern France. Seven times a day angels carried her aloft to heaven, where she glimpsed her coming reward. The representation of this ecstatic scene emerged during the Counter-Reformation and became common in Baroque art as a way to encourage the veneration of saints in the Catholic Church. The pronounced foreshortening of the saint’s left foot and the angel figures indicates the painting was originally placed high above the viewer’s eye level, probably over an altar.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up (FC:jb 4/2/15) Condition / conservation issues (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1384.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1384.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1384.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1384.tif", "IsPrimary" : "1", "_SurrogateID" : "2735", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16466, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16466", "Disp_Access_No" : "2017.1424", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1620-1623", "_Disp_Start_Dat" : "1620", "_Disp_End_Date" : "1623", "Disp_Title" : "David with the Head of Goliath", "Alt_Title" : "", "Obj_Title" : "David with the Head of Goliath", "Series_Title" : "", "Disp_Maker_1" : "Claude Vignon", "Sort_Artist" : "Vignon, Claude", "Disp_Dimen" : "133.7 cm x 98 cm (52 5/8 in. x 38 9/16 in.)", "Disp_Height" : "133.7 cm", "Disp_Width" : "98 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting represents the victorious David with the severed head of Goliath, the giant Philistine warrior that he defeated with a sling. In David’s right hand is Goliath’s sword, which he used to cut off the giant’s head. The shepherd boy’s sumptuous headdress and clothes originally belonged to Jonathan, the son of King Saul, who took off his princely robes and gave them to the courageous young man as a token of affection. David is depicted as androgynous, which reflects an ideal of beauty for young men in the sixteenth and seventeenth centuries. Painted during Claude Vignon’s final years in Rome before his return to Paris, the work shows the French artist’s masterful interpretation of Caravaggio’s work. The strong shaft of light coming from the upper left increases the sense of drama in a seemingly calm scene by contrasting the beauty of the protagonist with the horror of the preceding event. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1424.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1424.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1424.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1424.tif", "IsPrimary" : "1", "_SurrogateID" : "2670", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16467, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16467", "Disp_Access_No" : "2017.1434", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1626", "_Disp_Start_Dat" : "1621", "_Disp_End_Date" : "1631", "Disp_Title" : "Saint Cecilia", "Alt_Title" : "", "Obj_Title" : "Saint Cecilia", "Series_Title" : "", "Disp_Maker_1" : "Simon Vouet", "Sort_Artist" : "Vouet, Simon", "Disp_Dimen" : "134.1 cm x 98.2 cm (52 13/16 in. x 38 11/16 in.)", "Disp_Height" : "134.1 cm", "Disp_Width" : "98.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Cecilia, the patron saint of music and musicians, sits in front of a small organ. Clothed in a lush silk dress and a brocaded mantle, she gracefully turns to the two cherubs that appear to her. Soft golden light bathes the figure and the background, infusing the scene with heavenly atmosphere. Cecilia was a Christian martyr who lived in third-century Rome. She took a vow of virginity, and on her wedding night, she converted her groom Valerian, who in turn guided his brother Tiburtius to the Christian faith. Their beliefs were soon discovered by the authorities, which led to their martyrdom. Cecilia has been represented with a musical instrument since the fourteenth century, although her connection to music is tenuous at best. According to "The Golden Legend," the saint heard celestial music when she was praying to God to preserve her virginity. She sang, “Let my heart and my body be undefiled, O Lord, that I may not be confounded.” Depictions of female saints in rapture were popular in Rome in the 1620s. It is possible that Simon Vouet used his wife, the painter Virginia da Vezzo, as the model for the saint figure. They married in Rome in 1626, just before they left for France to serve King Louis XIII.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1434.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1434.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1434.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1434.tif", "IsPrimary" : "1", "_SurrogateID" : "2672", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16468, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16468", "Disp_Access_No" : "2017.1015", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1648-1649", "_Disp_Start_Dat" : "1648", "_Disp_End_Date" : "1649", "Disp_Title" : "The Angelic Consolation of Saint Francis", "Alt_Title" : "", "Obj_Title" : "The Angelic Consolation of Saint Francis", "Series_Title" : "", "Disp_Maker_1" : "Valerio Castello", "Sort_Artist" : "Castello, Valerio", "Disp_Dimen" : "136 cm x 101.3 cm (53 9/16 in. x 39 7/8 in.)", "Disp_Height" : "136 cm", "Disp_Width" : "101.3 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, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1015.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1015.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1015.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1015.tif", "IsPrimary" : "1", "_SurrogateID" : "2730", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16470, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16470", "Disp_Access_No" : "2017.1306", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1680", "_Disp_Start_Dat" : "1675", "_Disp_End_Date" : "1685", "Disp_Title" : "An Allegory with Venus and Time", "Alt_Title" : "", "Obj_Title" : "An Allegory with Venus and Time", "Series_Title" : "", "Disp_Maker_1" : "Domenico Piola", "Sort_Artist" : "Piola, Domenico", "Disp_Dimen" : "154.1 cm x 113.6 cm (60 11/16 in. x 44 3/4 in.)", "Disp_Height" : "154.1 cm", "Disp_Width" : "113.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In this allegory, Time, with his hourglass, presents Venus, the goddess of love, with a mature rose, as if to remind her that earthly love is as fleeting as a rose’s bloom. In response, Venus reveals her higher identity as a symbol of enduring spiritual love and divine beauty, a concept that evolved from the rediscovery of the writings of Plato and other ancient philosophers during the Renaissance. Venus here has already disarmed her son Cupid, the god of erotic love, by breaking his bow’s string. He is now unable to enflame uncontrollable desires in people and gods by shooting arrows into them. Domenico Piola, the leading artist in Genoa in the second half of the seventeenth century, painted many ceiling frescoes for churches and palaces. Paintings predating 1684 like this one are especially rare, since French naval bombardments in May of that year destroyed most of Genoa, including Piola’s house and studio. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1306.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1306.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1306.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1306.tif", "IsPrimary" : "0", "_SurrogateID" : "2639", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1306-2018.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1306-2018.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1306-2018.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1306-2018.tif", "IsPrimary" : "1", "_SurrogateID" : "18067", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16471, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16471", "Disp_Access_No" : "2017.974", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1565", "_Disp_Start_Dat" : "1560", "_Disp_End_Date" : "1570", "Disp_Title" : "Suicide of Lucretia", "Alt_Title" : "", "Obj_Title" : "Suicide of Lucretia", "Series_Title" : "", "Disp_Maker_1" : "Luca Cambiaso", "Sort_Artist" : "Cambiaso, Luca", "Disp_Dimen" : "166.4 cm x 90.2 cm (65 1/2 in. x 35 1/2 in.)", "Disp_Height" : "166.4 cm", "Disp_Width" : "90.2 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, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Medallion, would help hold in middle (FC:jb 4/2/15) Ranking adjusted (FC:jp 5/26/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.974.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.974.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.974.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.974.tif", "IsPrimary" : "1", "_SurrogateID" : "2580", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16475, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16475", "Disp_Access_No" : "2017.1372", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1390-1395", "_Disp_Start_Dat" : "1390", "_Disp_End_Date" : "1395", "Disp_Title" : "Triptych", "Alt_Title" : "", "Obj_Title" : "Madonna and Child with Christ in the Sepulchre (center panel); Saint Peter and the Archangel Gabriel (left panel); Saint Paul and the Virgin Annunciate (right panel)", "Series_Title" : "", "Disp_Maker_1" : "Simone dei Crocifissi (Simone da Bologna)", "Sort_Artist" : "Simone dei Crocifissi (Simone da Bologna)", "Disp_Dimen" : "60.2 cm x 47.3 cm (23 11/16 in. x 18 5/8 in.)", "Disp_Height" : "60.2 cm", "Disp_Width" : "47.3 cm", "Dimen_Extent" : "overall", "Medium" : "Tempera with gold leaf", "Support" : "wood panel", "Disp_Medium" : "Tempera with gold leaf on wood panel", "Info_Page_Comm" : "Normalizing the style of his brilliant teacher, Vitale da Bologna, Simone became the leading painter in Bologna in the second half of the 14th century. His appellation owes to his execution of several monumental depictions of the Crucifixion for major churches in that city. By the 1360s, having built his reputation, he added small-scale polyptychs for private devotion as another specialty. This painting offers a particularly efficient synopsis of the principal mysteries and foundation of the Christian church. The dark underpainting, which heightens contrasts and modeling in the flesh tones, the delicate drawing, and the relatively loose application of paint are characteristic of the Bolognese school of the period. And the prosaic charm and accessibility of the personalities is typical of Simone’s style. Exceptional, however, is the condition of this work, with the paint surface practically undisturbed, the gold leaf revealing its original patterns of application, and even the complex finials of the frame unrestored. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Could be out on the floor in display case to showcase back (FC:jb 4/2/15) Ranking adjusted (FC:jp 5/26/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1372.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1372.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1372.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1372.tif", "IsPrimary" : "1", "_SurrogateID" : "2653", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/526.1999_black_bkgnd.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/526.1999_black_bkgnd.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/526.1999_black_bkgnd.tif", "IIIF_URL": "http://iiif.gallerysystems.com/526.1999_black_bkgnd.tif", "IsPrimary" : "0", "_SurrogateID" : "3938", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1372-back.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1372-back.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1372-back.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1372-back.tif", "IsPrimary" : "0", "_SurrogateID" : "9186", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16525, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16525", "Disp_Access_No" : "2017.1346", "_AccNumSort1" : "", "Disp_Create_DT" : "1689-1706", "_Disp_Start_Dat" : "1689", "_Disp_End_Date" : "1706", "Disp_Title" : "Education of the Virgin", "Alt_Title" : "", "Obj_Title" : "Education of the Virgin", "Series_Title" : "", "Disp_Maker_1" : "Luisa Roldán", "Sort_Artist" : "Roldán, Luisa", "Disp_Dimen" : "43 x 45 x 36 cm (16 15/16 x 17 11/16 x 14 3/16 in.)", "Disp_Height" : "43 cm", "Disp_Width" : "45 cm", "Dimen_Extent" : "", "Medium" : "Polychrome terracotta", "Support" : "", "Disp_Medium" : "Polychrome terracotta", "Info_Page_Comm" : "The earliest documented female sculptor in Spain, Luisa Roldán (1652-1706) created sculptures for the king and queen among many other important Spanish patrons. In The Education of the Virgin, she captured a tender, everyday moment between the young Virgin Mary (future mother of Jesus Christ) and her parents, saints Anne and Joachim. Standing at Anne’s feet, Mary peers over her mother’s lap as they practice reading a religious text together. Joachim leans on the arm of Anne’s chair, observing and encouraging the lesson. By including both Mary’s mother and father in the miniature figural group, Roldán emphasized the important role that parents play in the spiritual and moral education their children. Although The Education of the Virgin serves as an earthly reminder that our parents are our first teachers, the many angels who wait on Mary and her family also confirm the religious significance of the subject and the exceptionality of the Virgin Mary within the Catholic tradition. In fact, painted on the cushion of the chair behind Anne’s back is an image of Anne and Joachim’s embrace at the Golden Gate, a moment that, according to non-Biblical Christian religious texts such as Jacopo da Voragine’s Golden Legend, occurred after the angel Gabriel announced to Joachim that Anne, his elderly wife, had immaculately conceived a child. Mary’s miraculous conception was an important Catholic theological point because, her soul having not been conceived through sexual intercourse, she was born without original sin (the innate tendency of all human beings to disobey God) and was therefore able to bear Christ, the Christian incarnation of God on earth. Roldán also referenced Mary’s birth at the bottom right corner of the sculpture, where a small, chubby angel presents a roll of fabric for swaddling Mary as a newborn, a birthing cushion for her mother Anne’s use during labor, and a woven basket filled with cloth that served as Mary’s bassinette--indeed, these elements also foreshadow Mary’s future role as mother of Christ. In this way, Roldán refers to three phases from the life of the young Virgin at once: her Immaculate conception, her angelically attended birth, and her upbringing by two devout people. The sculpture thus not only imagines a tender scene between parents and daughter but also affirms Mary’s extraordinary position within the Catholic tradition and her worthiness to become the mother of God. In the 1600s, this kind of small, painted terracotta (baked clay) sculpture would have been used in private devotion, usually placed on a table inside of the home, reminding its viewers both of the importance of obedience to one’s elders and to God as well as the need for parents to provide religious and moral education to their children, including girls. This is especially interesting given that, at this time, women were becoming increasingly literate and exercising greater (although still extremely limited) cultural and political authority than they had in earlier periods of Spain’s history. Also significant is that, until the modern era, women were not allowed access to professional artistic training and the few women who became artists almost always learned their craft from their fathers. The Education of the Virgin, which is an image of instruction between parent and child, may thus have had personal significance for Roldán, who was taught how to sculpt by her father, Pedro (1624-1699), an artist from Seville. Due to the fragile nature of terracotta, few of Roldán’s sculptures survive today. The Blanton’s example was conserved in 2019, which revealed that the top of each woman’s head has a small hole where a medal crown would have been inserted. Additionally, at Joachim’s feet are the four paws of a now-lost cat, which may have been competing with the book on Anne’s lap for Mary’s attention. Furthermore, Roldán may have roughened the patch of clay at the center-front of the composition to attach a small dog, which is included in a similar sculpture of the same subject that is now in a private collection in Spain. Even without these elements, Roldán’s Education of the Virgin is an important example of her late work, of which only about twenty examples still exist in the world. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Spanish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "JhP to do more research. 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Suida and Bertina and Robert Manning, 2004", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "French", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Higher up (FC:jb 4/2/15) Medallion corner room (FC:jb 4/2/15) Potentially pair with Saint Cecilia (Vouet) (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.114.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.114.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.114.