{ "objects" : [ { "embark_ID" : 5101, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5101", "Disp_Access_No" : "1988.22", "_AccNumSort1" : "", "Disp_Create_DT" : "1933", "_Disp_Start_Dat" : "1933", "_Disp_End_Date" : "1933", "Disp_Title" : "Bringing in the Boat", "Alt_Title" : "", "Obj_Title" : "Bringing in the Boat", "Series_Title" : "", "Disp_Maker_1" : "Sybil Andrews", "Sort_Artist" : "Andrews, Sybil", "Disp_Dimen" : "38 cm x 30.6 cm (14 15/16 in. x 12 1/16 in.)", "Disp_Height" : "38 cm", "Disp_Width" : "30.6 cm", "Dimen_Extent" : "Sheet", "Medium" : "Three-color linoleum cut", "Support" : "", "Disp_Medium" : "Three-color linoleum cut", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1988", "Copyright_Type" : "", "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/1988.22.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1988.22.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1988.22.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1988.22.tif", "IsPrimary" : "1", "_SurrogateID" : "1490", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6160, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6160", "Disp_Access_No" : "G1960.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1959", "_Disp_Start_Dat" : "1959", "_Disp_End_Date" : "1959", "Disp_Title" : "Zèbre au clair de lune [Moonlit Zebra]", "Alt_Title" : "Moonlit Zebra", "Obj_Title" : "Zèbre au clair de lune [Moonlit Zebra]", "Series_Title" : "", "Disp_Maker_1" : "Mario Avati", "Sort_Artist" : "Avati, Mario", "Disp_Dimen" : "40 cm x 50.7 cm (15 3/4 in. x 19 15/16 in.)", "Disp_Height" : "40 cm", "Disp_Width" : "50.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Aquatint and etching", "Support" : "", "Disp_Medium" : "Aquatint and etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mr. and Mrs. Fred Grunwald, 1960", "Copyright_Type" : "", "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/G1960.1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1960.1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1960.1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1960.1.tif", "IsPrimary" : "1", "_SurrogateID" : "2279", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4531, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4531", "Disp_Access_No" : "P1964.20", "_AccNumSort1" : "", "Disp_Create_DT" : "1922", "_Disp_Start_Dat" : "1922", "_Disp_End_Date" : "1922", "Disp_Title" : "Umarmung [Embrace]", "Alt_Title" : "", "Obj_Title" : "Umarmung [Embrace]", "Series_Title" : "", "Disp_Maker_1" : "Max Beckmann", "Sort_Artist" : "Beckmann, Max", "Disp_Dimen" : "50.15 cm x 32.4 cm (19 3/4 in. x 12 3/4 in.)", "Disp_Height" : "50.15 cm", "Disp_Width" : "32.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Drypoint", "Support" : "", "Disp_Medium" : "Drypoint", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1964", "Copyright_Type" : "", "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/P1964.20.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1964.20.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1964.20.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1964.20.tif", "IsPrimary" : "1", "_SurrogateID" : "2499", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1874, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1874", "Disp_Access_No" : "1989.103.1/13", "_AccNumSort1" : "", "Disp_Create_DT" : "1921", "_Disp_Start_Dat" : "1921", "_Disp_End_Date" : "1921", "Disp_Title" : "Die Ringer, from Bauhaus Drucke - Neue Europäische Graphik 5te Mappe: Deutsche Künstler [The Wrestlers, from Bauhaus Prints-New European Graphics, 5th Portfolio: German Artists]", "Alt_Title" : "The Wrestlers, from Bauhaus Prints-New European Graphics, 5th Portfolio: German Artists", "Obj_Title" : "Die Ringer, from Bauhaus Drucke - Neue Europäische Graphik 5te Mappe: Deutsche Künstler [The Wrestlers, from Bauhaus Prints-New European Graphics, 5th Portfolio: German Artists]", "Series_Title" : "", "Disp_Maker_1" : "Max Beckmann", "Sort_Artist" : "Beckmann, Max", "Disp_Dimen" : "30 cm x 26.8 cm (11 13/16 in. x 10 9/16 in.)", "Disp_Height" : "30 cm", "Disp_Width" : "26.8 cm", "Dimen_Extent" : "Sheet", "Medium" : "Drypoint", "Support" : "", "Disp_Medium" : "Drypoint", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mr. and Mrs. Richard Gonzalez, 1989", "Copyright_Type" : "", "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/1989.103.1-13.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1989.103.1-13.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1989.103.1-13.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1989.103.1-13.tif", "IsPrimary" : "1", "_SurrogateID" : "4492", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1271, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1271", "Disp_Access_No" : "G1973.7.11", "_AccNumSort1" : "", "Disp_Create_DT" : "1972", "_Disp_Start_Dat" : "1972", "_Disp_End_Date" : "1972", "Disp_Title" : "Ohne die Rose tun wir's nicht. Da können wir ja nicht mehr denken [We won't do it without the rose! We wouldn't even be able to think.]", "Alt_Title" : "", "Obj_Title" : "Ohne die Rose tun wir's nicht. Da können wir ja nicht mehr denken [We won't do it without the rose! We wouldn't even be able to think.] ", "Series_Title" : "", "Disp_Maker_1" : "Joseph Beuys", "Sort_Artist" : "Beuys, Joseph", "Disp_Dimen" : "80.35 cm x 56.55 cm (31 5/8 in. x 22 1/4 in.)", "Disp_Height" : "80.35 cm", "Disp_Width" : "56.55 cm", "Dimen_Extent" : "Sheet", "Medium" : "Color offset lithograph", "Support" : "", "Disp_Medium" : "Color offset lithograph", "Info_Page_Comm" : "Joseph Beuys once wrote: “For me the rose is a very simple and clear example and image of this evolutionary process toward the revolutionary aim, for a rose is a revolution relative to its origin. The blossom does not come about abruptly, but rather is the result of organic growth, constructed in such a way that the embryonic petals are encapsulated in the green leaves and derive from them. Green leaves are transformed into calyx and petals. Thus, relative to the leaves and the stem, the bloom is a revolution, although it has grown in organic transmutation.” Given this association, the political activist’s face juxtaposed with the flower in this image identifies him as a revolutionary. Beuys expressed his evolution-as-revolution theme not only iconographically, but technically and conceptually as well. This lithograph evolved from a photograph by Wilfred Bauer published first in Zeit magazine in 1972. In Beuy’s hands the portrait turned into a self-portrait. The revolution occurred when the artist-as-object was transformed into the artist-as-art, an idea Beuys promoted tirelessly in his performances and in what he called his “social sculptures,” which he staged throughout his career. