{ "objects" : [ { "embark_ID" : 11429, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11429", "Disp_Access_No" : "2002.1583", "_AccNumSort1" : "", "Disp_Create_DT" : "1894", "_Disp_Start_Dat" : "1894", "_Disp_End_Date" : "1894", "Disp_Title" : "Noli me tangere, from the Revue Blanche", "Alt_Title" : "", "Obj_Title" : "Noli me tangere, from the Revue Blanche", "Series_Title" : "", "Disp_Maker_1" : "Ker-Xavier Roussel", "Sort_Artist" : "Roussel, Ker-Xavier", "Disp_Dimen" : "36.2 cm x 26.1 cm (14 1/4 in. x 10 1/4 in.)", "Disp_Height" : "36.2 cm", "Disp_Width" : "26.1 cm", "Dimen_Extent" : "sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "Dissatisfied with his education, Roussel left the studio of academic painter Adolphe Bouguereau and the Ecole des Beaux-Arts and later joined a group of artists who called themselves Nabis (Hebrew for “prophets”). Typical of the group, Roussel drew this subject from the Bible. Noli me tangere – Latin for “Don’t touch me” – refers to the passage where Christ appears to Mary Magdalene after the resurrection. Roussel’s is an enigmatic depiction of a subject common in medieval and renaissance art interpreted as a rejection of the sensual in favor of a contemplative life. Using tusche, an oily ink applied with a brush, to cover the lithographic stone and then scraping it away, Roussel employs a subtractive method to create ghost-like forms floating off the top of the sheet. ", "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/2002.1583.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1583.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1583.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1583.tif", "IsPrimary" : "1", "_SurrogateID" : "1809", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17665, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17665", "Disp_Access_No" : "2005.158", "_AccNumSort1" : "", "Disp_Create_DT" : "1895", "_Disp_Start_Dat" : "1895", "_Disp_End_Date" : "1895", "Disp_Title" : "La Passion", "Alt_Title" : "", "Obj_Title" : "La Passion", "Series_Title" : "", "Disp_Maker_1" : "Emile Bernard", "Sort_Artist" : "Bernard, Emile", "Disp_Dimen" : "43.4 cm x 55 cm (17 1/16 in. x 21 5/8 in.)", "Disp_Height" : "43.4 cm", "Disp_Width" : "55 cm", "Dimen_Extent" : "sheet", "Medium" : "Pen lithograph with hand coloring", "Support" : "", "Disp_Medium" : "Pen lithograph with hand coloring", "Info_Page_Comm" : "While some artists and intellectuals rejected organized religion in general, and Catholicism in particular, others looked to the early Church as a period of genuine spirituality. Bernard was one of these neo-Catholics and his print returns to the linear, flat, static, iconic style characteristic of medieval art and evokes the tradition of hand-colored woodcut prints made for popular devotion in the fifteenth century. The artist attempts to recapture the innocence of an earlier time in the deliberately crude depiction of the Crucifixion.", "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" : "French", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.158.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.158.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.158.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2005.158.tif", "IsPrimary" : "1", "_SurrogateID" : "4241", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8960, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8960", "Disp_Access_No" : "1986.358", "_AccNumSort1" : "", "Disp_Create_DT" : "1897", "_Disp_Start_Dat" : "1897", "_Disp_End_Date" : "1897", "Disp_Title" : "Les femmes de France [The Women of France]", "Alt_Title" : "The Women of France", "Obj_Title" : "Les femmes de France [The Women of France]", "Series_Title" : "", "Disp_Maker_1" : "Théophile Alexandre Steinlen", "Sort_Artist" : "Steinlen, Théophile Alexandre", "Disp_Dimen" : "49.1 cm x 32.2 cm (19 5/16 in. x 12 11/16 in.)", "Disp_Height" : "49.1 cm", "Disp_Width" : "32.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph on chine collé", "Support" : "", "Disp_Medium" : "Lithograph on chine collé", "Info_Page_Comm" : "Steinlen shows us two Breton women, identified by their distinctive bonnets, in a domestic interior. Brittany, a province in northwest France, was the closest one could get to the primitive exotic without leaving France. It was a royalist and Catholic stronghold throughout all of the revolutions in France and it was the continental center of the Celtic Revival, a cultural movement that rejected modernity by hearkening back to an early medieval past. It was not the political or religious beliefs of the Breton people that drew neo-Catholic artists such as Paul Gauguin, Armand Séguin, Emile Bernard, and Steinlen to form an artists’ colony there, but their simple and sincere faith unadulterated by the superficiality and materialism of modern urban life.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Dr. Alexander and Ivria Sackton, 1986", "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/1986.358.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.358.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.358.