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.114.tif", "IsPrimary" : "1", "_SurrogateID" : "4502", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17177, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17177", "Disp_Access_No" : "2004.129.1/3-3/3", "_AccNumSort1" : "", "Disp_Create_DT" : "1974", "_Disp_Start_Dat" : "1974", "_Disp_End_Date" : "1974", "Disp_Title" : "Pintura abstracta: Rust, Gold, Black", "Alt_Title" : "", "Obj_Title" : "Pintura abstracta: Rust, Gold, Black", "Series_Title" : "", "Disp_Maker_1" : "César Paternosto", "Sort_Artist" : "Paternosto, César", "Disp_Dimen" : "107.9 cm x 106.7 cm (42 1/2 in. x 42 in.)", "Disp_Height" : "107.9 cm", "Disp_Width" : "106.7 cm", "Dimen_Extent" : "installed dimension", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "In 1970, soon after moving to New York from Buenos Aires, César Paternosto began a series of paintings in which he explored, literally, the limits of the painted surface by leaving the front of the canvas white and painting forms on the edge of the stretcher. These works were a synthesis of earlier Argentine explorations into the sculptural possibilities of painting (by the Madí group in the 1940s) and more recent American developments in Minimalism. By 1974 he was making multipart paintings, such as Pintura abstracta, in which the white wall between the panels further complicates the physical and sculptural presence of the work. To look at this work, the viewer has to physically move around it, reconstructing a composition that cannot be seen from a single viewpoint. Although responding to Minimalism, Paternosto was also making a claim for the continued relevance of painting by rejecting the industrial materials favored by his American peers. Pintura abstracta was one of Paternosto’s last paintings in this stark style; when a 1977 trip to Peru and Bolivia opened his eyes to a more ancient tradition of abstract art in Inca stonework and textiles, he embarked on a long and fruitful investigation into the pre-Columbian sources of abstraction.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Cecilia Buzio de Torres, 2004", "Copyright_Type" : "All", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.129.1-3_3-3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.129.1-3_3-3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.129.1-3_3-3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.129.1-3_3-3.tif", "IsPrimary" : "0", "_SurrogateID" : "2179", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.129.1-3_3-3_detail_Info.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.129.1-3_3-3_detail_Info.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.129.1-3_3-3_detail_Info.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.129.1-3_3-3_detail_Info.tif", "IsPrimary" : "0", "_SurrogateID" : "2180", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.129.1-3_3-3_detail_left.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.129.1-3_3-3_detail_left.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.129.1-3_3-3_detail_left.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.129.1-3_3-3_detail_left.tif", "IsPrimary" : "0", "_SurrogateID" : "2181", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.129.1-3_3-3 _detail_right.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.129.1-3_3-3 _detail_right.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.129.1-3_3-3 _detail_right.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.129.1-3_3-3 _detail_right.tif", "IsPrimary" : "1", "_SurrogateID" : "2182", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17243, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17243", "Disp_Access_No" : "2004.159", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Reo Reo", "Alt_Title" : "", "Obj_Title" : "Reo Reo", "Series_Title" : "", "Disp_Maker_1" : "Edwin Ruda", "Sort_Artist" : "Ruda, Edwin", "Disp_Dimen" : "91.4 cm x 609.6 cm (36 in. x 240 in.)", "Disp_Height" : "91.4 cm", "Disp_Width" : "609.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "In the late 1950s, Edwin Ruda made frequent road trips between El Paso, where his fiancée lived, and Austin, where he taught at The University of Texas. He wondered then how one might paint the vastness of the west Texas landscape. After his return to New York City in 1960, Ruda drew on this experience as he began to explore “the possibilities of space related to the body” through oversized, dynamically shaped canvases that engulf the viewer, with colors that interact to produce what he termed “optic energy.” The blue lozenges that flank the corners of his twenty-foot diamond-shaped painting, Reo Reo, are meant to engage the viewer’s peripheral field of vision and evoke the sensation of moving down a road. The work’s title could allude to the space between two rivers—the Rio Grande and the Colorado—that Ruda traversed on his drives, or function as a tongue-in-cheek homage to his friend, artist Leo Valledor.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the artist, 2004", "Copyright_Type" : "all ", "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/2004.159.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.159.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.159.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.159.tif", "IsPrimary" : "1", "_SurrogateID" : "4239", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.159 artist.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.159 artist.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.159 artist.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2004.159 artist.jpg", "IsPrimary" : "0", "_SurrogateID" : "5152", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.159 window.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.159 window.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.159 window.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2004.159 window.jpg", "IsPrimary" : "0", "_SurrogateID" : "5153", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "Painting was too large to go down stairs or elevator, so was taken out through the studo window.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.159 byebye.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.159 byebye.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.159 byebye.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2004.159 byebye.jpg", "IsPrimary" : "0", "_SurrogateID" : "5154", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.159 street.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.159 street.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.159 street.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2004.159 street.jpg", "IsPrimary" : "0", "_SurrogateID" : "5155", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.159 truck.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.159 truck.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.159 truck.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2004.159 truck.jpg", "IsPrimary" : "0", "_SurrogateID" : "5156", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17270, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17270", "Disp_Access_No" : "2004.172", "_AccNumSort1" : "", "Disp_Create_DT" : "1958", "_Disp_Start_Dat" : "1958", "_Disp_End_Date" : "1958", "Disp_Title" : "Composición sobre fondo negro [Composition on Black Background]", "Alt_Title" : "", "Obj_Title" : "Construcción sobre fondo negro [Construction on Black Ground]", "Series_Title" : "", "Disp_Maker_1" : "Francisco Matto", "Sort_Artist" : "Matto, Francisco", "Disp_Dimen" : "38.1 cm x 45.7 cm (15 in. x 18 in.)", "Disp_Height" : "38.1 cm", "Disp_Width" : "45.7 cm", "Dimen_Extent" : "sheet", "Medium" : "Oil", "Support" : "cardboard", "Disp_Medium" : "Oil on cardboard", "Info_Page_Comm" : "In 1942 Francisco Matto became one of the founders of the Taller Torres-García through which he continued to develop his early interest in pre-Columbian art and to explore its relationship to contemporary abstraction. The gridlike composition of this work is rendered in a somewhat gestural style, resonating with references to Navajo weaving, Inca stonework, Nazca pottery, and the grids of European abstract artists such as Piet Mondrian. In common with other members of the Taller, Matto sought a universal, transcultural, nonreductive meaning for abstract art. The two circles in the middle of the grid, which can be read as eyes even without a realist representation as such, have an anthropomorphism and humor that is typical of Matto’s work, linking it to ancient cultures where utilitarian objects often contain suggestions of human forms. The brown cardboard ground is visible in several places, reinforcing the Taller’s interest both in poor materials and in the inherent flatness of painting, the latter a topic of debate in North American art of the same period, notably in Color Field painting.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2004", "Copyright_Type" : "all approved by rep. of Matto's widow (Oscar Prato)", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Uruguay", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.172_with_frame.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.172_with_frame.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.172_with_frame.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.172_with_frame.tif", "IsPrimary" : "0", "_SurrogateID" : "3847", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.172.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.172.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.172.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.172.tif", "IsPrimary" : "1", "_SurrogateID" : "3846", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17285, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17285", "Disp_Access_No" : "2005.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1969-1975", "_Disp_Start_Dat" : "1969", "_Disp_End_Date" : "1975", "Disp_Title" : "Dawn's Presence - Two Columns", "Alt_Title" : "", "Obj_Title" : "Dawn's Presence - Two Columns", "Series_Title" : "", "Disp_Maker_1" : "Louise Nevelson", "Sort_Artist" : "Nevelson, Louise", "Disp_Dimen" : "294.6 cm x 170.2 cm x 78.7 cm (116 in. x 67 in. x 31 in.)", "Disp_Height" : "294.6 cm", "Disp_Width" : "170.2 cm", "Dimen_Extent" : "outer dimension", "Medium" : "Painted wood", "Support" : "", "Disp_Medium" : "Painted wood", "Info_Page_Comm" : "Manhattan frequently inspired Louise Nevelson. She saw the city as a monumental and ever-changing sculpture. “All I need is to feel New York coming through the wall,” she told a reporter the year this work was first exhibited. Composed of found wooden objects from lower Manhattan and seen in the round, "Dawn’s Presence—Two Columns" evokes a city-like perspective; just as buildings in a skyline appear to shift as the viewer walks around them. Nevelson built her career on the color black, which first coated her monochromatic sculptures and wooden installations in the 1950s. She exhibited her first white-painted sculptural installation in 1960. The artist broke up the larger pieces of the installation and reintroduced them later as discrete sculptural works such as this—a frequent practice of hers. The artist first exhibited "Dawn’s Presence—Two Columns" in New York in 1976 as part of a larger work comprised of several loosely arranged sculptural towers. Nevelson explained, “If you paint a thing black or you paint a thing white, it takes on a whole different dimension. I feel that white permits a little something to enter . . . a little more light, just as you see it in the universe.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase as a gift in memory of Laura Lee Scurlock Blanton by her children, 2005", "Copyright_Type" : "approved web site; must get approval for any other uses on case by case basis.", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.1.tif", "IsPrimary" : "1", "_SurrogateID" : "6486", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17328, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17328", "Disp_Access_No" : "2005.21", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1983", "_Disp_Start_Dat" : "1978", "_Disp_End_Date" : "1988", "Disp_Title" : "Longhorns", "Alt_Title" : "", "Obj_Title" : "Longhorns", "Series_Title" : "", "Disp_Maker_1" : "Luis Jiménez", "Sort_Artist" : "Jiménez, Luis", "Disp_Dimen" : "172.7 cm x 65.4 cm x 30.5 cm (68 in. x 25 3/4 in. x 12 in.)", "Disp_Height" : "172.7 cm", "Disp_Width" : "65.4 cm", "Dimen_Extent" : "HWD", "Medium" : "Painted fiberglass", "Support" : "", "Disp_Medium" : "Painted fiberglass", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Jeanne and Michael Klein, 2005", "Copyright_Type" : "requires approval on a case by case basis", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.21.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.21.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.21.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.21.tif", "IsPrimary" : "1", "_SurrogateID" : "2787", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17378, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17378", "Disp_Access_No" : "2005.33", "_AccNumSort1" : "", "Disp_Create_DT" : "1595-1596", "_Disp_Start_Dat" : "1595", "_Disp_End_Date" : "1596", "Disp_Title" : "Visitation", "Alt_Title" : "", "Obj_Title" : "Visitation", "Series_Title" : "", "Disp_Maker_1" : "Camillo Procaccini", "Sort_Artist" : "Procaccini, Camillo", "Disp_Dimen" : "213 cm x 146 cm (83 7/8 in. x 57 1/2 in.)", "Disp_Height" : "213 cm", "Disp_Width" : "146 cm", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Mary glides into the scene as the sunlight before dusk enriches the palette with a golden vibrancy. With Jesus in her womb, she will spend the next three months with her cousin, Elizabeth, who is six months pregnant. At the sound of Mary’s voice, Elizabeth is filled with the Holy Spirit as the child in her womb leaps for joy. While Mary’s husband Joseph is not present in the scripture, he appears to the right of the Virgin as a narrative device to evidence Zacharias’s muteness. Because Zacharias doubted his wife’s ability to conceive, the angel Gabriel punished his lack of faith by rendering him mute until the birth of his son, John the Baptist. Here, Zacharias gestures his salutations to Joseph, whose furrowed gaze is troubled by his lack of speech. The Visitation is a popular scene from the life of the Virgin, having been depicted by Camillo Procaccini numerous times. A preparatory drawing for the present piece is kept at the Biblioteca Ambrosiana in Milan. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of Suzan and Julius Glickman, M.K. Hage, Jr., Derek Johns, Lawrence Lawver, Susan Thomas, Julia Wilkinson, and Jimmy and Jessica Younger, 2005", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.33.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.33.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.33.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.33.tif", "IsPrimary" : "1", "_SurrogateID" : "2952", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17580, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17580", "Disp_Access_No" : "2005.151", "_AccNumSort1" : "", "Disp_Create_DT" : "early 1550s", "_Disp_Start_Dat" : "1550", "_Disp_End_Date" : "1550", "Disp_Title" : "Madonna and Child with the Young Saint John the Baptist", "Alt_Title" : "", "Obj_Title" : "Madonna and Child with the Young Saint John the Baptist", "Series_Title" : "", "Disp_Maker_1" : "Luca Cambiaso", "Sort_Artist" : "Cambiaso, Luca", "Disp_Dimen" : "92 cm x 80.5 cm (36 1/4 in. x 31 11/16 in.)", "Disp_Height" : "92 cm", "Disp_Width" : "80.5 cm", "Dimen_Extent" : "sight", "Medium" : "Oil", "Support" : "wood panel", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "This is an early work by Luca Cambiaso, the first great master of sixteenth-century Genoa and the virtual founder of its distinctive school of painting. The monumentality of the Virgin, the thrust of the Child, and the bold plasticity of every form suggest study with the followers of Michelangelo in mid-century Rome. At the same time, this powerful description has been circumscribed by Cambiaso’s exaggerated regularity of shapes, as in the figures’ heads, and embellished with the unnatural grace of their extremities, which recalls the works that Raphael’s follower Perino del Vaga had created for Genoa. Throughout, from the luscious frosting of the Virgin’s white sleeve to the exquisite filaments about the eyes, there is evident delight in the sheer matter of paint and possibilities of the brush. This virtuosity is conspicuous because of the work’s execution on panel and the excellent preservation of most of its surface. The painting demonstrates the young artist’s startling ambition, explains his first synthesis of influences, and predicts his place among the major figures of Mannerism. The Suida-Manning Collection includes six paintings and at least two dozen autograph drawings by Cambiaso. These represent the most significant holdings of his work outside Genoa. Preceding the earliest Suida-Manning picture by some fifteen years, and the only example on panel, this painting is the cornerstone of the entire group.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase as a gift of the Cain Foundation in honor of Charmaine Hooper Denius, 2005", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Ranking is provisional (FC:jb 4/2/15) Important moment in early Cambiaso (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.151.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.151.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.151.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.151.tif", "IsPrimary" : "1", "_SurrogateID" : "3061", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.151_frame.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.151_frame.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.151_frame.