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Charles and Dorothy Clark, 1973", "Copyright_Type" : "Blanton web use only.", "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/G1973.7.11.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1973.7.11.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1973.7.11.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1973.7.11.tif", "IsPrimary" : "1", "_SurrogateID" : "2442", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1316, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1316", "Disp_Access_No" : "G1975.1.6", "_AccNumSort1" : "", "Disp_Create_DT" : "1972", "_Disp_Start_Dat" : "1972", "_Disp_End_Date" : "1972", "Disp_Title" : "Offenes Zentrum", "Alt_Title" : "", "Obj_Title" : "Offenes Zentrum", "Series_Title" : "", "Disp_Maker_1" : "Max Bill", "Sort_Artist" : "Bill, Max", "Disp_Dimen" : "56 cm x 44.8 cm (22 1/16 in. x 17 5/8 in.)", "Disp_Height" : "56 cm", "Disp_Width" : "44.8 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Charles and Dorothy Clark, 1975", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "Swiss", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1975.1.6.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1975.1.6.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1975.1.6.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1975.1.6.tif", "IsPrimary" : "1", "_SurrogateID" : "3008", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1293, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1293", "Disp_Access_No" : "G1975.1.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1970", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "1970", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "Untitled", "Series_Title" : "", "Disp_Maker_1" : "Max Bill", "Sort_Artist" : "Bill, Max", "Disp_Dimen" : "57 cm x 48.9 cm (22 7/16 in. x 19 1/4 in.)", "Disp_Height" : "57 cm", "Disp_Width" : "48.9 cm", "Dimen_Extent" : "Sheet", "Medium" : "Five-color screenprint", "Support" : "", "Disp_Medium" : "Five-color screenprint", "Info_Page_Comm" : "An influential figure in Swiss concrete art, Max Bill took a mathematical approach to produce autonomous, well-balanced, geometric compositions. He described concrete art as “the expression of the human spirit and . . . designed to satisfy the human spirit. It must be clear, unambiguous, and aim at perfection.” Wanting to promote this emerging movement, Bill organized Konkrete Kunst, a group exhibition at the Kunsthaus in Basel in 1944 featuring fifty-six artists working in a non-figurative visual language. His solo exhibition at the São Paulo Museum of Modern Art and participation in the Bienal de São Paulo in the early fifties allowed him to reach an international audience. After Bill’s debut in Brazil, several young Latin American artists moved to Europe to study with him at the Ulm School of Design in Germany, which he founded with graphic designer Otl Aicher and anti-war activist Inge Aicher-Scholl. In the sixties, he became an honorary fellow at the American Institute of Architects and was a member of the Swiss Parliament. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Charles and Dorothy Clark, 1975", "Copyright_Type" : "Blanton web site only", "Disp_Obj_Type" : "print", "Creation_Place2" : "Swiss", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1975.1.5.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1975.1.5.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1975.1.5.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1975.1.5.tif", "IsPrimary" : "1", "_SurrogateID" : "2449", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 18072, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/18072", "Disp_Access_No" : "2005.183", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1909", "_Disp_Start_Dat" : "1904", "_Disp_End_Date" : "1914", "Disp_Title" : "Blown Poppies", "Alt_Title" : "", "Obj_Title" : "Blown Poppies", "Series_Title" : "", "Disp_Maker_1" : "Lily Blatherwick", "Sort_Artist" : "Blatherwick, Lily", "Disp_Dimen" : "35.3 cm x 25.9 cm (13 7/8 in. x 10 3/16 in.)", "Disp_Height" : "35.3 cm", "Disp_Width" : "25.9 cm", "Dimen_Extent" : "sheet", "Medium" : "Hand-colored lithograph", "Support" : "", "Disp_Medium" : "Hand-colored lithograph", "Info_Page_Comm" : "In an unusually modern style for the date, Blatherwick’s delicate flowers are swallowed up by menacing, deep black, turbulent marks. She worked with the side of the crayon and the texture of the stone to achieve a range of expressive marks in black and white before adding hints of color in paint. The contrast between the surface of the paint and the print highlights the qualities of lithography that Blatherwick utilized: texture as well as flat areas of black, severe contrast alongside subtle grays, and a range of marks made with all sides of the crayon. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Jack S. Blanton Curatorial Endowment Fund, 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/2005.183.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.183.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.183.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.183.tif", "IsPrimary" : "1", "_SurrogateID" : "4078", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6702, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6702", "Disp_Access_No" : "G1976.5.