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.358.tif", "IsPrimary" : "1", "_SurrogateID" : "4934", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11432, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11432", "Disp_Access_No" : "1982.560", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1896", "_Disp_Start_Dat" : "1891", "_Disp_End_Date" : "1901", "Disp_Title" : "La Verité au conseil de guerre [The Court-Martial of Truth], from Les Temps nouveaux, [The New Times]", "Alt_Title" : "", "Obj_Title" : "La Verité au conseil de guerre [The Court-Martial of Truth], from Les Temps nouveaux, [The New Times]", "Series_Title" : "", "Disp_Maker_1" : "Maximilien Luce", "Sort_Artist" : "Luce, Maximilien", "Disp_Dimen" : "57 cm x 45.2 cm (22 7/16 in. x 17 13/16 in.)", "Disp_Height" : "57 cm", "Disp_Width" : "45.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Transfer lithograph", "Support" : "", "Disp_Medium" : "Transfer lithograph", "Info_Page_Comm" : "Luce was raised in a working-class family and witnessed the violent suppression of the Commune by the National Guards in 1871. A known anarchist, he was arrested in 1894 after the assassination of the French president Sadi Carnot for his association with agitators. Trained as an illustrator, Luce turned his talents to protest art. Like the Edmond Cross print also shown in this gallery, this lithograph was made as part of a series produced for an anarchist newspaper. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Alvin and Ethel Romansky, 1978", "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/1982.560.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.560.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.560.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.560.tif", "IsPrimary" : "1", "_SurrogateID" : "4703", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4277, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4277", "Disp_Access_No" : "G1966.2.66", "_AccNumSort1" : "", "Disp_Create_DT" : "1892", "_Disp_Start_Dat" : "1892", "_Disp_End_Date" : "1892", "Disp_Title" : "Ernest Renan", "Alt_Title" : "", "Obj_Title" : "Ernest Renan", "Series_Title" : "", "Disp_Maker_1" : "Anders Leonard Zorn", "Sort_Artist" : "Zorn, Anders Leonard", "Disp_Dimen" : "34.6 cm x 48.5 cm (13 5/8 in. x 19 1/8 in.)", "Disp_Height" : "34.6 cm", "Disp_Width" : "48.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "Zorn’s stark portrait marked the death of an intellectual who had done much to secularize France. Renan (1823-1892) was born to a Breton woman, raised Catholic, and educated in seminaries with the intention of becoming a priest. The more he learned of his faith, however, the more doubtful of it he became. Renan was best known for his book The Life of Christ, a positivist biography of Jesus as an historical figure, which infuriated the Catholic Church. He was liberal in his politics and supported democratic forms of government. In 1882, he defined a nation as a group of people living together who “have done great things together and want to do more.” ", "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" : "Swedish", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1966.2.66.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1966.2.66.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1966.2.66.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1966.2.66.tif", "IsPrimary" : "1", "_SurrogateID" : "4942", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4293, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4293", "Disp_Access_No" : "G1966.2.89", "_AccNumSort1" : "", "Disp_Create_DT" : "1895", "_Disp_Start_Dat" : "1895", "_Disp_End_Date" : "1895", "Disp_Title" : "Paul Verlaine II, from Pan", "Alt_Title" : "", "Obj_Title" : "Paul Verlaine II, from Pan", "Series_Title" : "", "Disp_Maker_1" : "Anders Leonard Zorn", "Sort_Artist" : "Zorn, Anders Leonard", "Disp_Dimen" : "37.1 cm x 27.6 cm (14 5/8 in. x 10 7/8 in.)", "Disp_Height" : "37.1 cm", "Disp_Width" : "27.6 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "Verlaine was a recognized leader of Symbolism, and his blatant, extra-marital, affair with poet Arthur Rimbaud epitomized the decadent lifestyle. After their violent break-up and an eighteen-month jail sentence, Verlaine converted to Catholicism. His behavior in public, however, remained eccentric. His poetry in the 1890s was highly erotic and many of his earlier works were celebrated in new editions and anthologies. In 1894 his colleagues named him the “Prince of Poets,” two years before his death at the age of 52.", "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" : "Swedish", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1966.2.89.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1966.2.89.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1966.2.89.