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.151_frame.tif", "IsPrimary" : "0", "_SurrogateID" : "3063", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17425, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17425", "Disp_Access_No" : "2005.64", "_AccNumSort1" : "", "Disp_Create_DT" : "1493", "_Disp_Start_Dat" : "1493", "_Disp_End_Date" : "1493", "Disp_Title" : "Saint Luke Painting the Virgin and Child, from the Weltchronik, or Liber Chronicarum [The Nuremberg Chronicle]", "Alt_Title" : "", "Obj_Title" : "Saint Luke Painting the Virgin and Child, from the Weltchronik, or Liber Chronicarum [The Nuremberg Chronicle]", "Series_Title" : "", "Disp_Maker_1" : "Michael Wolgemut", "Sort_Artist" : "Wolgemut, Michael", "Disp_Dimen" : "11.2 cm x 8.3 cm (4 7/16 in. x 3 1/4 in.)", "Disp_Height" : "11.2 cm", "Disp_Width" : "8.3 cm", "Dimen_Extent" : "sheet", "Medium" : "Woodcut with hand coloring", "Support" : "", "Disp_Medium" : "Woodcut with hand coloring", "Info_Page_Comm" : "A common scene in the Middle Ages and the beginning of the Early Modern period (early 1500s) was Saint Luke painting the Virgin. According to legend, Saint Luke painted a portrait of the Virgin; thus, he became the patron saint of artists. This intimate picture shows Saint Luke at his easel accompanied by his attribute, the bull, labeling him as one of the four evangelists. The viewer of this scene is meant to meditate on the symbolic significance of the act of painting. The canvas acts a metaphor for the soul. Luke records the face of the Virgin on the canvas just as the viewer is meant to imprint the Virgin onto his heart.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Tobey C. Moss, 2005", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "German", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.64.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.64.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.64.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.64.tif", "IsPrimary" : "1", "_SurrogateID" : "9037", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17584, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17584", "Disp_Access_No" : "2005.154.1/3-3/3", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Estructura (3 panels)", "Alt_Title" : "", "Obj_Title" : "Estructura (3 panels)", "Series_Title" : "", "Disp_Maker_1" : "Alejandro Puente", "Sort_Artist" : "Puente, Alejandro", "Disp_Dimen" : "190 cm x 160 cm x 200 cm (74 13/16 in. x 63 in. x 78 3/4 in.)", "Disp_Height" : "190 cm", "Disp_Width" : "160 cm", "Dimen_Extent" : "installed dimension", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase as a gift of Margaret McDermott in honor of Barbara Duncan, and Judy S. and Charles W. Tate, 2005", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.154.1-3_3-3.TIF", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.154.1-3_3-3.TIF", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.154.1-3_3-3.TIF", "IIIF_URL": "http://iiif.gallerysystems.com/2005.154.1-3_3-3.TIF", "IsPrimary" : "1", "_SurrogateID" : "10023", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19509, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19509", "Disp_Access_No" : "2010.16", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1830", "_Disp_Start_Dat" : "1825", "_Disp_End_Date" : "1835", "Disp_Title" : "Self-portrait", "Alt_Title" : "", "Obj_Title" : "Self-portrait", "Series_Title" : "", "Disp_Maker_1" : "Achille Devéria", "Sort_Artist" : "Devéria, Achille", "Disp_Dimen" : "57 cm x 40.1 cm (22 7/16 in. x 15 13/16 in.)", "Disp_Height" : "57 cm", "Disp_Width" : "40.1 cm", "Dimen_Extent" : "sheet", "Medium" : "Lithograph on chine collé", "Support" : "", "Disp_Medium" : "Lithograph on chine collé", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The R. E. Lewis Memorial Study Collection, 2010", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "French", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2010.16.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2010.16.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2010.16.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2010.16.tif", "IsPrimary" : "1", "_SurrogateID" : "6539", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 18073, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/18073", "Disp_Access_No" : "2005.184", "_AccNumSort1" : "", "Disp_Create_DT" : "1865", "_Disp_Start_Dat" : "1865", "_Disp_End_Date" : "1865", "Disp_Title" : "Hands Etching - Ô Laborum ", "Alt_Title" : "", "Obj_Title" : "Hands Etching - Ô Laborum ", "Series_Title" : "", "Disp_Maker_1" : "Francis Seymour Haden", "Sort_Artist" : "Haden, Francis Seymour", "Disp_Dimen" : "14.4 cm x 21.8 cm (5 11/16 in. x 8 9/16 in.)", "Disp_Height" : "14.4 cm", "Disp_Width" : "21.8 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching and drypoint", "Support" : "", "Disp_Medium" : "Etching and drypoint", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of Lawrence Lawver, 2005", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "English", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.184-Crop.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.184-Crop.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.184-Crop.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.184-Crop.tif", "IsPrimary" : "1", "_SurrogateID" : "18728", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 18648, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/18648", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "2006", "_Disp_Start_Dat" : "2006", "_Disp_End_Date" : "2006", "Disp_Title" : "Daughters of Wounds and Relics", "Alt_Title" : "", "Obj_Title" : "Daughters of Wounds and Relics", "Series_Title" : "", "Disp_Maker_1" : "Dario Robleto", "Sort_Artist" : "Robleto, Dario", "Disp_Dimen" : "76.2 cm x 48.3 cm x 8.4 cm (30 in. x 19 in. x 3 5/16 in.)", "Disp_Height" : "76.2 cm", "Disp_Width" : "48.3 cm", "Dimen_Extent" : "HWD", "Medium" : "Hair braid made of stretched and curled audiotape recordings of the last known Union Civil War soldier’s voice and the last known Confederate Civil War widow’s voice, homemade paper, pulp made from sweetheart letters written by soldiers who did not return", "Support" : "", "Disp_Medium" : "Hair braid made of stretched and curled audiotape recordings of the last known Union Civil War soldier’s voice and the last known Confederate Civil War widow’s voice, homemade paper, pulp made from sweetheart letters written by soldiers who did not return", "Info_Page_Comm" : "Daughters of Wounds and Relics, as well as the sculpture, A Sadness Silence Can’t Touch, belong to a recent body of work by artist Dario Robleto that pays tribute to the families of Civil War soldiers. Placing himself in the imagined role of a wife, mother, or sister, Robleto resuscitates the tradition of mid 19th-century domestic handicrafts, which gave form to collective experiences of grief, trauma, endurance, and recovery. Robleto’s poignant gestures suggest the redemptive power of culture and creativity. Both Daughters of Wounds and Relics and A Sadness Silence Can't Touch, which the artist has compared to the A and B sides of the same recording, ask us to reflect on the often forgotten effects of war beyond the battlefield. ", "Dedication" : "Promised gift of Jeanne and Micheal Klein, 2007", "Copyright_Type" : "edu, web, merch, promo", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/PG2007.13.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/PG2007.13.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/PG2007.13.tif", "IIIF_URL": "http://iiif.gallerysystems.com/PG2007.13.tif", "IsPrimary" : "0", "_SurrogateID" : "10062", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "IMAGE IS NOT REPRODUCTION QUALITY", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/PG2007.13-detail1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/PG2007.13-detail1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/PG2007.13-detail1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/PG2007.13-detail1.tif", "IsPrimary" : "0", "_SurrogateID" : "10063", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "IMAGE IS NOT REPRODUCTION QUALITY", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/PG2007.13-detail2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/PG2007.13-detail2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/PG2007.13-detail2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/PG2007.13-detail2.tif", "IsPrimary" : "0", "_SurrogateID" : "10064", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "IMAGE IS NOT REPRODUCTION QUALITY", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/PG2007.13-2018.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/PG2007.13-2018.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/PG2007.13-2018.tif", "IIIF_URL": "http://iiif.gallerysystems.com/PG2007.13-2018.tif", "IsPrimary" : "1", "_SurrogateID" : "18076", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 18717, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/18717", "Disp_Access_No" : "2006.293", "_AccNumSort1" : "", "Disp_Create_DT" : "1765", "_Disp_Start_Dat" : "1765", "_Disp_End_Date" : "1765", "Disp_Title" : "Buy My Little Etchings", "Alt_Title" : "", "Obj_Title" : "Buy My Little Etchings", "Series_Title" : "", "Disp_Maker_1" : "Johann Eleazar Schenau", "Sort_Artist" : "Schenau, Johann Eleazar", "Disp_Dimen" : "12.8 cm x 7.4 cm (5 1/16 in. x 2 15/16 in.)", "Disp_Height" : "12.8 cm", "Disp_Width" : "7.4 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Julie and Lawrence Salander, 2006", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "German", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2006.293.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2006.293.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2006.293.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2006.293.tif", "IsPrimary" : "1", "_SurrogateID" : "19335", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19202, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19202", "Disp_Access_No" : "2015.31", "_AccNumSort1" : "", "Disp_Create_DT" : "2007", "_Disp_Start_Dat" : "2007", "_Disp_End_Date" : "2007", "Disp_Title" : "Seepage", "Alt_Title" : "", "Obj_Title" : "Seepage", "Series_Title" : "", "Disp_Maker_1" : "El Anatsui", "Sort_Artist" : "Anatsui, El", "Disp_Dimen" : "365.76 cm x 495.3 cm (144 in. x 195 in.)", "Disp_Height" : "365.76 cm", "Disp_Width" : "495.3 cm", "Dimen_Extent" : "", "Medium" : "Aluminum and copper wire", "Support" : "", "Disp_Medium" : "Aluminum and copper wire", "Info_Page_Comm" : ""Seepage" is composed of thousands of flattened aluminum wrappers from Nigerian liquor bottle caps that the artist El Anatsui and his team of assistants tied together with twisted strands of copper wire. Its shimmering metal surface resembles a mosaic while its undulating form suggests a regal tapestry. The bold coloration and pattern also suggests traditional Kente textiles that are made by male weavers and traditionally used for religious and ceremonial occasions in Ghana, where Anatsui is from. Since 2002, Anatsui has been making these bottle-cap reliefs as a way of addressing the legacy of colonialism in Africa and the historic triangle trade, in which European countries imported alcohol into Africa in exchange for slaves, ivory, and gold. "Seepage" reminds us of the way that African people were treated as commodities or currency. This is one of very few double-sided bottle-cap works that Anatsui has ever made and the only one in a museum collection. This is the first time the Blanton has exhibited the red side of the relief.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Jeanne and Michael Klein, 2015", "Copyright_Type" : "", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Ghanaian", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2015.31.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2015.31.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2015.31.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2015.31.tif", "IsPrimary" : "1", "_SurrogateID" : "6512", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2015.31-verso.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2015.31-verso.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2015.31-verso.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2015.31-verso.tif", "IsPrimary" : "0", "_SurrogateID" : "14374", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 18798, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/18798", "Disp_Access_No" : "2007.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1862", "_Disp_Start_Dat" : "1862", "_Disp_End_Date" : "1862", "Disp_Title" : "Portrait of Francis Seymour Haden, No. II (While Etching)", "Alt_Title" : "", "Obj_Title" : "Portrait of Francis Seymour Haden, No. II (While Etching)", "Series_Title" : "", "Disp_Maker_1" : "Francis Seymour Haden", "Sort_Artist" : "Haden, Francis Seymour", "Disp_Dimen" : "22.3 cm x 29.2 cm (8 3/4 in. x 11 1/2 in.)", "Disp_Height" : "22.3 cm", "Disp_Width" : "29.2 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching and drypoint", "Support" : "", "Disp_Medium" : "Etching and drypoint", "Info_Page_Comm" : "Haden's self-portrait, in a pose normally associated with men of letters, is telling in its emphasis on the artist as intellectual. With the etching needle poised above the plate like a pen above paper, he shows himself in the act of creation. He merely suggests the chemical reaction of biting the plate with a beaker of acid at his elbow. Haden faulted artists who relied too heavily on elaborately bitten plates for their images, believing they crossed the line between fine art and mere craft.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Jack S. Blanton Curatorial Endowment Fund, 2007", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "English", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2007.3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2007.3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2007.3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2007.3.tif", "IsPrimary" : "1", "_SurrogateID" : "4753", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 18820, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/18820", "Disp_Access_No" : "2007.22", "_AccNumSort1" : "", "Disp_Create_DT" : "1950", "_Disp_Start_Dat" : "1950", "_Disp_End_Date" : "1950", "Disp_Title" : "Obra articulada y móvil en bronce [Articulated and Mobile Work in Bronze]", "Alt_Title" : "", "Obj_Title" : "Obra articulada y móvil en bronce [Articulated and Mobile Work in Bronze]", "Series_Title" : "", "Disp_Maker_1" : "Gyula Kosice", "Sort_Artist" : "Kosice, Gyula", "Disp_Dimen" : "73 cm x 35 cm x 25 cm (28 3/4 in. x 13 3/4 in. x 9 13/16 in.)", "Disp_Height" : "73 cm", "Disp_Width" : "35 cm", "Dimen_Extent" : "HWD", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "Gyula Kosice was a pioneer of Concrete and Kinetic art. In the late 1940s, he co-founded Madí, whose experimental approach led him to use unorthodox materials, such as metal slats, neon lights, and Plexiglas. He wanted to engage the public in playful and dynamic ways. For example, "Obra articulada y móvil en bronce" has no predetermined shape. The flat bronze slats are riveted at joints so they can be pivoted in various directions, thereby generating any number of potential forms.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the artist, 2007", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2007.22-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2007.22-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2007.22-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2007.22-2.tif", "IsPrimary" : "0", "_SurrogateID" : "12913", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : 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"_AccNumSort1" : "", "Disp_Create_DT" : "1999", "_Disp_Start_Dat" : "1999", "_Disp_End_Date" : "1999", "Disp_Title" : "Reticule", "Alt_Title" : "", "Obj_Title" : "Reticule", "Series_Title" : "", "Disp_Maker_1" : "Liz Larner", "Sort_Artist" : "Larner, Liz", "Disp_Dimen" : "187.9 cm x 284.5 cm x 203.2 cm (74 in. x 112 in. x 80 in.)", "Disp_Height" : "187.9 cm", "Disp_Width" : "284.5 cm", "Dimen_Extent" : "HWD", "Medium" : "Cast polyurethane", "Support" : "", "Disp_Medium" : "Cast polyurethane", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Jeanne and Michael Klein, 2007", "Copyright_Type" : "All approved but merchandise, which needs case by case approval.", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : 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"https://webkiosk.gallerysystems.com/Objects-1/info/18963", "Disp_Access_No" : "2008.10", "_AccNumSort1" : "", "Disp_Create_DT" : "1811", "_Disp_Start_Dat" : "1811", "_Disp_End_Date" : "1811", "Disp_Title" : "Rosaspina's Zeichnungsschule [Rosaspina's Drawing School], after Felice Giani", "Alt_Title" : "", "Obj_Title" : "Rosaspina's Zeichnungsschule [Rosaspina's Drawing School], after Felice Giani", "Series_Title" : "", "Disp_Maker_1" : "Giulio Tomba", "Sort_Artist" : "Tomba, Giulio", "Disp_Dimen" : "37.4 cm x 4.7 cm (14 3/4 in. x 1 7/8 in.)", "Disp_Height" : "37.4 cm", "Disp_Width" : "4.7 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "Francesco Rosaspina was the leading printmaker in late eighteenth-century Bologna and a professor at its academy. Here he appears as the older, heavy-set figure in topcoat seated at the right end of the table as he supervises a class of young draftsmen. Tomba studied with Rosapina and carried on his activity as a reproductive engraver. He conceived this print as a tribute to his teacher, with its fine order and meticulous execution conferring a special dignity.