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Red and Blue", "Alt_Title" : "", "Obj_Title" : "Red and Blue", "Series_Title" : "", "Disp_Maker_1" : "Bob Bonies", "Sort_Artist" : "Bonies, Bob", "Disp_Dimen" : "41.75 cm x 58.7 cm (16 7/16 in. x 23 1/8 in.)", "Disp_Height" : "41.75 cm", "Disp_Width" : "58.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Screenprint", "Support" : "", "Disp_Medium" : "Screenprint", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Charles and Dorothy Clark, 1976", "Copyright_Type" : "", "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/G1976.5.2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1976.5.2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1976.5.2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1976.5.2.tif", "IsPrimary" : "1", "_SurrogateID" : "3033", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1216, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1216", "Disp_Access_No" : "1998.118", "_AccNumSort1" : "", "Disp_Create_DT" : "1911", "_Disp_Start_Dat" : "1911", "_Disp_End_Date" : "1911", "Disp_Title" : "Fox", "Alt_Title" : "", "Obj_Title" : "Fox", "Series_Title" : "", "Disp_Maker_1" : "Georges Braque", "Sort_Artist" : "Braque, Georges", "Disp_Dimen" : "65.5 cm x 50.8 cm (25 13/16 in. x 20 in.)", "Disp_Height" : "65.5 cm", "Disp_Width" : "50.8 cm", "Dimen_Extent" : "Sheet", "Medium" : "Drypoint", "Support" : "", "Disp_Medium" : "Drypoint", "Info_Page_Comm" : "Fox is one of a pair of drypoints created by Georges Braque and Pablo Picasso in August and September 1911. Its title and discernible motifs—a table with drawer and knob, a gin bottle, a playing card, a neon sign—refer to an English-style bar in Paris that was popular with the modernist circle. Later in 1911 Braque would elaborate upon this composition in a major painting, Bottle and Glass (Kunstmuseum, Bern, Switzerland). Fox and Picasso’s companion piece, Bottle of Marc, were commissioned by the avant-garde dealer Daniel-Henry Kahnweiler, who had been inspired by the dealer Ambroise Vollard’s promotion of Paul Cézanne through prints. The two large drypoints mark the height of Picasso and Braque’s collaboration and underscore the collective nature of their research. Analytical Cubism, as they called it, was a systematic attempt to eliminate distinctions between figure and field and to downplay the personality of the artist’s hand while maintaining an almost classical equilibrium. Fox and Bottle of Marc are the most impressive prints and among the most significant statements of this fundamental modern style. Fox and Bottle of Marc were printed first by the celebrated intaglio printmaker Eugène Delâtre and published by Kahnweiler in 1912. They were also reprinted perfunctorily in the 1950s. The present impression not only comes from the first edition but also displays the rich, textured line and the subtle veil of tone that characterize the earliest printings. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase, 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/1998.118.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.118.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.118.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.118.tif", "IsPrimary" : "1", "_SurrogateID" : "1691", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4674, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4674", "Disp_Access_No" : "1995.111", "_AccNumSort1" : "", "Disp_Create_DT" : "1927", "_Disp_Start_Dat" : "1927", "_Disp_End_Date" : "1927", "Disp_Title" : "The Black Silk Dress (Anaïs)", "Alt_Title" : "", "Obj_Title" : "The Black Silk Dress (Anaïs)", "Series_Title" : "", "Disp_Maker_1" : "Gerald Leslie (Eli) Brockhurst", "Sort_Artist" : "Brockhurst, Gerald Leslie (Eli)", "Disp_Dimen" : "33.9 cm x 24.2 cm (13 3/8 in. x 9 1/2 in.)", "Disp_Height" : "33.9 cm", "Disp_Width" : "24.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "Hailed as a "young Botticelli", Brockhurst studied carefully the work of the Italian renaissance artists. He excelled at portraits of women as in this example of his wife who poses for him in an elaborate dress and flamboyant hat in the manner of a fifteenth-century aristocrat, a perfect excuse to display his talent and skill at producing precise lines and meticulous modeling. He taught himself etching and regarded each of his prints as an experiment. 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"1981.36", "_AccNumSort1" : "", "Disp_Create_DT" : "1907", "_Disp_Start_Dat" : "1907", "_Disp_End_Date" : "1907", "Disp_Title" : "Die Grüne Frauen [The Green Women]", "Alt_Title" : "The Green Women", "Obj_Title" : "Die Grüne Frauen [The Green Women]", "Series_Title" : "", "Disp_Maker_1" : "Wassily Kandinsky", "Sort_Artist" : "Kandinsky, Wassily", "Disp_Dimen" : "14.2 cm x 27.85 cm (5 9/16 in. x 10 15/16 in.)", "Disp_Height" : "14.2 cm", "Disp_Width" : "27.85 cm", "Dimen_Extent" : "Sheet", "Medium" : "Linoleum cut printed in color with additional hand coloring", "Support" : "", "Disp_Medium" : "Linoleum cut printed in color with additional hand coloring", "Info_Page_Comm" : "In 1911, Wassily Kandinsky published "On the Spiritual in Art," a manifesto inspired by the teachings of Theosophy, musical theory, and Symbolist art and literature. Kandinsky proposes that art can guide viewers to greater spiritual sensitivity, communicating with them directly by producing “vibrations” in their souls. These vibrations would be generated by an expressive, Symbolist-inspired color theory and concealed imagery Kandinsky compares to the dematerialized language of Symbolist author Maurice Maeterlinck. "The Green Women" represents an early stage in the pursuit of a spiritual form of art that would lead Kandinsky to abstraction. Like the Symbolists, Kandinsky believed that color could evoke moods, or even sounds, and vice versa—a phenomenon known as synesthesia. For him, the color green represented a balance between earthly, aggressive yellow and calm, spiritual blue. While "The Green Women" presents recognizable forms, Kandinsky downplayed the visible. 