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1966.2.89.tif", "IsPrimary" : "1", "_SurrogateID" : "4943", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8675, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8675", "Disp_Access_No" : "1982.260", "_AccNumSort1" : "", "Disp_Create_DT" : "1896", "_Disp_Start_Dat" : "1896", "_Disp_End_Date" : "1896", "Disp_Title" : "L'Errant [The Wanderer], from Les Temps nouveaux [The New Times]", "Alt_Title" : "", "Obj_Title" : "L'Errant [The Wanderer], from Les Temps nouveaux [The New Times]", "Series_Title" : "", "Disp_Maker_1" : "Henri-Edmond Cross", "Sort_Artist" : "Cross, Henri-Edmond", "Disp_Dimen" : "42.2 cm x 56.5 cm (16 5/8 in. x 22 1/4 in.)", "Disp_Height" : "42.2 cm", "Disp_Width" : "56.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Transfer lithograph", "Support" : "", "Disp_Medium" : "Transfer lithograph", "Info_Page_Comm" : "Les Temps nouveaux was an anarchist newspaper founded in 1896 by Jean Grave, who invited like-minded artists to contribute original prints that would be produced along side the tabloid. Cross’s print was the third in a series and came after lithographs provided by Maximilian Luce and Camille Pissarro. It shows a bearded vagabond with a sack sitting with his hands folded in his lap. Behind him is a vision of men throwing the symbols of government – a crown, a flag, a drum, and a Phrygian cap – onto a fire, thus beginning a new era of happiness. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Alvin and Ethel Romansky, 1977", "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/1982.260.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.260.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.260.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.260.tif", "IsPrimary" : "1", "_SurrogateID" : "4699", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 489, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/489", "Disp_Access_No" : "1982.1328", "_AccNumSort1" : "", "Disp_Create_DT" : "1899", "_Disp_Start_Dat" : "1899", "_Disp_End_Date" : "1899", "Disp_Title" : "Sirène [Mermaid], from L'Estampe moderne [The Modern Print]", "Alt_Title" : "", "Obj_Title" : "Sirène [Mermaid], from L'Estampe moderne [The Modern Print]", "Series_Title" : "", "Disp_Maker_1" : "Charles-François-Prosper Guérin", "Sort_Artist" : "Guérin, Charles-François-Prosper", "Disp_Dimen" : "37.9 cm x 30.5 cm (14 15/16 in. x 12 in.)", "Disp_Height" : "37.9 cm", "Disp_Width" : "30.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Color lithograph", "Support" : "", "Disp_Medium" : "Color lithograph", "Info_Page_Comm" : "A provocative image of the femme fatale, Guérin’s siren peers menacingly from her watery lair. L’Estampe moderne was a subscription-based publication promoting original prints for collectors. The variety of styles and subjects available in its pages underscores Roger Marx’s observation about the efflorescence of the medium. Published in L'Estampe moderne, Numéro 21, janvier 1899", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Alvin and Ethel Romansky, 1977", "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/1982.1328.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.1328.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.1328.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.1328.tif", "IsPrimary" : "1", "_SurrogateID" : "4933", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16921, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16921", "Disp_Access_No" : "2003.113", "_AccNumSort1" : "", "Disp_Create_DT" : "1894", "_Disp_Start_Dat" : "1894", "_Disp_End_Date" : "1894", "Disp_Title" : "Le Soir [Evening] or La Glaneuse [The Gleaner]", "Alt_Title" : "", "Obj_Title" : "Le Soir [Evening] or La Glaneuse [The Gleaner]", "Series_Title" : "", "Disp_Maker_1" : "Armand Séguin", "Sort_Artist" : "Séguin, Armand", "Disp_Dimen" : "59.3 cm x 42.1 cm (23 3/8 in. x 16 9/16 in.)", "Disp_Height" : "59.3 cm", "Disp_Width" : "42.1 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching, aquatint and roulette printed in brown ink", "Support" : "", "Disp_Medium" : "Etching, aquatint and roulette printed in brown ink", "Info_Page_Comm" : "Séguin was a follower of Gauguin and adopted from him a belief in the purity of more "primitive" cultures, such as the Breton community in Pont-Aven in northwest France where the two lived in an artists' colony. He offers as an antidote to contemporary society's ills, the redemptive figure of a peasant living simply and humbly off the land in the serenity of nature. Stylistically, he borrowed from his mentor as well, adding to his heavy contours and denial of conventional linear perspective a preference for the arabesque to enliven his otherwise static compositions.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase, 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/2003.113.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.113.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.113.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2003.113.tif", "IsPrimary" : "1", "_SurrogateID" : "4725", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1746, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1746", "Disp_Access_No" : "G1970.5.23", "_AccNumSort1" : "", "Disp_Create_DT" : "1897", "_Disp_Start_Dat" : "1897", "_Disp_End_Date" : "1897", "Disp_Title" : "Moyenne affiche pour l'Aurore", "Alt_Title" : "[Average Poster for the Theater]", "Obj_Title" : "Moyenne affiche pour l'Aurore", "Series_Title" : "", "Disp_Maker_1" : "Eugène Carrière", "Sort_Artist" : "Carrière, Eugène", "Disp_Dimen" : "147.5 cm x 108.3 cm (58 1/16 in. x 42 5/8 in.)", "Disp_Height" : "147.5 cm", "Disp_Width" : "108.