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Jack S. Blanton Curatorial Endowment Fund, 2008", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Italian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.10.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.10.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.10.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2008.10.tif", "IsPrimary" : "1", "_SurrogateID" : "4726", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19606, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19606", "Disp_Access_No" : "2010.99.1/2-2/2", "_AccNumSort1" : "", "Disp_Create_DT" : "2007", "_Disp_Start_Dat" : "2007", "_Disp_End_Date" : "2007", "Disp_Title" : "Parade (diptych)", "Alt_Title" : "", "Obj_Title" : "Parade", "Series_Title" : "", "Disp_Maker_1" : "Mequitta Ahuja", "Sort_Artist" : "Ahuja, Mequitta", "Disp_Dimen" : "243.8 cm x 406.4 cm (96 in. x 160 in.)", "Disp_Height" : "243.8 cm", "Disp_Width" : "406.4 cm", "Dimen_Extent" : "canvas", "Medium" : "Enamel", "Support" : "canvas", "Disp_Medium" : "Enamel on canvas, two panels", "Info_Page_Comm" : "Mequitta Ahuja’s work explores the construction of identity, including her own. Recognizing that there is always an element of invention when it comes to depicting oneself, the artist refers to her heavily manipulated self-portraits as “automythography.” The term was inspired by a genre invented by the writer Audre Lorde, who braided personal history together with mythology in her “biomythography,” published in 1982. Ahuja’s process of self-documentation begins with photographs. Using a remote shutter control, she performs privately for the camera. Then, through a series of sketches and preparatory drawings, she introduces inventive, often fantastical elements into the resulting images. Her final works wed the real with the surreal, nonfiction with fiction. Parade captures this complicated marriage, offering in two parts the primary modes of painting: figuration and abstraction. The artist appears, poised mid-stride, on the right-hand canvas. Bright colors describe her figure and emanate from her black hair, which, as it carries over toward and onto the left-hand canvas, expands to become a dense cloud of increasingly abstract markings. The brushwork conveys Ahuja’s lively kinetic process in laying down pigment. She has referred to her interest in “the psychic proportions hair has in the lives of Black people,” which here dominates the composition, both physically and conceptually.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Melanie Lawson and John F. Guess, Jr., in honor of Jeanne and Michael Klein, 2010", "Copyright_Type" : "All uses approved.", "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/2010.99.1-2_with space between panels.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2010.99.1-2_with space between panels.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2010.99.1-2_with space between panels.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2010.99.1-2_with space between panels.tif", "IsPrimary" : "0", "_SurrogateID" : "21721", "Image_Type" : "Study Image", "Photo_Credit" : "", "Remarks" : "permission to share the image provided by the artist via email 12/1/2019 (Shelby Lakins 12/2/19)", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2010.99.1_2-2_2-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2010.99.1_2-2_2-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2010.99.1_2-2_2-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2010.99.1_2-2_2-2.tif", "IsPrimary" : "1", "_SurrogateID" : "22909", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2010.99.1_2-2_2-2_crop.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2010.99.1_2-2_2-2_crop.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2010.99.1_2-2_2-2_crop.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2010.99.1_2-2_2-2_crop.tif", "IsPrimary" : "0", "_SurrogateID" : "23783", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19139, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19139", "Disp_Access_No" : "2008.86.1/6-6/6", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "Warhol's Marilyn Monroe", "Alt_Title" : "", "Obj_Title" : "Warhol's Marilyn Monroe", "Series_Title" : "", "Disp_Maker_1" : "Richard Pettibone", "Sort_Artist" : "Pettibone, Richard", "Disp_Dimen" : "6.3 cm x 5 cm (2 1/2 in. x 1 15/16 in.)", "Disp_Height" : "6.3 cm", "Disp_Width" : "5 cm", "Dimen_Extent" : "each panel", "Medium" : "Acrylic and silkscreen on canvas, six panels", "Support" : "", "Disp_Medium" : "Acrylic and silkscreen on canvas, six panels", "Info_Page_Comm" : "Since the 1960s, Richard Pettibone’s practice has involved taking images and artworks from other modern and contemporary artists and displaying them as his own. These tiny silkscreened reproductions of Andy Warhol’s iconic portraits of Marilyn Monroe are part of a larger body of work, which includes Pettibone’s remakes of Warhol’s Campbell’s Soup Cans, Brillo Box sculptures, and countless paintings. In "Warhol’s Marilyn Monroe," Pettibone mixes craftsmanship with an eye for puns and process, taking the concept of appropriation and transforming it into a gesture of appreciation. Pettibone’s work does more than merely salute its sources; his compositions question the authorship of images and point to critical engagements between style and substance, art and influence. When asked why he began copying Warhol’s work in the 1960s, Pettibone replied, “He was already copying, so why not copy the copy?”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States, a joint initiative of the Trustees of the Dorothy and Herbert Vogel Collection and the National Gallery of Art, with generous support of the National Endowment for the Arts and the Institute of Museum and Library Services, 2008", "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/2008.86.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.86.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.86.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2008.86.tif", "IsPrimary" : "1", "_SurrogateID" : "4730", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.86.1-6_6-6 audioEng.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.86.1-6_6-6 audioEng.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.86.1-6_6-6 audioEng.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/2008.86.1-6_6-6 audioEng.mp3", "IsPrimary" : "0", "_SurrogateID" : "8196", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.86.1-6_6-6 audioSpan.mp3", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.86.1-6_6-6 audioSpan.mp3", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.86.1-6_6-6 audioSpan.mp3", "IIIF_URL": "http://iiif.gallerysystems.com/2008.86.1-6_6-6 audioSpan.mp3", "IsPrimary" : "0", "_SurrogateID" : "8197", "Image_Type" : "audio", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19326, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19326", "Disp_Access_No" : "2008.159", "_AccNumSort1" : "", "Disp_Create_DT" : "2009", "_Disp_Start_Dat" : "2009", "_Disp_End_Date" : "2009", "Disp_Title" : "Stacked Waters", "Alt_Title" : "", "Obj_Title" : "Stacked Waters", "Series_Title" : "", "Disp_Maker_1" : "Teresita Fernández", "Sort_Artist" : "Fernández, Teresita", "Disp_Dimen" : "609.6 cm x 2019.3 cm x 1424.9 cm (240 in. x 795 in. x 561 in.)", "Disp_Height" : "609.6 cm", "Disp_Width" : "2019.3 cm", "Dimen_Extent" : "installed dimension", "Medium" : "Cast acrylic", "Support" : "", "Disp_Medium" : "Cast acrylic", "Info_Page_Comm" : "Stacked Waters is a site-specific installation created for the cavernous entrance space of the Blanton Museum of Art. The work consists of 3,100 square feet of custom-cast acrylic that covers the walls in a striped pattern. The horizontal, saturated blue bands gradually shift in color as they move up, creating a colored abstraction that fades from deep blue to white at the top. The title is a reference to Donald Judd’s stack pieces as well as to his presence in Texas. While pointing directly to illusion rather than negating it, Stacked Waters is a nod to Judd’s exploration of the interior of the box. The space suggests a container of colored light and places the viewer on the inside. Flooded with natural light from immense skylights overhead, the reflective, watery quality of the acrylic’s surface functions like a blue mirror. Viewers see vaporous, reflections of themselves, the space and others in the surface, turning the work into a kind of projection marking the real-time activity of the museum. The reflections also become a changing portrait of the Texas light, appearing somber and shadowy when overcast or at the end of the day, and drenched in saturated blue color and glare on bright days. The work integrates the existing complex of arches and stairs into an image: that of a deep volume of water. The physical space is blurred by becoming an illusion that shifts with the movements of museum-goers. As one moves up the stairs, the horizontal lines that mark the pool’s depth shift in relation to one’s body, until, at the top of the fifty steps, the viewer “emerges” from the blue area into the galleries. ", "Dedication" : "Commissioned by the Blanton Museum of Art through the generosity of Jeanne and Michael Klein, 2008", "Copyright_Type" : "All but merchandise approved.", "Disp_Obj_Type" : "installation", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.159-detail14.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.159-detail14.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.159-detail14.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2008.159-detail14.tif", "IsPrimary" : "0", "_SurrogateID" : "12461", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.159-detail13.tif", "ThumbnailPath" : 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"_Disp_End_Date" : "1989", "Disp_Title" : "Cruzando El Rio Bravo [Border Crossing]", "Alt_Title" : "", "Obj_Title" : "Cruzando El Rio Bravo [Border Crossing]", "Series_Title" : "", "Disp_Maker_1" : "Luis Jiménez", "Sort_Artist" : "Jiménez, Luis", "Disp_Dimen" : "320.04 cm x 101.6 cm x 129.54 cm (126 in. x 40 in. x 51 in.)", "Disp_Height" : "320.04 cm", "Disp_Width" : "101.6 cm", "Dimen_Extent" : "overall", "Medium" : "Painted fiberglass", "Support" : "", "Disp_Medium" : "Painted fiberglass", "Info_Page_Comm" : "Totem-like in stature, "Border Crossing" is a fiberglass sculpture by Texas native Luis Jiménez. In this monumental work, Jiménez depicts a Mexican man carrying a woman and infant on his back across the Rio Grande River—Jiménez was inspired by his father and grandmother’s illegal immigration to the United States in the early 1920s. "Border Crossing" is a tribute the artist’s grandfather and to the determination of the thousands of immigrants who have traveled across the southwestern border in search of a better life. As Jiménez later described: “I had wanted to make a piece that was dealing with the issue of the illegal alien….People talked about aliens as if they landed from outer space, as if they weren’t really people. I wanted to put a face on them: I wanted to humanize them.” Born in El Paso in 1940, Jiménez began studying art as an undergraduate at The University of Texas at Austin and received his Bachelor’s degree in 1964.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Jeanne and Michael Klein, 2013", "Copyright_Type" : "requires approval on a case by case basis ", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2013.9-side.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2013.9-side.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2013.9-side.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2013.9-side.tif", "IsPrimary" : "0", "_SurrogateID" : "10496", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2013.9.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2013.9.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2013.9.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2013.9.tif", "IsPrimary" : "1", "_SurrogateID" : "10498", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19882, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19882", "Disp_Access_No" : "2014.1", "_AccNumSort1" : "", "Disp_Create_DT" : "2007", "_Disp_Start_Dat" : "2007", "_Disp_End_Date" : "2007", "Disp_Title" : "Lot 102807X (Yellow)", "Alt_Title" : "", "Obj_Title" : "Lot 102807X (Yellow)", "Series_Title" : "", "Disp_Maker_1" : "Donald Moffett", "Sort_Artist" : "Moffett, Donald", "Disp_Dimen" : "182.9 cm x 182.9 cm (72 in. x 72 in.)", "Disp_Height" : "182.9 cm", "Disp_Width" : "182.9 cm", "Dimen_Extent" : "overall", "Medium" : "Acrylic polyvinyl acetate on linen and wall, with rayon and steel zipper", "Support" : "", "Disp_Medium" : "Acrylic polyvinyl acetate on linen and wall, with rayon and steel zipper", "Info_Page_Comm" : "Donald Moffett’s paintings often misbehave. For the past twenty years, Moffett has been unraveling the conventions associated with painting, perpetually renegotiating the terms of the most vaunted medium in the history of art. In works like this, part of a larger group of canvases Moffett calls “gutted” or “flayed,” he literally turns painting inside out, painting only the insides of their unzipped flaps. Zippers remind us of bodies they were designed to conceal. The yellow center of this painting is, upon close looking, not canvas at all, but rather the wall itself—a normally invisible backdrop recast as a focal point. In Moffett’s practice, centers and margins frequently switch places, leaving us to catch up with the changing rules of his game. Moffett established himself as an artist in the midst of the AIDS crisis and was a founding member of Gran Fury, an AIDS activist collective formed in 1989 in New York and famous for murals and posters they produced with slogans such as “Kissing Doesn’t Kill: Greed and Indifference Do.” Although Moffett’s political work and his painting practice are often examined separately, the AIDS epidemic has undoubtedly contributed to the persistent presence of the human body in his work. Even some of his most abstract-looking paintings register the body and hint at the pleasures it enjoys and the pains it endures. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of Houston Endowment, Inc. in honor of Melissa Jones, with support from Jeanne and Michael Klein and Lora Reynolds and Quincy Lee, 2014", "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/2014.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2014.1.tif", "IsPrimary" : "1", "_SurrogateID" : "13890", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19901, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19901", "Disp_Access_No" : "2014.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1857", "_Disp_Start_Dat" : "1857", "_Disp_End_Date" : "1857", "Disp_Title" : "The Truant", "Alt_Title" : "", "Obj_Title" : "The Truant", "Series_Title" : "", "Disp_Maker_1" : "Randolph Rogers", "Sort_Artist" : "Rogers, Randolph", "Disp_Dimen" : "102.9 x 67.3 x 40.6 cm (40 1/2 x 26 1/2 x 16 in.)", "Disp_Height" : "102.9 cm", "Disp_Width" : "67.3 cm", "Dimen_Extent" : "HWD", "Medium" : "White Carrara marble", "Support" : "", "Disp_Medium" : "White Carrara marble", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Dr. and Mrs. Herbert M. and Mary Jo Loyd, 2014", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2014.3-detail_books.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.3-detail_books.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.3-detail_books.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2014.3-detail_books.tif", "IsPrimary" : "0", "_SurrogateID" : "11660", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2014.3-detail_hand.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.3-detail_hand.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.3-detail_hand.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2014.3-detail_hand.tif", "IsPrimary" : "0", "_SurrogateID" : "11661", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2014.3-detail_lft.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.3-detail_lft.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.3-detail_lft.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2014.3-detail_lft.tif", "IsPrimary" : "0", "_SurrogateID" : "11662", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2014.3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2014.3.tif", "IsPrimary" : "1", "_SurrogateID" : "11667", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20058, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20058", "Disp_Access_No" : "2014.34", "_AccNumSort1" : "", "Disp_Create_DT" : "2012", "_Disp_Start_Dat" : "2012", "_Disp_End_Date" : "2012", "Disp_Title" : "We Belong Here", "Alt_Title" : "", "Obj_Title" : "We Belong Here", "Series_Title" : "", "Disp_Maker_1" : "Tavares Strachan", "Sort_Artist" : "Strachan, Tavares", "Disp_Dimen" : "60.9 x 154.9 x 1 cm (24 x 61 x 3/8 in.)", "Disp_Height" : "60.9 cm", "Disp_Width" : "154.9 cm", "Dimen_Extent" : "overall", "Medium" : "Blue neon, two transformers", "Support" : "", "Disp_Medium" : "Blue neon, two transformers", "Info_Page_Comm" : "In this work, Bahamian-born artist Tavares Strachan offers a seemingly concrete and affirmative declaration that, upon closer reflection, is abstract and fluid. As Stratchan recently stated: “As humans, we all struggle with how we fit in and belong….Who gets to determine who belongs where? And where is here? And why does it matter?” Any change to the location or context of this work changes who “we” might be and where “here” is, bringing new nuances to the phrase. “I have always been fascinated by invisibility,” he explains. Taking forgotten and excluded people and histories as his principal subjects, his art often uses light to make them visible. The welcoming tone struck by this phrase insinuates that perhaps many of us haven’t always felt included. “I wanted to make a work that everyone can own—one that everyone can have….Because as soon as you read it, you say, ‘We belong here,’ and we do belong.” ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Anthony Meier in honor of Jeanne and Michael Klein, 2014", "Copyright_Type" : "edu; promo; web", "Disp_Obj_Type" : "electronic media", "Creation_Place2" : "Bahamian", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2014.34.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.34.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.34.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2014.34.tif", "IsPrimary" : "1", "_SurrogateID" : "16063", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20377, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20377", "Disp_Access_No" : "2014.91", "_AccNumSort1" : "", "Disp_Create_DT" : "1972", "_Disp_Start_Dat" : "1972", "_Disp_End_Date" : "1972", "Disp_Title" : "Homage to Sterling Brown", "Alt_Title" : "", "Obj_Title" : "Homage to Sterling Brown", "Series_Title" : "", "Disp_Maker_1" : "Charles White", "Sort_Artist" : "White, Charles", "Disp_Dimen" : "101.6 cm x 152.4 cm (40 in. x 60 in.)", "Disp_Height" : "101.6 cm", "Disp_Width" : "152.4 cm", "Dimen_Extent" : "sight", "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 Susan G. and Edmund W. Gordon to the units of Black Studies and the Blanton Museum of Art at the University of Texas at Austin", "Copyright_Type" : "edu; promo; 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/2014.91.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.91.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.91.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2014.91.tif", "IsPrimary" : "1", "_SurrogateID" : "14265", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20414, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20414", "Disp_Access_No" : "2017.258", "_AccNumSort1" : "", "Disp_Create_DT" : "1948", "_Disp_Start_Dat" : "1948", "_Disp_End_Date" : "1948", "Disp_Title" : "Hombre constructivo [Constructive Man]", "Alt_Title" : "", "Obj_Title" : "Hombre constructivo [Constructive Man]", "Series_Title" : "", "Disp_Maker_1" : "Julio Alpuy", "Sort_Artist" : "Alpuy, Julio", "Disp_Dimen" : "55.9 cm x 33 cm (22 in. x 13 in.)", "Disp_Height" : "55.9 cm", "Disp_Width" : "33 cm", "Dimen_Extent" : "sight", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "Julio Alpuy studied and taught at the Taller Torres-García [Torres-García Workshop], founded in 1943 with the objective of shaping a new generation of modern artists in Uruguay. "Hombre constructivo" exemplifies the lessons about constructive art taught at the workshop. Students learned to reduce the representation of objects to their basic visual elements of line, form, and color. Then they integrated figures into a grid created through the Golden Mean, a system of proportions developed in Ancient Greece. To emphasize the abstract quality of the work, instructors taught pupils to paint with limited colors. In this painting, Alpuy tries to balance these principles with a more personal style, favoring bright colors and establishing a looser relation between figure and geometric structure.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2017", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Uruguayan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20416, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20416", "Disp_Access_No" : "2016.88", "_AccNumSort1" : "", "Disp_Create_DT" : "1958", "_Disp_Start_Dat" : "1958", "_Disp_End_Date" : "1958", "Disp_Title" : "Desmaterialización II [Dematerialization II]", "Alt_Title" : "", "Obj_Title" : "Desmaterialización II [Dematerialization II]", "Series_Title" : "", "Disp_Maker_1" : "Julián Althabe", "Sort_Artist" : "Althabe, Julián", "Disp_Dimen" : "57.8 cm x 40.6 cm x 61 cm (22 3/4 in. x 16 in. x 24 in.)", "Disp_Height" : "57.8 cm", "Disp_Width" : "40.6 cm", "Dimen_Extent" : "HWD", "Medium" : "String and wire with black paint", "Support" : "", "Disp_Medium" : "String and wire with black paint", "Info_Page_Comm" : "Julián Althabe became interested in abstraction in the 1950s. He was especially curious about the concept of the fourth dimension, a popular scientific subject that inspired many modern artists to explore spatial realities existing beyond perception. In "Escultura," Althabe interlocks two sets of winglikeshapes made with string and wire. The internal rhythms of the triangular frames suggest that their rotation takes place simultaneously along vertical and horizontal axes in an invisible dimension. Althabe’s early interest in science and virtual movement made him a pioneer of Kinetic art in Argentina.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20418, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20418", "Disp_Access_No" : "2016.90", "_AccNumSort1" : "", "Disp_Create_DT" : "1956", "_Disp_Start_Dat" : "1956", "_Disp_End_Date" : "1956", "Disp_Title" : "Jaune-Bleu [Yellow-Blue]", "Alt_Title" : "", "Obj_Title" : "Jaune-Bleu [Yellow-Blue]", "Series_Title" : "", "Disp_Maker_1" : "Carmelo Arden Quin", "Sort_Artist" : "Arden Quin, Carmelo", "Disp_Dimen" : "54.3 cm x 36.2 cm x 2.9 cm (21 3/8 in. x 14 1/4 in. x 1 1/8 in.)", "Disp_Height" : "54.3 cm", "Disp_Width" : "36.2 cm", "Dimen_Extent" : "panel", "Medium" : "Enamel on wood", "Support" : "", "Disp_Medium" : "Enamel on wood", "Info_Page_Comm" : "Carmelo Arden Quin co-founded with Gyula Kosice the Madí group in Buenos Aires in 1946. In "Jaune-Bleu," the artist explores essential aspects of Madí: the polygonal frame echoes the forms depicted, balancing an economy of means with a playful approach to geometry. The motif of lines and points on a white surface recurs in many wood panels produced by Arden Quin in the early 1950s.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Uruguayan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20427, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20427", "Disp_Access_No" : "2016.94", "_AccNumSort1" : "", "Disp_Create_DT" : "1947", "_Disp_Start_Dat" : "1947", "_Disp_End_Date" : "1947", "Disp_Title" : "Sin título [Untitled]", "Alt_Title" : "", "Obj_Title" : "Sin título [Untitled]", "Series_Title" : "", "Disp_Maker_1" : "Martín Blaszko", "Sort_Artist" : "Blaszko, Martín", "Disp_Dimen" : "41.4 cm x 34.3 cm (16 5/16 in. x 13 1/2 in.)", "Disp_Height" : "41.4 cm", "Disp_Width" : "34.3 cm", "Dimen_Extent" : "", "Medium" : "Oil on cardboard", "Support" : "", "Disp_Medium" : "Oil on cardboard", "Info_Page_Comm" : "Madí artists were among the first to make shaped canvases that echoed the composition, rather than allow the standard rectangle frame to determine its form. Martín Blaszko’s untitled painting is a prime example. The shape of the polygonal frame follows the dynamic rhythm of crisscrossing diagonals, contrasting colors, and playful patterns. Using the classical system of proportion called the Golden Section, Blaszko delighted in balancing opposing forces and creating a sense of visual harmony. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20434, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20434", "Disp_Access_No" : "2016.95", "_AccNumSort1" : "", "Disp_Create_DT" : "1951", "_Disp_Start_Dat" : "1951", "_Disp_End_Date" : "1951", "Disp_Title" : "Casting the Runes", "Alt_Title" : "", "Obj_Title" : "Casting the Runes", "Series_Title" : "", "Disp_Maker_1" : "Leonora Carrington", "Sort_Artist" : "Carrington, Leonora", "Disp_Dimen" : "76.7 cm x 45.4 cm (30 3/16 in. x 17 7/8 in.)", "Disp_Height" : "76.7 cm", "Disp_Width" : "45.4 cm", "Dimen_Extent" : "sight", "Medium" : "Oil tempera with gold metallic paint on wood", "Support" : "", "Disp_Medium" : "Oil tempera with gold metallic paint on wood", "Info_Page_Comm" : "Painter and writer Leonora Carrington settled in Mexico in 1943, joining a group of fellow surrealist émigrés. She drew inspiration from a wide variety of subjects, ranging from ancient history and Celtic mythology to Mexican healing traditions. Informed by these sources, her otherworldly paintings often have elusive meanings. In "Casting the Runes" a golden bird protects an egg under the gaze of strange beings. At bottom, two hooded female figures seem to engage in an ancient ritual involving runes, perhaps to divine the future of the golden creature in their care.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "English", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.95.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.95.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.95.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.95.tif", "IsPrimary" : "1", "_SurrogateID" : "21738", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20435, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20435", "Disp_Access_No" : "2016.96", "_AccNumSort1" : "", "Disp_Create_DT" : "1952", "_Disp_Start_Dat" : "1952", "_Disp_End_Date" : "1952", "Disp_Title" : "Sem título [Untitled]", "Alt_Title" : "", "Obj_Title" : "Sem título [Untitled]", "Series_Title" : "", "Disp_Maker_1" : "Willys de Castro", "Sort_Artist" : "Castro, Willys de", "Disp_Dimen" : "66.4 cm x 59.7 cm (26 1/8 in. x 23 1/2 in.)", "Disp_Height" : "66.4 cm", "Disp_Width" : "59.7 cm", "Dimen_Extent" : "sight", "Medium" : "Oil on wood", "Support" : "", "Disp_Medium" : "Oil on wood", "Info_Page_Comm" : "The emergence of the Concrete art movements in Brazil in the early 1950s encouraged artists like Willys de Castro, a graphic and theater designer active in São Paulo, to experiment with geometric abstraction. Here Castro avoids the mathematical rigor favored by concrete artists in order to play freely with form and color, which resulted in the creation of a more fluid sense of space. The lighter, neutral tones in the center of this painting suggest depth, while the darker, interlocking shapes anchored in each corner emphasize the flatness of the plane. This preoccupation with the ambiguity of perception became a key aspect in Castro’s later production.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Brazilian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.96-frame.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.96-frame.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.96-frame.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.96-frame.tif", "IsPrimary" : "1", "_SurrogateID" : "14281", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20436, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20436", "Disp_Access_No" : "2016.97", "_AccNumSort1" : "", "Disp_Create_DT" : "1977–83", "_Disp_Start_Dat" : "", "_Disp_End_Date" : "", "Disp_Title" : "Pluriobjeto [Pluriobject]", "Alt_Title" : "", "Obj_Title" : "Pluriobjeto [Pluriobject]", "Series_Title" : "", "Disp_Maker_1" : "Willys de Castro", "Sort_Artist" : "Castro, Willys de", "Disp_Dimen" : "199.4 x 5.1 x 14.6 cm (78 1/2 x 2 x 5 3/4 in.)", "Disp_Height" : "199.4 cm", "Disp_Width" : "5.1 cm", "Dimen_Extent" : "HWD", "Medium" : "Chromed iron, oxidized iron and anodized matte aluminum", "Support" : "", "Disp_Medium" : "Chromed iron, oxidized iron and anodized matte aluminum", "Info_Page_Comm" : "Willys de Castro combined his experience as a concrete artist and designer to create artworks that invite a more active participation of the viewer. "Pluriobjeto" exists in an in-between space: Its minimal, interlocking shapes made with industrial materials lay flat against the wall. Only after viewers engage in closer examination of the work do they see how the object reaches into the space of the gallery. This hybrid of painting and sculpture challenges the separation between virtual and real space.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Brazilian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.97-rightside.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.97-rightside.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.97-rightside.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.97-rightside.tif", "IsPrimary" : "1", "_SurrogateID" : "14283", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20443, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20443", "Disp_Access_No" : "2016.99", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "La edad de la razón [The Age of Reason]", "Alt_Title" : "", "Obj_Title" : "La edad de la razón [The Age of Reason]", "Series_Title" : "", "Disp_Maker_1" : "Ernesto Deira", "Sort_Artist" : "Deira, Ernesto", "Disp_Dimen" : "129.7 cm x 195 cm (51 1/16 in. x 76 3/4 in.)", "Disp_Height" : "129.7 cm", "Disp_Width" : "195 cm", "Dimen_Extent" : "sight", "Medium" : "Enamel on canvas", "Support" : "", "Disp_Medium" : "Enamel on canvas", "Info_Page_Comm" : "During the 1960s, Ernesto Deira often titled his works after his literary, philosophical, and political concerns. This painting shares its title with the first volume of Jean-Paul Sartre’s trilogy "The Roads to Freedom," a masterpiece of existentialist writing. The influence of Sartre’s Marxist-inspired existentialism in Argentina was profound. Here Deira meditates on human existence through visual means. His figures are built through layered splashes, thick brushstrokes, and dripping colors that do little to solidify their substance. These presences remain open, conflicted and undefined, as they oscillate between the spectral and the grotesque.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20444, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20444", "Disp_Access_No" : "2016.100", "_AccNumSort1" : "", "Disp_Create_DT" : "1937", "_Disp_Start_Dat" : "1937", "_Disp_End_Date" : "1937", "Disp_Title" : "Composición [Composition]", "Alt_Title" : "", "Obj_Title" : "Composición [Composition]", "Series_Title" : "", "Disp_Maker_1" : "Juan Del Prete", "Sort_Artist" : "Del Prete, Juan", "Disp_Dimen" : "31.8 cm x 19.8 cm (12 1/2 in. x 7 13/16 in.)", "Disp_Height" : "31.8 cm", "Disp_Width" : "19.8 cm", "Dimen_Extent" : "sight", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "Composed of flat, geometric planes of color that overlap and intersect, this painting by Juan Del Prete predicts the hard-edge brand of geometric abstraction that would come to dominate Argentine art in the 1940s. Though Del Prete was a pioneer of geometric abstraction in Latin America, his brushwork often betrayed a more expressive sensibility. The painterly texture of "Composición," with its uneven line, warm palette, and gentle gradations in tone, lends the composition an unusual intimacy.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20469, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20469", "Disp_Access_No" : "2016.105", "_AccNumSort1" : "", "Disp_Create_DT" : "1949", "_Disp_Start_Dat" : "1949", "_Disp_End_Date" : "1949", "Disp_Title" : "Formas en el plano [Forms on the Plane]", "Alt_Title" : "", "Obj_Title" : "Formas en el plano [Forms on the Plane]", "Series_Title" : "", "Disp_Maker_1" : "Alfredo Hlito", "Sort_Artist" : "Hlito, Alfredo", "Disp_Dimen" : "80 cm x 60 cm (31 1/2 in. x 23 5/8 in.)", "Disp_Height" : "80 cm", "Disp_Width" : "60 cm", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "A cofounder of the Association of Concrete Art and Invention, Alfredo Hlito synthesized his interests in abstraction and Marxism. Many leftist artists favored social realism. Hlito, however, believed figurative art was deceptive and illusionism interfered with the perception of reality. He advocated instead an art made of concrete plastic elements such as color, line, and form. In this painting, Hlito generates a sense of visual harmony through simple curves in complementary red and green. While members of the Association valued precision, his approach to geometry is intuitive and never exact. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.105.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.105.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.105.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.105.tif", "IsPrimary" : "1", "_SurrogateID" : "15818", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20470, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20470", "Disp_Access_No" : "2016.106", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1950", "_Disp_Start_Dat" : "1945", "_Disp_End_Date" : "1955", "Disp_Title" : "Línea continua [Continuous Line]", "Alt_Title" : "", "Obj_Title" : "Línea continua [Continuous Line]", "Series_Title" : "", "Disp_Maker_1" : "Enio Iommi", "Sort_Artist" : "Iommi, Enio", "Disp_Dimen" : "24.4 cm x 29.8 cm x 29.8 cm (9 5/8 in. x 11 3/4 in. x 11 3/4 in.)", "Disp_Height" : "24.4 cm", "Disp_Width" : "29.8 cm", "Dimen_Extent" : "HWD", "Medium" : "Stainless steel", "Support" : "", "Disp_Medium" : "Stainless steel", "Info_Page_Comm" : "Enio Iommi joined the Association of Concrete Art and Invention as a teenager and participated in its activities until the group dissolved in 1950. "Línea continua" exemplifies three key aspects of Iommi’s work: the rational approach to geometry promoted by the Association, a fascination with shaping space, and the use of newly available industrial materials. Here Iommi made a loose knot from stainless steel rod to convey the sense of an endless Möbius strip moving through three-dimensional space.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20477, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20477", "Disp_Access_No" : "2019.106.a-?", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Continuel Mobile [Continual Mobile]", "Alt_Title" : "", "Obj_Title" : "Continuel Mobile [Continual Mobile]", "Series_Title" : "", "Disp_Maker_1" : "Julio Le Parc", "Sort_Artist" : "Le Parc, Julio", "Disp_Dimen" : "98.4 cm x 40 cm x 8.3 cm (38 3/4 in. x 15 3/4 in. x 3 1/4 in.)", "Disp_Height" : "98.4 cm", "Disp_Width" : "40 cm", "Dimen_Extent" : "HWD", "Medium" : "Aluminum and color acetate with cloth, cardboard, and fishing wire on wood", "Support" : "", "Disp_Medium" : "Aluminum and color acetate with cloth, cardboard, and fishing wire on wood", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2019", "Copyright_Type" : "", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20479, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20479", "Disp_Access_No" : "2016.108", "_AccNumSort1" : "", "Disp_Create_DT" : "1954", "_Disp_Start_Dat" : "1954", "_Disp_End_Date" : "1954", "Disp_Title" : "Sin título [Untitled]", "Alt_Title" : "", "Obj_Title" : "Sin título [Untitled]", "Series_Title" : "", "Disp_Maker_1" : "Antonio Llorens", "Sort_Artist" : "Llorens, Antonio", "Disp_Dimen" : "53.3 cm x 73 cm (21 in. x 28 3/4 in.)", "Disp_Height" : "53.3 cm", "Disp_Width" : "73 cm", "Dimen_Extent" : "sight", "Medium" : "Enamel", "Support" : "wood panel", "Disp_Medium" : "Enamel on wood panel", "Info_Page_Comm" : "Trained as an artist and designer in Uruguay, his adopted country, Antonio Llorens embraced abstraction early in his career. In Montevideo, he participated in the local Madí group, and later joined others dedicated to abstraction, such as Arte No-Figurativo [No-Figurative Art] and Grupo 8 [Group 8]. This untitled painting shows Llorens’s predilection for hard-edge geometry, bright solid colors, and bold compositional structures shaped by his interest in graphic design. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Uruguayan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.108.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.108.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.108.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.108.tif", "IsPrimary" : "1", "_SurrogateID" : "15788", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20480, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20480", "Disp_Access_No" : "2016.109", "_AccNumSort1" : "", "Disp_Create_DT" : "1960", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1960", "Disp_Title" : "Sin título [Untitled]", "Alt_Title" : "", "Obj_Title" : "Sin título [Untitled]", "Series_Title" : "", "Disp_Maker_1" : "Antonio Llorens", "Sort_Artist" : "Llorens, Antonio", "Disp_Dimen" : "99 cm x 30.8 cm x 35.6 cm (39 in. x 12 1/8 in. x 14 in.)", "Disp_Height" : "99 cm", "Disp_Width" : "30.8 cm", "Dimen_Extent" : "HWD", "Medium" : "Enamel on iron and wood base with enamel", "Support" : "", "Disp_Medium" : "Enamel on iron and wood base with enamel", "Info_Page_Comm" : "In 1960, Antonio Llorens joined Grupo 8 [Group 8], an association of artists active in Montevideo whose objective was to pursue an individualized and experimental approach to art rather than develop a shared aesthetic. Llorens favored flat planes of solid color in his paintings and graphic work. He employed the same formal elements in this three-dimensional sculpture. The result is a graceful composition of elegant shapes that extend outward in space with restrained yet decisive energy.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Uruguayan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20489, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20489", "Disp_Access_No" : "2019.108", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Sin título [Untitled]", "Alt_Title" : "", "Obj_Title" : "Sin título [Untitled]", "Series_Title" : "", "Disp_Maker_1" : "Carlos Mérida", "Sort_Artist" : "Mérida, Carlos", "Disp_Dimen" : "117.8 cm x 60.5 cm (46 3/8 in. x 23 13/16 in.)", "Disp_Height" : "117.8 cm", "Disp_Width" : "60.5 cm", "Dimen_Extent" : "sight", "Medium" : "Petroplastic with gold metallic paint over red ground", "Support" : "wood panel", "Disp_Medium" : "Petroplastic with gold metallic paint over red ground on wood panel", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2019", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Guatemalan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20512, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20512", "Disp_Access_No" : "2019.119", "_AccNumSort1" : "", "Disp_Create_DT" : "1979", "_Disp_Start_Dat" : "1979", "_Disp_End_Date" : "1979", "Disp_Title" : "Paralelas vibrantes (de Série Síntesis) [Vibrant Parallels (from Synthesis Series)]", "Alt_Title" : "", "Obj_Title" : "Paralelas vibrantes (de Série Síntesis) [Vibrant Parallels (from Synthesis Series)]", "Series_Title" : "", "Disp_Maker_1" : "Jesús Rafael Soto", "Sort_Artist" : "Soto, Jesús Rafael", "Disp_Dimen" : "43.2 cm x 26.7 cm x 9.2 cm (17 in. x 10 1/2 in. x 3 5/8 in.)", "Disp_Height" : "43.2 cm", "Disp_Width" : "26.7 cm", "Dimen_Extent" : "HWD", "Medium" : "Plastic, silkscreen, and metal", "Support" : "", "Disp_Medium" : "Plastic, silkscreen, and metal", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Judy S. and Charles W. Tate, 2019", "Copyright_Type" : "", "Disp_Obj_Type" : "construction", "Creation_Place2" : "Venezuelan", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 20560, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20560", "Disp_Access_No" : "2014.64", "_AccNumSort1" : "", "Disp_Create_DT" : "2010", "_Disp_Start_Dat" : "2010", "_Disp_End_Date" : "2010", "Disp_Title" : "Colombia Coca-Cola", "Alt_Title" : "", "Obj_Title" : "Colombia Coca-Cola", "Series_Title" : "", "Disp_Maker_1" : "Antonio Caro", "Sort_Artist" : "Caro, Antonio", "Disp_Dimen" : "69.8 cm x 100 cm (27 1/2 in. x 39 3/8 in.)", "Disp_Height" : "69.8 cm", "Disp_Width" : "100 cm", "Dimen_Extent" : "overall", "Medium" : "Enamel on tin", "Support" : "", "Disp_Medium" : "Enamel on tin", "Info_Page_Comm" : ""Colombia Coca-Cola," first painted in 1976 and later proliferated in different sizes and formats, presents the name of the artist’s country in the iconic Coca-Cola script. Caro’s recycling and subversion of ubiquitous logos like this one derives from his experience working for an advertising agency in the early 1970s. Here the superimposition of nation and logo points not only to a history of U.S. imperialism in the region, but also to how the line between “us” and “them”—consumers and producers—has become blurred.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Susman Collection, 2014", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Colombian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2014.64.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.64.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.64.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2014.64.tif", "IsPrimary" : "1", "_SurrogateID" : "12017", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20563, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20563", "Disp_Access_No" : "2014.67", "_AccNumSort1" : "", "Disp_Create_DT" : "1977", "_Disp_Start_Dat" : "1977", "_Disp_End_Date" : "1977", "Disp_Title" : "Cord Painting 14", "Alt_Title" : "", "Obj_Title" : "Cord Painting 14", "Series_Title" : "", "Disp_Maker_1" : "Regina Bogat", "Sort_Artist" : "Bogat, Regina", "Disp_Dimen" : "182.9 cm x 152.4 cm (72 in. x 60 in.)", "Disp_Height" : "182.9 cm", "Disp_Width" : "152.4 cm", "Dimen_Extent" : "canvas", "Medium" : "Acrylic with nylon and satin cords on canvas", "Support" : "", "Disp_Medium" : "Acrylic with nylon and satin cords on canvas", "Info_Page_Comm" : "During the 1960s and 1970s, many artists opened their practices to a wider range of media; they often incorporated pliable materials such as yarn, string, and rope into their work. Although Regina Bogat considers this a painting, the only painted element is its cadmium red background. After the artist drilled holes into the canvas, she arranged the cords systematically using a grid and a repeated sequence of colors. She then subverted the careful logic of her composition by knotting the dangling cords at irregular lengths. This is one of a series of fifteen cord paintings Bogat made in the 1970s from her home in Glen Ridge, New Jersey, where she moved in 1972 with her husband, painter Alfred Jensen. “I missed my art supply store in Manhattan,” she recently recalled. “In its stead, I found a local trimmings shop that had a beautiful array of embroidery threads and cord trimmings. I had been influenced by my friend Eva Hesse’s recent use of unorthodox materials in her art; and perhaps, I was also unconsciously influenced by the hair phenomenon of the early seventies.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of the Houston Endowment, Inc., in honor of Melissa Jones, 2014", "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/2014.67_detail-1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.67_detail-1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.67_detail-1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2014.67_detail-1.tif", "IsPrimary" : "0", "_SurrogateID" : "15879", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "2017", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2014.67_detail-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.67_detail-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.67_detail-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2014.67_detail-2.tif", "IsPrimary" : "0", "_SurrogateID" : "15880", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "2017", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2014.67_install.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2014.67_install.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2014.67_install.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2014.67_install.tif", "IsPrimary" : "1", "_SurrogateID" : "15881", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "2017", "View" : "" } , ] },{ "embark_ID" : 20625, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20625", "Disp_Access_No" : "2010.100", "_AccNumSort1" : "", "Disp_Create_DT" : "1980", "_Disp_Start_Dat" : "1980", "_Disp_End_Date" : "1980", "Disp_Title" : "Farrah Fawcett", "Alt_Title" : "", "Obj_Title" : "Farrah Fawcett", "Series_Title" : "", "Disp_Maker_1" : "Andy Warhol", "Sort_Artist" : "Warhol, Andy", "Disp_Dimen" : "101.6 cm x 101.6 cm (40 in. x 40 in.)", "Disp_Height" : "101.6 cm", "Disp_Width" : "101.6 cm", "Dimen_Extent" : "canvas", "Medium" : "Synthetic polymer paint and silkscreen", "Support" : "canvas", "Disp_Medium" : "Synthetic polymer paint and silkscreen on canvas", "Info_Page_Comm" : "This painting of University of Texas alumna and "Charlie’s Angels" star Farrah Fawcett typifies Andy Warhol’s portrait style of the 1970s and 1980s. The artist photographed starlets like Fawcett, Grace Jones, Blondie’s Debbie Harry, and Dolly Parton; their bare shoulders serve as a nod to classical portraiture. Working from a Polaroid, Warhol sent the negative to a photo lab to have it enlarged and transferred onto a sheet of acetate. Once a silkscreen was made from the sheet, Warhol and his assistants squeegeed ink through the screen onto a pre-painted canvas, using punches of color to highlight the glamour of his subjects.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Bequest of Farrah Fawcett, 2010", "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/2010.100.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2010.100.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2010.100.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2010.100.tif", "IsPrimary" : "1", "_SurrogateID" : "12201", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20642, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20642", "Disp_Access_No" : "2015.26", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "Honor Roll", "Alt_Title" : "", "Obj_Title" : "Honor Roll", "Series_Title" : "", "Disp_Maker_1" : "May Stevens", "Sort_Artist" : "Stevens, May", "Disp_Dimen" : "108 cm x 91.4 cm (42 1/2 in. x 36 in.)", "Disp_Height" : "108 cm", "Disp_Width" : "91.4 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : ""Honor Roll" refers to the academic distinction usually bestowed upon students who excel at school. In the context of this 1963 canvas, however, the phrase takes on profound implications. The canvas honors the bravery of seven young African American men, women, and children who were among the first to attempt to integrate schools in the south in the early 1960s. May Stevens renders their names in childlike lettering that looks like it was carved into a tree or wet cement, in the hope that we might remember them. Stevens, a white artist, credits her passion for civil rights in part to the friendship she and her husband developed with Charles White, the virtuosic African American draftsman whose work is on view nearby. When Stevens first exhibited this painting at a New York gallery in 1963, Martin Luther King Jr. contributed a brief but powerful introduction to the catalogue that accompanied it: "The men and women who rode the Freedom Buses through Alabama, who walked in Montgomery, who knelt in prayer in Albany, who hold hands and sing We Shall Overcome Someday in the face of hostile mobs—their acts cry out for songs to be sung by them and pictures to be painted of them." Who was Clyde Kennard? Nineteen sixty-three was a watershed year in the history of school desegregation. During that year, James Meredith became the first African American to graduate from the University of Mississippi. May Stevens’ painting was likely inspired by the tragic story of his fellow freedom fighter Clyde Kennard, an unsung hero of the civil rights movement. In the late 1950s, Kennard attempted to enroll at Mississippi Southern College for his final year of college in order to be close to his widowed mother and to help run her chicken farm. The FBI, local police, and Mississippi Southern College did everything they could to dissuade him from applying and referred to him as an “integration agitator.” When he remained undeterred and attempted to apply to the school for the third year in a row, they resorted to framing him for crimes he did not commit. In 1960, after ten minutes of deliberation, an all-white jury sentenced Kennard to seven years in high-security prison for stealing five bags of chicken feed, on the basis of testimony by an illiterate white teenager. Placed in a high-security prison, Kennard was forced to perform manual labor in spite of developing colon cancer. Shocked by the travesty of his sentencing for a crime he did not commit and by the brutal physical labor he was being forced to endure, the NAACP and Medgar Evers took up Kennard’s case. In 1963, the governor of Mississippi released him for fear that he would become a martyr if he died in prison. Kennard died shortly thereafter, on July 4. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the Amon G. Carter Art Acquisition Fund and Archer M. Huntington Museum Fund, and made possible by generous support from Alessandra Manning-Dolnier and Kurt Dolnier in memory of Ruth Seay, Charles Irvin, Jeanne and Michael Klein, Anthony Meier, Fredericka and David Middleton, and an anonymous donor, 2015", "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/2015.26.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2015.26.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2015.26.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2015.26.tif", "IsPrimary" : "1", "_SurrogateID" : "14768", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20715, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20715", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "2013", "_Disp_Start_Dat" : "2013", "_Disp_End_Date" : "2013", "Disp_Title" : "Untitled, from The Strangest Fruit", "Alt_Title" : "", "Obj_Title" : "Untitled, from The Strangest Fruit", "Series_Title" : "", "Disp_Maker_1" : "Vincent Valdez", "Sort_Artist" : "Valdez, Vincent", "Disp_Dimen" : "233.68 cm x 139.7 cm (92 in. x 55 in.)", "Disp_Height" : "233.68 cm", "Disp_Width" : "139.7 cm", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The title of this series of paintings, "The Strangest Fruit," hints at the history that inspired them. In 1939 Billie Holiday recorded “Strange Fruit,” a haunting song about the lynching of African Americans in the United States. Vincent Valdez painted the series of ten life-size Latino men after extensively researching what he refers to as the “erased” history of the lynchings of Mexican immigrants in Texas in the late nineteenth and early twentieth centuries. Valdez isolates his subjects against stark white backdrops and deliberately does not include nooses around their necks. Rather than directly summon difficult images from the past, he depicts this history in the present tense, underscoring the continued persecution and struggles that immigrants and minorities face in the United States today. He explains, “Presenting this historical subject in a contemporary context enables me to present the noose as a metaphor and to suggest that the threat of the noose still looms over the heads of the young Latino males in American society.”", "Dedication" : "Promised gift of Jeanne and Michael Klein, 2016", "Copyright_Type" : "Scholarly publications and online educational 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/PG2016.12_overall.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/PG2016.12_overall.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/PG2016.12_overall.tif", "IIIF_URL": "http://iiif.gallerysystems.com/PG2016.12_overall.tif", "IsPrimary" : "1", "_SurrogateID" : "13018", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20716, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20716", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "2013", "_Disp_Start_Dat" : "2013", "_Disp_End_Date" : "2013", "Disp_Title" : "Untitled, from The Strangest Fruit", "Alt_Title" : "", "Obj_Title" : "Untitled, from The Strangest Fruit", "Series_Title" : "", "Disp_Maker_1" : "Vincent Valdez", "Sort_Artist" : "Valdez, Vincent", "Disp_Dimen" : "233.68 cm x 139.7 cm (92 in. x 55 in.)", "Disp_Height" : "233.68 cm", "Disp_Width" : "139.7 cm", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The title of this series of paintings, "The Strangest Fruit," hints at the history that inspired them. In 1939 Billie Holiday recorded “Strange Fruit,” a haunting song about the lynching of African Americans in the United States. Vincent Valdez painted the series of ten life-size Latino men after extensively researching what he refers to as the “erased” history of the lynchings of Mexican immigrants in Texas in the late nineteenth and early twentieth centuries. Valdez isolates his subjects against stark white backdrops and deliberately does not include nooses around their necks. Rather than directly summon difficult images from the past, he depicts this history in the present tense, underscoring the continued persecution and struggles that immigrants and minorities face in the United States today. He explains, “Presenting this historical subject in a contemporary context enables me to present the noose as a metaphor and to suggest that the threat of the noose still looms over the heads of the young Latino males in American society.”", "Dedication" : "Promised gift of Jeanne and Michael Klein, 2016", "Copyright_Type" : "Scholarly publications and online educational 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/PG2016.13_overall.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/PG2016.13_overall.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/PG2016.13_overall.tif", "IIIF_URL": "http://iiif.gallerysystems.com/PG2016.13_overall.tif", "IsPrimary" : "1", "_SurrogateID" : "13023", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20722, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20722", "Disp_Access_No" : "2016.150", "_AccNumSort1" : "", "Disp_Create_DT" : "2008", "_Disp_Start_Dat" : "2008", "_Disp_End_Date" : "2008", "Disp_Title" : "Madam C. J. Walker", "Alt_Title" : "", "Obj_Title" : "Madam C. J. Walker", "Series_Title" : "", "Disp_Maker_1" : "Sonya Clark", "Sort_Artist" : "Clark, Sonya", "Disp_Dimen" : "309.88 cm x 220.98 cm (122 in. x 87 in.)", "Disp_Height" : "309.88 cm", "Disp_Width" : "220.98 cm", "Dimen_Extent" : "overall", "Medium" : "Combs", "Support" : "", "Disp_Medium" : "Combs", "Info_Page_Comm" : "Sonya Clark composed this formidable ten-foot-tall portrait of Madam C.J. Walker entirely of plastic hair combs. Born Sarah Breedlove in 1867, shortly after the end of slavery, Madam Walker is said to be the nation’s first self-made female millionaire. Orphaned as a child and widowed with a daughter at twenty, Walker earned her fortune and fame by building a prosperous beauty empire. As a businesswoman, she employed thousands of African American women who would have otherwise been relegated to low-paying jobs. Walker flourished as an entrepreneur despite the odds, before women’s suffrage and long before the civil rights movement. Her life is captured in her famous statement: “I am a woman from the cotton fields of the South. I was promoted to the washtub. I was promoted to the kitchen. I promoted myself to the business of hair . . . on my own ground.” “I used 3,840 fine-toothed pocket combs to assemble this image of Walker, based on a photo taken around the start of her career,” Clark commented recently. “Combs speak to Walker’s career as a pioneer of hair care. I also used them because they capture our national legacy of hair culture, and the gender and race politics of hair. As disposable objects, they parallel the low social status of African American women born in the late 1800s. But together, the thousands of combs become a monumental tapestry, signifying Walker’s magnitude and success despite her humble beginnings.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of Marilyn D. Johnson; Beverly Dale; Buckingham Foundation, Inc.; Jeanne and Michael Klein; Fredericka and David Middleton; H-E-B; Joseph and Tam Hawkins; Carmel and Gregory Fenves; The National Council of Negro Women (Austin Section); Lone Star (TX) Chapter of The Links, Incorporated; Town Lake (TX) Chapter of The Links, Incorporated; National Society of Black Engineers-Austin Professionals; Greater Austin Black Chamber of Commerce; National Black MBA Association Austin Chapter; and other donors.", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "construction", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.150.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.150.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.150.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.150.tif", "IsPrimary" : "1", "_SurrogateID" : "14276", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.150-detail-1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.150-detail-1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.150-detail-1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.150-detail-1.tif", "IsPrimary" : "0", "_SurrogateID" : "15797", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.150-detail-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.150-detail-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.150-detail-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.150-detail-2.tif", "IsPrimary" : "0", "_SurrogateID" : "15798", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.150-side.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.150-side.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.150-side.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.150-side.tif", "IsPrimary" : "0", "_SurrogateID" : "15799", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20731, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20731", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "1960", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1960", "Disp_Title" : "Logo Scape", "Alt_Title" : "Out of Style (?)", "Obj_Title" : "Logo Scape", "Series_Title" : "", "Disp_Maker_1" : "Gene Beery", "Sort_Artist" : "Beery, Gene", "Disp_Dimen" : "61 x 61 cm (24 x 24 in.)", "Disp_Height" : "61 cm", "Disp_Width" : "61 cm", "Dimen_Extent" : "", "Medium" : "Oil on Masonite", "Support" : "", "Disp_Medium" : "Oil on Masonite", "Info_Page_Comm" : "", "Dedication" : "Promised gift of the LeWitt Collection in honor of Ellen and Steve Susman, 2017", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/PG2017.002.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/PG2017.002.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/PG2017.002.tif", "IIIF_URL": "http://iiif.gallerysystems.com/PG2017.002.tif", "IsPrimary" : "1", "_SurrogateID" : "18534", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 21114, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21114", "Disp_Access_No" : "2017.3", "_AccNumSort1" : "", "Disp_Create_DT" : "2016", "_Disp_Start_Dat" : "2016", "_Disp_End_Date" : "2016", "Disp_Title" : "Siphonophora", "Alt_Title" : "", "Obj_Title" : "Siphonophora", "Series_Title" : "", "Disp_Maker_1" : "Thomas Glassford", "Sort_Artist" : "Glassford, Thomas", "Disp_Dimen" : "1272.5 x 487.7 x 330.2 cm (501 x 192 x 130 in.)", "Disp_Height" : "1272.5 cm", "Disp_Width" : "487.7 cm", "Dimen_Extent" : "overall", "Medium" : "Rebar, polyurethane foam, base coat cement, and paint", "Support" : "", "Disp_Medium" : "Rebar, polyurethane foam, base coat cement, and paint", "Info_Page_Comm" : "Thomas Glassford's sculptures, large-scale installations, and public projects explore the intersections of art, design, architecture, community, and the natural world. First installed at the University Museum El Chopo, part of the National Autonomous University of Mexico, "Siphonophora" is inspired by the giant ocean creatures of the same name that appear to be single organisms, but are instead interdependent communities of different animals, each with different functions that allow the organism to flourish. For this work, individual concrete and plaster sculptures based on forms found in nature have been painted white and strung together, merging into one enormous floating colony. The work, like the ocean organism, serves as a metaphor for our interdependence with the natural world and, by extension, our ecological survival.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of The Moody Foundation, 2017", "Copyright_Type" : "edu; promo; merch; web", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.3.tif", "IsPrimary" : "1", "_SurrogateID" : "15159", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.3-atrium.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.3-atrium.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.3-atrium.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.3-atrium.tif", "IsPrimary" : "0", "_SurrogateID" : "16697", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.3-from below.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.3-from below.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.3-from below.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.3-from below.tif", "IsPrimary" : "0", "_SurrogateID" : "19044", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 21092, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21092", "Disp_Access_No" : "2016.39", "_AccNumSort1" : "", "Disp_Create_DT" : "2005", "_Disp_Start_Dat" : "2005", "_Disp_End_Date" : "2005", "Disp_Title" : "Bestiário [Bestiary]", "Alt_Title" : "", "Obj_Title" : "Bestiário [Bestiary]", "Series_Title" : "", "Disp_Maker_1" : "Lais Myrrha", "Sort_Artist" : "Myrrha, Lais", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Single channel video", "Support" : "", "Disp_Medium" : "Single channel video", "Info_Page_Comm" : "Lais Myrrah combines in “Bestiário” seven editions of the national news program “Journal Nacional” on the Rede lobo TV network, which appear simultaneously, coinciding only at the moment when. The anchors state in unison “Agora, no Jornal Nacional!” [Now, the National News!]. The video obscures the information being transmitted, while showing how the news is, in the artist’s words, “constructed, formatted, and manipulated in order to compose a homogenized frame.” In revealing how television news becomes a biased blend of reality and myth, “Bestiário” operates like a contemporary counterpart to medieval compendiums that featured natural and mythical beasts. Given the central tole that the media- and the “Jornal Nacional in particular- has played during political crises in recent Brazilian history, “Bestiário” offers a timely examination of the inability of the news to operate outside the spectacle of the mass media, obscuring rather than clarifying the ongoing scandals and power struggles in Brazil.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Antonio C. La Pastina and Dale A. Rice, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "time based media", "Creation_Place2" : "Brazilian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 21132, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21132", "Disp_Access_No" : "2016.147", "_AccNumSort1" : "", "Disp_Create_DT" : "2016", "_Disp_Start_Dat" : "2016", "_Disp_End_Date" : "2016", "Disp_Title" : "The Broad", "Alt_Title" : "", "Obj_Title" : "The Broad", "Series_Title" : "", "Disp_Maker_1" : "Ramiro Gomez", "Sort_Artist" : "Gomez, Ramiro", "Disp_Dimen" : "183 x 183 cm (72 x 72 in.)", "Disp_Height" : "183 cm", "Disp_Width" : "183 cm", "Dimen_Extent" : "", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic on canvas", "Info_Page_Comm" : "Ramiro Gomez paints from personal experience. In 1986, he was born to undocumented Mexican immigrants in the Inland Empire area east of Los Angeles. Growing up, his mother worked as a school janitor and his father as a trucker. Beginning in 2009, Gomez worked as a live-in nanny to a Beverly Hills family and began to paint figures of women over luxury magazine spreads discarded by his employer. That two-and- a-half-year experience—one of simultaneous assimilation and alienation—has fueled much of his artistic practice since. Gomez has been painting housekeepers, pool cleaners, nannies, and gardeners at work in well-to-do homes and other Los Angeles locations since 2012; the city is an ideal subject for this work as it boasts the largest Latino population in the country. Here we see a woman pushing a large trash can down an empty block outside the recently opened Broad Museum. Gomez’s work reminds us that the manicured hedges, glassy swimming pools, and sun-drenched buildings of the Southern California landscape are often made possible by Latino and immigrant workers. The people in his paintings are always faceless “in part to suggest the way they were taken for granted and overlooked, but in part also because somehow the viewer read more into them that way; they were less threatening, more inwardlooking and as such they more readily called forth the viewer’s empathy.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Ellen Susman Collection, 2016", "Copyright_Type" : "edu", "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/2016.147-crop.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.147-crop.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.147-crop.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.147-crop.tif", "IsPrimary" : "1", "_SurrogateID" : "14278", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.147-with edge visible.tiff", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.147-with edge visible.tiff", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.147-with edge visible.tiff", "IIIF_URL": "http://iiif.gallerysystems.com/2016.147-with edge visible.tiff", "IsPrimary" : "0", "_SurrogateID" : "16698", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 21284, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21284", "Disp_Access_No" : "2016.130", "_AccNumSort1" : "", "Disp_Create_DT" : "1988", "_Disp_Start_Dat" : "1988", "_Disp_End_Date" : "1988", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frida Baranek", "Sort_Artist" : "Baranek, Frida", "Disp_Dimen" : "300 x 200 x 200 cm (118 1/8 x 78 3/4 x 78 3/4 in.)", "Disp_Height" : "300 cm", "Disp_Width" : "200 cm", "Dimen_Extent" : "overall", "Medium" : "Oxidized wire and metal sheets", "Support" : "", "Disp_Medium" : "Oxidized wire and metal sheets", "Info_Page_Comm" : "In her series “Air Drawings”, Frida Baranek uses discarded industrial materials, such as rusted wire and metal sheets, that appear to be salvaged from demolition sites. At the same time, the cloud-like configuration of the work suggests natural phenomena, like swirling dust devils or even fragile nests. Both brutal and delicate, Baranek’s installation comments on the precariousness of social and political structures in Brazil during the late 1980s, when the country returned to democracy after years of military dictatorships.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Patricia Phelps de Cisneros in honor of Jeanne Klein, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Brazilian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.130-detail 1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.130-detail 1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.130-detail 1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2016.130-detail 1.tif", "IsPrimary" : "0", "_SurrogateID" : "19596", "Image_Type" : "Digital 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"Medium" : "Oil", "Support" : "wood panel", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Patricia Phelps de Cisneros in memory of Sister San Luis Rendiles Martinez, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 21469, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21469", "Disp_Access_No" : "2017.25", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1933", "_Disp_Start_Dat" : "1928", "_Disp_End_Date" : "1938", "Disp_Title" : "Head of a Dancer: Harald Kreutzberg", "Alt_Title" : "", "Obj_Title" : "Head of a Dancer: Harald Kreutzberg", "Series_Title" : "", "Disp_Maker_1" : "Richmond Barthé", "Sort_Artist" : "Barthé, Richmond", "Disp_Dimen" : "32 x 19 x 16 cm (12 1/2 x 7 3/8 x 6 1/8 in.)", 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The numbers 1–9 overlaid on the pages allude not only to the number assigned to individual horses, but also to the statistics used by spectators to create elaborate equations to handicap the odds. As Barnette explains, “I wanted the many obsessive hours of my drawing labor to match the obsessive nature of gambling.” Barnette has described the racetrack as a space where escapism, fantasy, and chance collide with everyday realities of class in America. 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Catunda’s “drops,” a recurring element in her art, are made with heavy plastic sheeting sewn on top of shaped and painted canvas. She states, “I am interested in images that are already in the world, with which I can interfere. And that is directly linked to the idea of appropriation of pictures and objects, or the meanings of the things that I bring to the work, are constantly changing, transforming themselves, varying all the time.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Patricia Phelps de Cisneros in honor of Ellen Susman, 2018", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "Brazilian", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2018.94-install.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2018.94-install.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2018.94-install.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2018.94-install.tif", "IsPrimary" : "1", "_SurrogateID" : "22764", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 23816, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/23816", "Disp_Access_No" : "2018.73", "_AccNumSort1" : "", "Disp_Create_DT" : "1997-98", "_Disp_Start_Dat" : "", "_Disp_End_Date" : "", "Disp_Title" : "Patient", "Alt_Title" : "", "Obj_Title" : "Patient", "Series_Title" : "", "Disp_Maker_1" : "Frank C. 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As a key member of the organization Visual AIDS, he was instrumental in helping to create the red AIDS ribbon to help raise public awareness and empathy for those afflicted with the disease. "Patient" reflects an artist grappling not only with his own mortality (the hospital blood bag bears his own name and O+ blood type) but also mourning the loss of friends and loved ones who died of AIDS-related complications. He always aspired for his art to have universal resonance that, as he put it, “ultimately transcends the personal level and the specificity of issues such as gay and lesbian rights or AIDS.” In "Patient," the bed is left empty for us to fill with our own memories of those whom we have lost. 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In his best-known works, Smith assumes the role of his performance persona “Mike,” a wide-eyed, and somewhat inept everyman figure. Curator Annette DiMeo Carlozzi, who organized a major show of Smith’s work at the Blanton in 2007, has described the character “Mike” as “a kind of ever-hopeful Candide, adrift in a world of rapid technological advances that he seems incapable of fully comprehending, and stymied by the depersonalization and isolation that have accompanied late twentieth-century life. Ironic in its sharp personification of failure, its also stop-you-in-your-tracks hilarious and poignant, too.” Smith’s "Sears Class Portraits" blur the line between Smith, the professor and artist, and the theatrical persona of “Mike.” The artist has stated that he tries “to deal with clichés through Mike,” and for this series he adopts the timeworn vocabulary of the class portrait. The portraits are an ongoing project, begun at UT Austin in 1999. Each semester, Smith takes his class to a portrait studio to have a group photo taken. “I ask them to wear their Sunday’s best; however, if this is too difficult for them to manage, they are welcome to wear their normal everyday attire.” Students smile, while Smith adopts the facial expression of “Mike”: his closed mouth is upturned in a half smile and his eyebrows are raised in what appears to be a mood of both pride and comical self-resignation. The "Sears Class Portraits" series currently comprises seventy such photographs, showing hundreds of college-aged students with Smith positioned “Where’s Waldo”-like among them, against stock portrait studio backdrops. Photographic technology visibly advances, backgrounds vary, and Smith continues to grow older, but the students stay the same age. The work underscores the realities of aging and the passage of time, both in the transition from analog to digital photography and the changes in retail that have put many companies out of business over the past decades: following the recent widespread closure of Sears stores, Smith moved on to Picture People, until they closed. He currently takes his students to J.C. Penney for their class portraits. 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Curator Mia Locks has described Hughes’s process as painting “backwards” into her landscapes, finding representation by experimenting with abstraction: “Her paintings are less concerned with depicting nature than they are with creating intimate, imaginary, and emotionally charged spaces.” Hughes recalls the experience as a college student of viewing a painting by Joan Mitchell at The Met, which she says “changed her life for a long time.” While the subtle pours and stains that appear in many of her paintings evoke the work of abstract expressionist pioneer Helen Frankenthaler, her intuitive approach to image making is shared by Amy Sillman, another, more contemporary, abstract painter in the Blanton’s collection. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of Erika and John Toussaint", "Copyright_Type" : "web", "Disp_Obj_Type" : "painting", "Creation_Place2" : "", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/PA2019.329.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/PA2019.329.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/PA2019.329.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/PA2019.329.jpg", "IsPrimary" : "1", "_SurrogateID" : "19206", "Image_Type" : "Study Image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 25096, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/25096", "Disp_Access_No" : "2017.705", "_AccNumSort1" : "", "Disp_Create_DT" : "1967", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1967", "Disp_Title" : "Space Bolts V", "Alt_Title" : "", "Obj_Title" : "Space Bolts V", "Series_Title" : "", "Disp_Maker_1" : "Dorothy Hood", "Sort_Artist" : "Hood, Dorothy", "Disp_Dimen" : "203.2 x 152.4 cm (80 x 60 in.)", "Disp_Height" : "203.2 cm", "Disp_Width" : "152.4 cm", "Dimen_Extent" : "", "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 Robert L. 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Wrapping an amethyst geode in melted audiotape recordings of “Purple Haze,” Robleto pays homage to the rock star’s most iconic song and the dazzling nature of his guitar skills. Robleto describes this work as emerging from a desire to translate “the skills and logic of DJ culture into the sculptural realm.” Here, he quite literally applies a DJ’s techniques to art-making—from song selection to scratching, cutting, sequencing, mixing, and most importantly, sampling. For Robleto, sampling is not just a technique, but a philosophy: “Sampling was quite a liberating and radical idea to me at the time—it revealed to me that with the right care and attention, anything, even the scraps and trash of the world, contained whole other creative universes waiting to be birthed.” Through his early melted vinyl and audiotape works, Robleto gave sensuous form to the intangible emotional effects of music that exist beyond sound. From the artist: "There is a very personal dimension to the work as well, based on a childhood memory. The piece was made to acknowledge this moment in a way I was not yet equipped to as a child. I had a friend in elementary school named Jimmie who I was quite close to. In those years there was no way for either of us to put a name to why he was “different.” He was effeminate and kind—all the things most tough young boys were trying hard not to be. He was also very pale-skinned and blushed incredibly easily. We connected through geology, fossils, and music—especially his love of Jimi Hendrix. The fact that he had the same name, although spelled differently, as one of his musical heroes was a constant source of fun to us both. Later in life he would come out to me, although we knew long before without saying so. One day in gym class, he was being mercilessly picked on during basketball for not wanting to take his shirt off in the “skins and shirts” game. Because of my sticking up for him that day, I was punched hard in the face by another kid. With a bloody lip and swollen cheek, I was sent to the principal’s office with Jimmie and the other kid. I remember sitting there with Jimmie waiting to go into the principal’s office, his cheeks as red as I had ever seen them, and us making fun of the fact that mine were now as red as his. It is one of the sweetest memories I have—two kids trying to find some humor in a situation we both knew was more than we could yet comprehend. This piece, and the title, were made and written to acknowledge that: Jimmie, your cheeks will never lose their luster." Dario Robleto", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase with funds from Melba Whatley, 2000; Gift from The Contemporary Austin to the Blanton Museum of Art, 2017", "Copyright_Type" : "", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 25353, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/25353", "Disp_Access_No" : "2017.768", "_AccNumSort1" : "", "Disp_Create_DT" : "1999", "_Disp_Start_Dat" : "1999", "_Disp_End_Date" : "1999", "Disp_Title" : "Intersecting Streets", "Alt_Title" : "", "Obj_Title" : "Intersecting Streets", "Series_Title" : "", "Disp_Maker_1" : "Edward Ruscha", "Sort_Artist" : "Ruscha, Edward", "Disp_Dimen" : "64.8 x 88.9 x 5.7 cm (25 1/2 x 35 x 2 1/4 in.)", "Disp_Height" : "64.8 cm", "Disp_Width" : "88.9 cm", "Dimen_Extent" : "frame", "Medium" : "Four-color lithograph on paper", "Support" : "", "Disp_Medium" : "Four-color lithograph on paper", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Mattsson-McHale Art Acquisition Endowment Fund; Gift from The Contemporary Austin to the Blanton Museum of Art, 2017", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "", "Department" : "Prints and Drawings; American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 25665, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/25665", "Disp_Access_No" : "2017.209.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1976", "_Disp_Start_Dat" : "1976", "_Disp_End_Date" : "1976", "Disp_Title" : "Tape Project, Akron Art Institute", "Alt_Title" : "", "Obj_Title" : "Tape Project, Akron Art Institute", "Series_Title" : "", "Disp_Maker_1" : "Jaime Davidovich", "Sort_Artist" : "Davidovich, Jaime", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "dimensions variable", "Medium" : "Clear tape", "Support" : "", "Disp_Medium" : "Clear tape", "Info_Page_Comm" : "Jaime Davidovich first began exploring texture in his early monochromatic works. He later experimented with the real and conceptual boundaries of his paintings by eliminating their frames and taping them directly to the wall. By the early 1970s, he worked specifically with adhesive tape, placing it on walls, floors, stairways, sidewalks, and TV monitors. Through these creative actions and interventions, he expanded the spaces where art could be displayed. "Tape Project, Akron Art Institute," which originally took place in Ohio, is one of Davidovich’s first tape installations. The clear tape highlights imperfections of the wall and the mode of installation results in an uneven surface marked with bubbles, folds, and wrinkles. Davidovich made the conceptual leap from actual tape to video tape, becoming an early innovator in video art and in using public television as a platform for performance.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Dario Werthein under the Acquisition Programs for Museums of ArteBA Foundation, 2017", "Copyright_Type" : "", "Disp_Obj_Type" : "installation", "Creation_Place2" : "Argentinean", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.209.2-detail-1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.209.2-detail-1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.209.2-detail-1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.209.2-detail-1.tif", "IsPrimary" : "0", "_SurrogateID" : "21751", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.209.2-detail-2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.209.2-detail-2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.209.2-detail-2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.209.2-detail-2.tif", "IsPrimary" : "0", "_SurrogateID" : "21752", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.209.2-detail-3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.209.2-detail-3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.209.2-detail-3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.209.2-detail-3.tif", "IsPrimary" : "0", "_SurrogateID" : "21753", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.209.2-overall.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.209.2-overall.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.209.2-overall.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.209.2-overall.tif", "IsPrimary" : "1", "_SurrogateID" : "21754", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 25903, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/25903", "Disp_Access_No" : "2020.14", "_AccNumSort1" : "", "Disp_Create_DT" : "2019", "_Disp_Start_Dat" : "2019", "_Disp_End_Date" : "2019", "Disp_Title" : "Temptation Island", "Alt_Title" : "", "Obj_Title" : "Temptation Island", "Series_Title" : "", "Disp_Maker_1" : "Emily Mae Smith", "Sort_Artist" : "Smith, Emily Mae", "Disp_Dimen" : "96.5 x 76.2 cm (38 x 30 in.)", "Disp_Height" : "96.5 cm", "Disp_Width" : "76.2 cm", "Dimen_Extent" : "overall", "Medium" : "Oil on linen", "Support" : "", "Disp_Medium" : "Oil on linen", "Info_Page_Comm" : "Rife with sly symbolism, Emily Mae Smith’s "Temptation Island" conjures the dangers and decadence of a reimagined Garden of Eden. A bounty of perfectly ripe, unblemished fruit hints at fecundity and virtue, while everything else foreshadows seduction and sin. The rattlesnake coiled around the empty hourglass amplifies the threat of the white teeth, a recurrent motif that Smith describes as “a cartoon for a hyper masculine man-splain[ing] mouth—like an early 20th century tycoon, bared teeth blabbing wide.” Smith’s work often bridges art history and popular culture to explore gender politics and representation. There is humor to her iconography—the hourglass riffs on the term “hourglass figure” and the snake doubles as a phallus. Her art helps us consider how women have been represented in everything from paintings to soap operas, with a limited cast of women as either femme fatales or the Virgin Mary. Here she traces these flawed types to their Biblical roots with Eve and original sin. Smith describes "Temptation Island" as a “time's up at the dawn of the twenty-first century painting.” As she elaborates: “the hourglass is empty, waiting to be filled with the new content of the new female gender frame.” In this Garden of Eden, something or someone is about to bite. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of Alana and Adiel Hoch, 2020", "Copyright_Type" : "", "Disp_Obj_Type" : "painting", "Creation_Place2" : "", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/PA2019.604.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/PA2019.604.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/PA2019.604.tif", "IIIF_URL": "http://iiif.gallerysystems.com/PA2019.604.tif", "IsPrimary" : "1", "_SurrogateID" : "23965", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 25906, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/25906", "Disp_Access_No" : "2019.84.a-s", "_AccNumSort1" : "", "Disp_Create_DT" : "2010", "_Disp_Start_Dat" : "2010", "_Disp_End_Date" : "2010", "Disp_Title" : "Horizontes III [Horizons III]", "Alt_Title" : "", "Obj_Title" : "Horizontes III [Horizons III]", "Series_Title" : "", "Disp_Maker_1" : "Valeska Soares", "Sort_Artist" : "Soares, Valeska", "Disp_Dimen" : "50.8 x 396.2 x 19.7 cm (20 x 156 x 7 3/4 in.)", "Disp_Height" : "50.8 cm", "Disp_Width" : "396.2 cm", "Dimen_Extent" : "installation", "Medium" : "19 Inlaid wooden boxes", "Support" : "", "Disp_Medium" : "19 Inlaid wooden boxes", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Sally and John Van Doren, 2019", "Copyright_Type" : "", "Disp_Obj_Type" : "installation", "Creation_Place2" : "", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Vanessa Davidson", "Images": [ ] },{ "embark_ID" : 26617, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/26617", "Disp_Access_No" : "2020.33", "_AccNumSort1" : "", "Disp_Create_DT" : "2019", "_Disp_Start_Dat" : "2019", "_Disp_End_Date" : "2019", "Disp_Title" : "Light Up Your Life (For Sandra Bland)", "Alt_Title" : "", "Obj_Title" : "Light Up Your Life (For Sandra Bland)", "Series_Title" : "", "Disp_Maker_1" : "Cauleen Smith", "Sort_Artist" : "Smith, Cauleen", "Disp_Dimen" : "198.1 x 121.9 cm (78 x 48 in.)", "Disp_Height" : "198.1 cm", "Disp_Width" : "121.9 cm", "Dimen_Extent" : "overall", "Medium" : "Neon, Plexiglas, faceted hematite, and aluminum chain", "Support" : "", "Disp_Medium" : "Neon, Plexiglas, faceted hematite, and aluminum chain", "Info_Page_Comm" : "Cauleen Smith’s neon banner blinks “I will light you up” and “I will light up your life.” Texas State Trooper Brian Encinia shouts the first statement at Sandra Bland, a Black woman, in a 2015 video of the rapidly escalating traffic stop that led to Bland’s death in police custody. The latter phrase plays on the song title “You Light Up My Life,” Debby Boone’s saccharine 1977 hit, which was reinterpreted by Aretha Franklin and Whitney Houston. Smith’s use of neon allows the reclamation and transformation of these phrases and imagining of alternative social conditions. Emblazoning the trooper’s words in neon makes them unforgettable, insisting that we witness the cruelty of racist state violence, but we see them change into something positive, rooted in care for others. Smith writes: “I wanted to play with this threat, ‘I will light you up,’ by finding a response that neutralized it. . . . And so this flashing neon is a dance off, a sing-a-thon, a battle, a protest, a memento mori that collectivizes Sandra Bland’s resistance, reclaims her sovereignty, and reifies the ways in which Black culture is inextricably woven into national identities and cultures.” Smith was a professor in UT Austin’s Department of Radio-Television-Film from 2001 to 2007. Her return to Texas for a residency at Artpace San Antonio, Bland’s death, and the more recent police killings of Botham Jean and Atatiana Jefferson in their Dallas-Fort Worth homes prompted her to create this work.", "Dedication" : "Commissioned and produced by Artpace San Antonio. Purchase through the generosity of an anonymous donor, 2020", "Copyright_Type" : "", "Disp_Obj_Type" : "electronic media", "Creation_Place2" : "", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] }, ] }