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"Disp_Medium" : "Woodcut", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Transfer from the General Libraries, The University of Texas at Austin, 1996", "Copyright_Type" : "", "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/1996.151.7-7.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1996.151.7-7.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1996.151.7-7.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1996.151.7-7.tif", "IsPrimary" : "1", "_SurrogateID" : "5302", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 9870, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/9870", "Disp_Access_No" : "1996.151.3/7", "_AccNumSort1" : "", "Disp_Create_DT" : "1922-1923", "_Disp_Start_Dat" : "1922", "_Disp_End_Date" : "1923", "Disp_Title" : "Die Eltern [The Parents], plate III from Sieben Holzschnitte zum Krieg [Seven Woodcuts on War]", "Alt_Title" : "", "Obj_Title" : "Die Eltern [The Parents], plate III from Sieben Holzschnitte zum Krieg [Seven Woodcuts on War]", "Series_Title" : "", "Disp_Maker_1" : "Käthe Kollwitz", "Sort_Artist" : "Kollwitz, Käthe", "Disp_Dimen" : "47.6 cm x 65.6 cm (18 3/4 in. x 25 13/16 in.)", "Disp_Height" : "47.6 cm", "Disp_Width" : "65.6 cm", "Dimen_Extent" : "Sheet", "Medium" : "Woodcut", "Support" : "", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "Born into a comfortable middle-class family, Käthe Kollwitz focused her art on the desperate condition of the peasants and proletariat with whom she came into contact, first through literary sources and then directly through her husband’s medical practice. She explained in an interview that these subjects interested her more for aesthetic than social reasons, but she is remembered as a socially engaged artist who protested vehemently against World War I. Here again she felt some ambivalence, as she supported her son’s decision to volunteer to join the German army against her husband’s wishes. His death in Flanders shortly after enlisting became the fulcrum upon which her later art balanced. This powerful woodcut comes from her most famous series. About it she wrote in her diary, “Yet again I am not finished with the War series. Done the sheet ‘Parents’ over again. Suddenly it looks entirely bad to me. Far too bright and hard and distinct. Pain is totally dark.” Although she was dissatisfied with the outcome, the woodcut medium, its heavy black planes slashed here with stark white highlights, aptly conveys the sense of nearly uncontrollable parental grief at the loss of a child. 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Europäische Graphik 5te Mappe: Deutsche Künstler [Bauhaus Prints - New European Graphics, 5th Portfolio: German Artists]", "Alt_Title" : "Roland the Knight, from Bauhaus Prints - New European Graphics, 5th Portfolio: German Artists", "Obj_Title" : "Ritter Roland [Roland the Knight], from Bauhaus Drucke - Europäische Graphik 5te Mappe: Deutsche Künstler [Bauhaus Prints - New European Graphics, 5th Portfolio: German Artists]", "Series_Title" : "", "Disp_Maker_1" : "Alfred Kubin", "Sort_Artist" : "Kubin, Alfred", "Disp_Dimen" : "38.6 cm x 27.8 cm (15 3/16 in. x 10 15/16 in.)", "Disp_Height" : "38.6 cm", "Disp_Width" : "27.8 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mr. and Mrs. Richard Gonzalez, 1989", "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/1989.103.8-13.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1989.103.8-13.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1989.103.8-13.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1989.103.8-13.tif", "IsPrimary" : "1", "_SurrogateID" : "5013", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7922, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7922", "Disp_Access_No" : "1993.78", "_AccNumSort1" : "", "Disp_Create_DT" : "1990", "_Disp_Start_Dat" : "1990", "_Disp_End_Date" : "1990", "Disp_Title" : "XIII, from Fifty Etchings", "Alt_Title" : "", "Obj_Title" : "XIII, from Fifty Etchings", "Series_Title" : "", "Disp_Maker_1" : "Christopher Le Brun", "Sort_Artist" : "Le Brun, Christopher", "Disp_Dimen" : "50.4 cm x 42 cm (19 13/16 in. x 16 9/16 in.)", "Disp_Height" : "50.4 cm", "Disp_Width" : "42 cm", "Dimen_Extent" : "Sheet", "Medium" : "Sugarlift and openbite etching with scraping and polishing", "Support" : "", "Disp_Medium" : "Sugarlift and openbite etching with scraping and polishing", "Info_Page_Comm" : "Fifty Etchings was Christopher Le Brun’s first attempt at etching since his years as a student at Slade School of Fine Art in London in the 1970s. Approaching the medium as a realm of technical experiment, sequential revision, and personal graphic expression, he attempted to reconcile the contemporary concerns with gesture and the artist’s hand with the principles and ideals of the grand tradition of etching. He produced the series over the course of a year at Hope Sufferance Studios in London. Some of the works are more figurative and, in at least one case, very nearly reproduce a painting. Most, like these, are highly abstract, with barely recognizable figures emerging from the densely worked surfaces. Simultaneous with his development of these etching’s motifs, he explored the range of effects that could be achieved with the medium, from images that read as simple line drawings to effects generated by complex techniques such as spitbite, openbite, and creeping bite etching, with layered applications of stopping-out varnish and repeated biting. 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"Dimen_Extent" : "Sheet", "Medium" : "Woodcut", "Support" : "", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Transfer from the General Libraries, The University of Texas at Austin, 1979", "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/1979.41.3-12.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1979.41.3-12.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1979.41.3-12.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1979.41.3-12.tif", "IsPrimary" : "1", "_SurrogateID" : "4871", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5854, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5854", "Disp_Access_No" : "1989.99", "_AccNumSort1" : "", "Disp_Create_DT" : "1949", "_Disp_Start_Dat" : "1949", "_Disp_End_Date" : "1949", "Disp_Title" : "Untitled, plate 25 from Prosper Mérimée's Carmen", "Alt_Title" : "", "Obj_Title" : "Untitled, plate 25 from Prosper Mérimée's Carmen", "Series_Title" : "", "Disp_Maker_1" : "Pablo Picasso", "Sort_Artist" : "Picasso, Pablo", "Disp_Dimen" : "32.5 cm x 25.3 cm (12 13/16 in. x 9 15/16 in.)", "Disp_Height" : "32.5 cm", "Disp_Width" : "25.3 cm", "Dimen_Extent" : "sheet", "Medium" : "Drypoint (before steel facing)", "Support" : "", "Disp_Medium" : "Drypoint (before steel facing)", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mr. and Mrs. Richard Gonzalez, 1989", "Copyright_Type" : "", "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/1989.99.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1989.99.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1989.99.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1989.99.tif", "IsPrimary" : "1", "_SurrogateID" : "5369", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 9874, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/9874", "Disp_Access_No" : "2001.16", "_AccNumSort1" : "", "Disp_Create_DT" : "1922-1923", "_Disp_Start_Dat" : "1922", "_Disp_End_Date" : "1923", "Disp_Title" : "Femme, from Picasso Oeuvres 1920-1926", "Alt_Title" : "", "Obj_Title" : "Femme, from Picasso Oeuvres 1920-1926", "Series_Title" : "", "Disp_Maker_1" : "Pablo Picasso", "Sort_Artist" : "Picasso, Pablo", "Disp_Dimen" : "28.8 cm x 22.8 cm (11 5/16 in. x 9 in.)", "Disp_Height" : "28.8 cm", "Disp_Width" : "22.8 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching, aquatint, and drypoint", "Support" : "", "Disp_Medium" : "Etching, aquatint, and drypoint", "Info_Page_Comm" : "An uncommon print, Femme distills Picasso’s quintessential subject to intimate scale and especially charming terms. In style it is located precisely at the artist’s transition from later, Synthetic Cubism to the newly integrated figuration, and threshold classicism, of his so-called Surrealist period. It also contains one of the very first appearances of the head rendered as a profile within a frontal view, which would become one of the artist’s most famous motifs", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Teaching Collection of Marvin Vexler, '48, 2001", "Copyright_Type" : "", "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/2001.16.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2001.16.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2001.16.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2001.16.tif", "IsPrimary" : "1", "_SurrogateID" : "5371", "Image_Type" : "", "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" : 6084, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6084", "Disp_Access_No" : "1995.58", "_AccNumSort1" : "", "Disp_Create_DT" : "1957", "_Disp_Start_Dat" : "1957", "_Disp_End_Date" : "1957", "Disp_Title" : "Buste de profil (Portrait of Jacqueline)", "Alt_Title" : "", "Obj_Title" : "Buste de profil (Portait of Jacqueline)", "Series_Title" : "", "Disp_Maker_1" : "Pablo Picasso", "Sort_Artist" : "Picasso, Pablo", "Disp_Dimen" : "65.5 cm x 50.5 cm (25 13/16 in. x 19 7/8 in.)", "Disp_Height" : "65.5 cm", "Disp_Width" : "50.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph on zinc", "Support" : "", "Disp_Medium" : "Lithograph on zinc", "Info_Page_Comm" : "Picasso worked in close collaboration with Mourlot’s workshop of master printers, challenging their expertise at every turn. A member of the workshop recalled, “Picasso looked, listened, did the opposite of what he learnt, and it worked.” In this way, Picasso used the flexible and variable qualities of the stone to prove that lithography was an art form of its own. He did not employ lithographs as sketches for other works, but as outlets for pure creative energy giving us a direct insight into the artistic process. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase from the Severin Wunderman Collection Fund, 1995", "Copyright_Type" : "", "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/1995.58.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1995.58.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1995.58.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1995.58.tif", "IsPrimary" : "1", "_SurrogateID" : "1660", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5927, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5927", "Disp_Access_No" : "1991.64", "_AccNumSort1" : "", "Disp_Create_DT" : "1952", "_Disp_Start_Dat" : "1952", "_Disp_End_Date" : "1952", "Disp_Title" : "Portrait of Balzac, plate VI from Michel Leiris's balzacs en bas de casse et picasso sans majuscule [balzacs in lower case and picassos without capitals]", "Alt_Title" : "", "Obj_Title" : "Portrait of Balzac, plate VI from Michel Leiris's balzacs en bas de casse et picasso sans majuscule [balzacs in lower case and picassos without capitals]", "Series_Title" : "", "Disp_Maker_1" : "Pablo Picasso", "Sort_Artist" : "Picasso, Pablo", "Disp_Dimen" : "33 cm x 25.5 cm (13 in. x 10 1/16 in.)", "Disp_Height" : "33 cm", "Disp_Width" : "25.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph over beige tint stone", "Support" : "", "Disp_Medium" : "Lithograph over beige tint stone", "Info_Page_Comm" : "What might have begun as a personal favor for his literary acquaintances turned into a lifelong involvement in book illustration. Picasso’s works can be found in over fifty-one books; however, in some examples scholars have found it difficult to visually connect his work to the text. The freedom to forgo a clear correlation is a testament to his reputation and the value of his work. Jaime Sabartés, a close friend of the artist’s, explains, “[Picasso’s] works are so valuable, and lend such prestige to the books in which they appear, that only few people raise objections if such contributions have not been specially made to order.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Alvin Romansky, 1991", "Copyright_Type" : "", "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/1991.64.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.64.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.64.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.64.tif", "IsPrimary" : "1", "_SurrogateID" : "5370", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6637, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6637", "Disp_Access_No" : "2002.1986", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "347, from Suite 347", "Alt_Title" : "", "Obj_Title" : "347, from Suite 347", "Series_Title" : "", "Disp_Maker_1" : "Pablo Picasso", "Sort_Artist" : "Picasso, Pablo", "Disp_Dimen" : "32.6 cm x 25.2 cm (12 13/16 in. x 9 15/16 in.)", "Disp_Height" : "32.6 cm", "Disp_Width" : "25.2 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching and drypoint", "Support" : "", "Disp_Medium" : "Etching and drypoint", "Info_Page_Comm" : "1968 marked an exceptionally productive year for Picasso. Between the months of March and October he created 347 graphic works, published as the 347 Suite. With no central theme or technique in mind, Picasso’s creative thought flowed from one innovative idea to the next. In this print, he returns to the dual vantage motif he developed in the twenties. An aged Picasso on the right blankly stares past the woman on the left whose breasts and rear are presented to the audience simultaneously. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "", "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/2002.1986.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1986.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1986.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1986.tif", "IsPrimary" : "1", "_SurrogateID" : "5373", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13024, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13024", "Disp_Access_No" : "2002.1591", "_AccNumSort1" : "", "Disp_Create_DT" : "1933", "_Disp_Start_Dat" : "1933", "_Disp_End_Date" : "1933", "Disp_Title" : "Le viol sous la fenêtre [The Rape under the Window], plate 28, from Suite Vollard", "Alt_Title" : "", "Obj_Title" : "Le viol sous la fenêtre, plate 28, from Suite Vollard", "Series_Title" : "", "Disp_Maker_1" : "Pablo Picasso", "Sort_Artist" : "Picasso, Pablo", "Disp_Dimen" : "44.6 cm x 34.1 cm (17 9/16 in. x 13 7/16 in.)", "Disp_Height" : "44.6 cm", "Disp_Width" : "34.1 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching and aquatint with drypoint", "Support" : "", "Disp_Medium" : "Etching and aquatint with drypoint", "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/2002.1591.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1591.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1591.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1591.tif", "IsPrimary" : "1", "_SurrogateID" : "5372", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1394, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1394", "Disp_Access_No" : "1978.65", "_AccNumSort1" : "", "Disp_Create_DT" : "1933", "_Disp_Start_Dat" : "1933", "_Disp_End_Date" : "1933", "Disp_Title" : "Flutiste et dormeuse II", "Alt_Title" : "", "Obj_Title" : "Flutiste et dormeuse II", "Series_Title" : "", "Disp_Maker_1" : "Pablo Picasso", "Sort_Artist" : "Picasso, Pablo", "Disp_Dimen" : "32.8 cm x 24.4 cm (12 15/16 in. x 9 5/8 in.)", "Disp_Height" : "32.8 cm", "Disp_Width" : "24.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Drypoint", "Support" : "", "Disp_Medium" : "Drypoint", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Charles and Dorothy Clark, 1978", "Copyright_Type" : "", "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/1978.65.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1978.65.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1978.65.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1978.65.tif", "IsPrimary" : "1", "_SurrogateID" : "3102", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5897, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5897", "Disp_Access_No" : "2002.2595", "_AccNumSort1" : "", "Disp_Create_DT" : "1951", "_Disp_Start_Dat" : "1951", "_Disp_End_Date" : "1951", "Disp_Title" : "Seated Girl, frontispiece to Recordant el Doctor Reventós ", "Alt_Title" : "", "Obj_Title" : "Seated Girl, frontispiece to Recordant el Doctor Reventós [Remembering Doctor Reventós]", "Series_Title" : "", "Disp_Maker_1" : "Pablo Picasso", "Sort_Artist" : "Picasso, Pablo", "Disp_Dimen" : "29 cm x 23 cm (11 7/16 in. x 9 1/16 in.)", "Disp_Height" : "29 cm", "Disp_Width" : "23 cm", "Dimen_Extent" : "sheet", "Medium" : "Engraving and drypoint", "Support" : "", "Disp_Medium" : "Engraving and drypoint", "Info_Page_Comm" : "Picasso met Cinto Reventós, a medical student, during his early years in Barcelona. Reventós went on to become a famous physician and they remained close friends until the doctor’s death in 1968. Recordant el Doctor Reventós (Barcelona, 1969) was a collection of essays in his memory by various friends. Picasso contributed this intaglio from 1951 as the frontispiece to the volume. The hints of Spanish costume, the sensual allure, and the consonant tactility of the drypoint suggest memories of their youthful experiences in Barcelona and why Picasso should have thought to provide this plate", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "", "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/2002.2595.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2595.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2595.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2595.tif", "IsPrimary" : "1", "_SurrogateID" : "1968", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4602, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4602", "Disp_Access_No" : "2002.1592", "_AccNumSort1" : "", "Disp_Create_DT" : "1925", "_Disp_Start_Dat" : "1925", "_Disp_End_Date" : "1925", "Disp_Title" : "Tête de femme [Head of a Woman]", "Alt_Title" : "", "Obj_Title" : "Tête de femme [Head of a Woman]", "Series_Title" : "", "Disp_Maker_1" : "Pablo Picasso", "Sort_Artist" : "Picasso, Pablo", "Disp_Dimen" : "26 cm x 20.6 cm (10 1/4 in. x 8 1/8 in.)", "Disp_Height" : "26 cm", "Disp_Width" : "20.6 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "From the late teens, Picasso systematically explored what Steinberg calls “twin-aspect faces – constructs of disparate views fetched from different vantage points.” In a seminal essay on the artist, he explains the “precise analogy” between these faces and a concept of early 20th-century epistemology: solid bodies are not in fact apprehended but mental constructs of multiple images. Steinberg continues, “these newer heads were never beheld at all. They were conceived in collage, from the union of prefabricated flat elements, recalling the fusion of ‘real’ aspects of which [Bertrand] Russell’s philosophy constructs a ‘Thing’.” This lithograph is one of the first and most concentrated examples of the phenomenon.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "", "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/2002.1592.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1592.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1592.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1592.tif", "IsPrimary" : "1", "_SurrogateID" : "1810", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5031, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5031", "Disp_Access_No" : "2002.1989", "_AccNumSort1" : "", "Disp_Create_DT" : "1932", "_Disp_Start_Dat" : "1932", "_Disp_End_Date" : "1932", "Disp_Title" : "Flutiste et trois femmes nues [Flutist and Three Nude Women], plate 11 from Suite Vollard", "Alt_Title" : "", "Obj_Title" : "Flutiste et trois femmes nues [Flutist and Three Nude Women], plate 11 from Suite Vollard", "Series_Title" : "Suite Vollard", "Disp_Maker_1" : "Pablo Picasso", "Sort_Artist" : "Picasso, Pablo", "Disp_Dimen" : "33.9 cm x 44.8 cm (13 3/8 in. x 17 5/8 in.)", "Disp_Height" : "33.9 cm", "Disp_Width" : "44.8 cm", "Dimen_Extent" : "Sheet", "Medium" : "Drypoint", "Support" : "", "Disp_Medium" : "Drypoint", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "", "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/2002.1989.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1989.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1989.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1989.tif", "IsPrimary" : "1", "_SurrogateID" : "1883", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1701, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1701", "Disp_Access_No" : "1991.62", "_AccNumSort1" : "", "Disp_Create_DT" : "1959", "_Disp_Start_Dat" : "1959", "_Disp_End_Date" : "1959", "Disp_Title" : "Affiches originales des maîtres de l'ecole de Paris [Original Posters of the Masters of the School of Paris]", "Alt_Title" : "", "Obj_Title" : "Affiches originales des maîtres de l'ecole de Paris [Original Posters of the Masters of the School of Paris]", "Series_Title" : "", "Disp_Maker_1" : "Pablo Picasso", "Sort_Artist" : "Picasso, Pablo", "Disp_Dimen" : "68.6 cm x 49.8 cm (27 in. x 19 5/8 in.)", "Disp_Height" : "68.6 cm", "Disp_Width" : "49.8 cm", "Dimen_Extent" : "Sheet", "Medium" : "Three-color lithograph", "Support" : "", "Disp_Medium" : "Three-color lithograph", "Info_Page_Comm" : "With the perfection of multi-stone, color lithography in the mid-to-late nineteenth century, poster art became a popular and inexpensive way to advertize in metropolises like Barcelona and Paris. Picasso entered his first poster contest in his late teens. Though he won the consolation prize, he was only interested in the monetary reward. Early in his career in Paris, he started receiving commissions for posters, but not all of his designs were accepted. Picasso then sporadically explored this art form, returning to it about every twenty years until 1948 when his interest truly revealed itself. This image was created for an exhibition of original posters in Paris in 1959. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Alvin Romansky, 1991", "Copyright_Type" : "", "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/1991.62.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.62.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.62.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.62.tif", "IsPrimary" : "1", "_SurrogateID" : "5587", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 10243, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/10243", "Disp_Access_No" : "2002.1987", "_AccNumSort1" : "", "Disp_Create_DT" : "1933-1934", "_Disp_Start_Dat" : "1933", "_Disp_End_Date" : "1934", "Disp_Title" : "Minotaure aveugle guidé par une fillette dans la nuit [Blind Minotaur Guided by a Young Girl in the Night], plate 97 from the Suite Vollard", "Alt_Title" : "", "Obj_Title" : "Minotaure aveugle guidé par une fillette dans la nuit [Blind Minotaur Guided by a Young Girl in the Night], plate 97 from the Suite Vollard", "Series_Title" : "", "Disp_Maker_1" : "Pablo Picasso", "Sort_Artist" : "Picasso, Pablo", "Disp_Dimen" : "34 cm x 44 cm (13 3/8 in. x 17 5/16 in.)", "Disp_Height" : "34 cm", "Disp_Width" : "44 cm", "Dimen_Extent" : "Sheet", "Medium" : "Aquatint and drypoint", "Support" : "", "Disp_Medium" : "Aquatint and drypoint", "Info_Page_Comm" : "Blind Minotaur is one of the most celebrated images in a suite of one hundred that Pablo Picasso produced between 1930 and 1937 for the dealer Ambroise Vollard. Having exhausted Analytical and Synthetic Cubism, and after repeated visits to Italy where he explored ancient art, Picasso entered a classical phase. Focusing on the expressive potential of line, he reinterpreted ancient myths, such as that of the Minotaur, which for him represented the ideal union between man and beast, a combination at once passionate and conflicted. In this, the last image in a series of fifteen sheets treating the theme, the once powerful beast has been deprived of his sight and is dependent on a little girl for direction. Here Picasso has depicted the protagonist, who in earlier images seduced beautiful women, as enfeebled, while transforming the lovely female into a compassionate guide. The energetic line has been replaced by rich, velvety black surroundings, bright day turning into inky night. Vollard died in a car accident before he could have the suite printed. It remained unpublished in its entirety until 1950, when another dealer, who had acquired the plates during the war, had them printed and signed by the artist. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "Blanton web use only.", "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/2002.1987.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1987.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1987.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1987.tif", "IsPrimary" : "1", "_SurrogateID" : "1882", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4506, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4506", "Disp_Access_No" : "1989.103.13/13", "_AccNumSort1" : "", "Disp_Create_DT" : "1921", "_Disp_Start_Dat" : "1921", "_Disp_End_Date" : "1921", "Disp_Title" : "Figur [Figure], from Bauhaus Drucke - Neue Europäische Graphik 5te Mappe: Deutsche Künstler [Bauhaus Prints - New European Graphics, 5th Portfolio: German Artists]", "Alt_Title" : "Figure, from Bauhaus Prints - New European Graphics, 5th Portfolio: German Artists", "Obj_Title" : "Figur [Figure], from Bauhaus Drucke - Neue Europäische Graphik 5te Mappe: Deutsche Künstler [Bauhaus Prints - New European Graphics, 5th Portfolio: German Artists]", "Series_Title" : "", "Disp_Maker_1" : "Edwin Scharff", "Sort_Artist" : "Scharff, Edwin", "Disp_Dimen" : "47.2 cm x 30.4 cm (18 9/16 in. x 11 15/16 in.)", "Disp_Height" : "47.2 cm", "Disp_Width" : "30.4 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 Mr and Mrs. Richard Gonzalez, 1989", "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/1989.103.13-13.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1989.103.13-13.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1989.103.13-13.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1989.103.13-13.tif", "IsPrimary" : "1", "_SurrogateID" : "5009", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4419, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4419", "Disp_Access_No" : "1989.103.12/13", "_AccNumSort1" : "", "Disp_Create_DT" : "1915", "_Disp_Start_Dat" : "1915", "_Disp_End_Date" : "1915", "Disp_Title" : "Weiblicher Kopf [Head of a Woman], from Bauhaus Drucke - Neue Europäische Graphik 5te Mappe: Deutsche Künstler [Bauhaus Prints - New European Graphics, 5th Portfolio: German Artists]", "Alt_Title" : "Head of a Woman, from Bauhaus Prints - New European Graphics, 5th Portfolio: German Artists", "Obj_Title" : "Weiblicher Kopf [Head of a Woman], from Bauhaus Drucke - Neue Europäische Graphik 5te Mappe: Deutsche Künstler [Bauhaus Prints - New European Graphics, 5th Portfolio: German Artists]", "Series_Title" : "", "Disp_Maker_1" : "Karl Schmidt-Rottluff", "Sort_Artist" : "Schmidt-Rottluff, Karl", "Disp_Dimen" : "34.2 cm x 28 cm (13 7/16 in. x 11 in.)", "Disp_Height" : "34.2 cm", "Disp_Width" : "28 cm", "Dimen_Extent" : "Sheet", "Medium" : "Woodcut", "Support" : "", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mr and Mrs. Richard Gonzalez, 1989", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "German", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", 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"Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "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" : "", "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/G1969.6.192.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1969.6.192.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1969.6.192.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1969.6.192.tif", "IsPrimary" : "1", "_SurrogateID" : "5381", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4592, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4592", "Disp_Access_No" : "G1969.6.191", "_AccNumSort1" : "", "Disp_Create_DT" : "1925", "_Disp_Start_Dat" : "1925", "_Disp_End_Date" : "1925", "Disp_Title" : "The Priest", "Alt_Title" : "", "Obj_Title" : "The Priest", "Series_Title" : "", "Disp_Maker_1" : "Joseph Simpson", "Sort_Artist" : "Simpson, Joseph", "Disp_Dimen" : "46.6 cm x 32.7 cm (18 3/8 in. x 12 7/8 in.)", "Disp_Height" : "46.6 cm", "Disp_Width" : "32.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "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" : "", "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/G1969.6.191.tif", 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Art, The University of Texas at Austin, Transfer from the Humanities Research Center, The University of Texas at Austin, 1969", "Copyright_Type" : "", "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/G1969.6.540.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1969.6.540.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1969.6.540.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1969.6.540.tif", "IsPrimary" : "1", "_SurrogateID" : "5384", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4688, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4688", "Disp_Access_No" : "G1969.6.624", "_AccNumSort1" : "", "Disp_Create_DT" : "1927", "_Disp_Start_Dat" : "1927", "_Disp_End_Date" : "1927", "Disp_Title" : "Betty", "Alt_Title" : "", "Obj_Title" : "Betty", "Series_Title" : "", "Disp_Maker_1" : "Joseph Simpson", "Sort_Artist" : "Simpson, Joseph", "Disp_Dimen" : "41.55 cm x 30.5 cm (16 3/8 in. x 12 in.)", "Disp_Height" : "41.55 cm", "Disp_Width" : "30.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "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" : "", "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/G1969.6.624.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1969.6.624.tif", "PreviewPath" : 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