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Chromolithograph", "Support" : "", "Disp_Medium" : "Chromolithograph", "Info_Page_Comm" : "Eugène Carrière established a career as a Naturalist painter before the rise of Symbolism, but his work became increasingly dreamlike after his involvement with the group. Carrière reduced his color palette and depicted figures in a spare, stylized fashion, excluding details of setting, time, and even identity to focus on emotion. Here, a generalized figure raises its hands to its head, pressing on its temples as if overwhelmed by feelings echoed in the swirling background. Carrière’s emotive image reflects his interest in universal, primal forces acting on both humans and nature. Though his work grew ever more suggestive, Carrière remained committed to the politics of his time. This poster was designed as an advertisement for "L’Aurore [The Dawn]," a leftist daily newspaper that covered literary, artistic, and social issues.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Alvin and Ethel Romansky, 1970", "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/G1970.5.23.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1970.5.23.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1970.5.23.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1970.5.23.tif", "IsPrimary" : "1", "_SurrogateID" : "6195", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4284, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4284", "Disp_Access_No" : "2002.1964", "_AccNumSort1" : "", "Disp_Create_DT" : "1893", "_Disp_Start_Dat" : "1893", "_Disp_End_Date" : "1893", "Disp_Title" : "Alphonse Daudet", "Alt_Title" : "", "Obj_Title" : "Alphonse Daudet", "Series_Title" : "", "Disp_Maker_1" : "Eugène Carrière", "Sort_Artist" : "Carrière, Eugène", "Disp_Dimen" : "50.5 cm x 39 cm (19 7/8 in. x 15 3/8 in.)", "Disp_Height" : "50.5 cm", "Disp_Width" : "39 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "Carrière trained first as a commercial lithographer, then studied at the Ecole des Beaux-Arts. After three failed attempts at winning the Prix de Rome, he abandoned the official art establishment. He met Symbolist writers and developed a style of painting and printmaking that was equivalent to their evocative and dreamlike manner in literature. This is the first in a series of portrait prints depicting his contemporaries. Working with tusche -- ink brushed onto the lithographic stone -- he scraped and scratched the surface to achieve a form that simultaneously emerges from and dissolves into the velvety ground. Alphonse Daudet (1840-1897) was a novelist often compared with the British author Charles Dickens. His Christ-like features were not lost on the writer and critic Edmond de Goncourt (1822-1896), who called it “A portrait of Daudet crucified.” . ", "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/2002.1964.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1964.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1964.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1964.tif", "IsPrimary" : "1", "_SurrogateID" : "1878", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 9010, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/9010", "Disp_Access_No" : "2002.1973", "_AccNumSort1" : "", "Disp_Create_DT" : "1889-1890", "_Disp_Start_Dat" : "1889", "_Disp_End_Date" : "1890", "Disp_Title" : "La Falaise: Baie de Saint-Malo [The Cliff: Saint-Malo Bay]", "Alt_Title" : "", "Obj_Title" : "La Falaise: Baie de Saint-Malo [The Cliff: Saint-Malo Bay]", "Series_Title" : "", "Disp_Maker_1" : "Félix Buhot", "Sort_Artist" : "Buhot, Félix", "Disp_Dimen" : "22.5 cm x 29.5 cm (8 7/8 in. x 11 5/8 in.)", "Disp_Height" : "22.5 cm", "Disp_Width" : "29.5 cm", "Dimen_Extent" : "2nd plate mark", "Medium" : "Photogravure with etching, aquatint, drypoint, and roulette", "Support" : "", "Disp_Medium" : "Photogravure with etching, aquatint, drypoint, and roulette", "Info_Page_Comm" : "Buhot brought more personal imagery, subjective expression, and complicated technique to the prevailing naturalism of French landscape etching. One of his major prints, La falaise consists of two, separately printed plates, one for the image of the landscape, and another for the border. The landscape began as a photogravure of a watercolor by Henry Johnston, Buhot’s father-in-law, which was then reworked, textured, and personalized with all sorts of intaglio. The border not only enframes this landscape but, in an elaboration of the device of remarques, juxtaposes allusive fragments. The resulting print suggests the appearance, the interior experience, and the metaphoric sense of place. ", "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/2002.1973.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1973.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1973.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1973.tif", "IsPrimary" : "1", "_SurrogateID" : "1879", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }