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Ware, Jr. Collection, 2000", "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/2000.56.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.56.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.56.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.56.tif", "IsPrimary" : "1", "_SurrogateID" : "6213", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3878, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3878", "Disp_Access_No" : "1999.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1834", "_Disp_Start_Dat" : "1834", "_Disp_End_Date" : "1834", "Disp_Title" : "L'Ivrogne [The Drunkard], in Le Charivari, 3 March 1834", "Alt_Title" : "", "Obj_Title" : "L'Ivrogne [The Drunkard], in Le Charivari, 3 March 1834", "Series_Title" : "", "Disp_Maker_1" : "Honoré Daumier", "Sort_Artist" : "Daumier, Honoré", "Disp_Dimen" : "30.4 cm x 24.7 cm (11 15/16 in. x 9 3/4 in.)", "Disp_Height" : "30.4 cm", "Disp_Width" : "24.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "published in Le Charivari, 3 March 1834", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1999", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "French", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 3987, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3987", "Disp_Access_No" : "1996.287", "_AccNumSort1" : "", "Disp_Create_DT" : "1855", "_Disp_Start_Dat" : "1855", "_Disp_End_Date" : "1855", "Disp_Title" : "La rue de la Vieille Lanterne", "Alt_Title" : "", "Obj_Title" : "La rue de la Vieille Lanterne", "Series_Title" : "", "Disp_Maker_1" : "Gustave (Paul Gustave Louis Christophe) Doré", "Sort_Artist" : "Doré, Gustave (Paul Gustave Louis Christophe)", "Disp_Dimen" : "51.1 x 34.8 cm (20 1/8 x 13 11/16 in.)", "Disp_Height" : "51.1 cm", "Disp_Width" : "34.8 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "Doré revived the Romantic language in printmaking to commemorate the death of the great Romantic poet, Gérard de Nerval. Lithography became the favored printmaking technique of the Romantics because the tonal variations and quickness in line allowed expression of the artist’s personality. Doré, in his operatic fashion, interprets the poet Nerval’s suicide which took place in the Rue de la Vieille Lanterne. In the image, Death pulls the soul from Nerval’s dead body toward Heaven, announcing the entry by blowing a horn. Gérard de Nerval was a French Romantic poet whose use of dreams and fantasies exhibit the interrelation of the real and supernatural worlds. The loss of his mother at a young age and the death of his true love, Jenny Colon, were two events that upset his already unstable mental health. During his most creative period in the early-1850s, Nerval was institutionalized at least eight times for severe mental disorders. The work he produced, such as Aurélia (1853-54) and Les Chimères (1854), are at once lyrical and complex. His tortured existence ended when he hung himself from a lamppost in the rue de la Vieille Lanterne in Paris. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1996", "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/1996.287.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1996.287.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1996.287.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1996.287.tif", "IsPrimary" : "1", "_SurrogateID" : "2817", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2043, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2043", "Disp_Access_No" : "1996.147", "_AccNumSort1" : "", "Disp_Create_DT" : "1512", "_Disp_Start_Dat" : "1512", "_Disp_End_Date" : "1512", "Disp_Title" : "The Entombment, from The Engraved Passion", "Alt_Title" : "", "Obj_Title" : "The Entombment, from The Engraved Passion", "Series_Title" : "", "Disp_Maker_1" : "Albrecht Dürer", "Sort_Artist" : "Dürer, Albrecht", "Disp_Dimen" : "11.8 cm x 7.6 cm (4 5/8 in. x 3 in.)", "Disp_Height" : "11.8 cm", "Disp_Width" : "7.6 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 Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1996", "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/1996.147.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1996.147.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1996.147.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1996.147.tif", "IsPrimary" : "1", "_SurrogateID" : "3840", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19317, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19317", "Disp_Access_No" : "2009.6", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1591", "_Disp_Start_Dat" : "1586", "_Disp_End_Date" : "1596", "Disp_Title" : "Hyacum, et Lues Venerea [The Discovery of Guaiacum as a Cure for Syphillis], plate 6 from Nova Repertum [New Inventions of Modern Times], after Jan van der Straet, called Stradanus", "Alt_Title" : "", "Obj_Title" : "Hyacum, et Lues Venerea [The Discovery of Guaiacum as a Cure for Syphillis], plate 6 from Nova Repertum [New Inventions of Modern Times], after Jan van der Straet, called Stradanus", "Series_Title" : "", "Disp_Maker_1" : "Theodor Galle", "Sort_Artist" : "Galle, Theodor", "Disp_Dimen" : "20.3 cm x 27.6 cm (8 in. x 10 7/8 in.)", "Disp_Height" : "20.3 cm", "Disp_Width" : "27.6 cm", "Dimen_Extent" : "sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "Antwerp became the center of European print production in the late sixteenth century. Its enterprising publishers coordinated vast projects illustrating an encyclopedic range of subjects. Organized by the Galle family and designed by a Flemish artist living in Florence, Nova Repertum depicted the supposed origins of important modern inventions. This scene of the preparation and ministering of a cure for syphilis is a striking inclusion and a famous image in the history of the disease.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 2009", "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/2009.6.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2009.6.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2009.6.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2009.6.tif", "IsPrimary" : "1", "_SurrogateID" : "5399", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3590, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3590", "Disp_Access_No" : "1997.132", "_AccNumSort1" : "", "Disp_Create_DT" : "1773", "_Disp_Start_Dat" : "1773", "_Disp_End_Date" : "1773", "Disp_Title" : "Standing Male, Anterior - Outermost Muscles, plate III from the cours complet d'anatomie peint et gravé en couleurs naturelles [Complete Course of Anatomy, Printed and Engraved in Natural Colors]", "Alt_Title" : "", "Obj_Title" : "Standing Male, Anterior - Outermost Muscles, plate III from the cours complet d'anatomie peint et gravé en couleurs naturelles [Complete Course of Anatomy, Printed and Engraved in Natural Colors]", "Series_Title" : "", "Disp_Maker_1" : "Arnault-Eloi Gautier-Dagoty", "Sort_Artist" : "Gautier-Dagoty, Arnault-Eloi", "Disp_Dimen" : "57.6 x 43.8 cm (22 11/16 x 17 1/4 in.)", "Disp_Height" : "57.6 cm", "Disp_Width" : "43.8 cm", "Dimen_Extent" : "Sheet", "Medium" : "Color mezzotint, printed in four colors", "Support" : "", "Disp_Medium" : "Color mezzotint, printed in four colors", "Info_Page_Comm" : "This print by Gautier-Dagoty represents a milestone in both printmaking and medical illustration. In the first part of the eighteenth century, medical illustrations were printed in black and white and colors had to be applied by hand. In 1741, Jacob Christoph LeBlon devised a three-color printing technique based on Newton’s color theory that stated that all colors can be created by mixing red, blue, and green. Gautier-Dagoty’s father, Jacques- Fabien Gautier (1711-85), was trained by LeBlon and the color mezzotint process was used by the Gautier family for more than twenty-five years. In addition to being an unusual instance of mezzotint in France rather than England, this print is a representative of one of the first anatomical atlases in color created by the Gautier-Dagoty family.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 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/1997.132.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1997.132.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1997.132.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1997.132.tif", "IsPrimary" : "1", "_SurrogateID" : "2862", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1128, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1128", "Disp_Access_No" : "1982.718", "_AccNumSort1" : "", "Disp_Create_DT" : "1821", "_Disp_Start_Dat" : "1821", "_Disp_End_Date" : "1821", "Disp_Title" : "Pity the Sorrows of a Poor Old Man!, from Various Subjects Drawn from Life and on Stone (The English Series)", "Alt_Title" : "", "Obj_Title" : "Pity the Sorrows of a Poor Old Man!, from Various Subjects Drawn from Life and on Stone (The English Series)", "Series_Title" : "", "Disp_Maker_1" : "Jean-Louis-André-Théodore Géricault", "Sort_Artist" : "Géricault, Jean-Louis-André-Théodore", "Disp_Dimen" : "38.8 cm x 55 cm (15 1/4 in. x 21 5/8 in.)", "Disp_Height" : "38.8 cm", "Disp_Width" : "55 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, 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/1982.718.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.718.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.718.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.718.tif", "IsPrimary" : "1", "_SurrogateID" : "1252", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16560, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16560", "Disp_Access_No" : "2002.2811", "_AccNumSort1" : "", "Disp_Create_DT" : "1801", "_Disp_Start_Dat" : "1801", "_Disp_End_Date" : "1801", "Disp_Title" : "Metallic–Tractors", "Alt_Title" : "", "Obj_Title" : "Metallic–Tractors", "Series_Title" : "", "Disp_Maker_1" : "James Gillray", "Sort_Artist" : "Gillray, James", "Disp_Dimen" : "34.2 cm x 39 cm (13 7/16 in. x 15 3/8 in.)", "Disp_Height" : "34.2 cm", "Disp_Width" : "39 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching and aquatint with hand coloring", "Support" : "", "Disp_Medium" : "Etching and aquatint with hand coloring", "Info_Page_Comm" : "Quack doctors and their desperate patients were especially vulnerable targets for satirists of the early nineteenth century. In this print, Dr. Elisha Perkins demonstrates his latest cure-all, a pair of brass and iron rods forged by the doctor in his own furnace that, when stroked over an unhealthy area, draws out affliction. Headlines from the newspaper on the table include the secret of the philosopher’s stone and how to turn all metals into gold, followed by Gillray’s mantra: pro bono publico (“for the public good”). ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. 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/2002.2811.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2811.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2811.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2811.tif", "IsPrimary" : "1", "_SurrogateID" : "4144", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16779, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16779", "Disp_Access_No" : "2003.30", "_AccNumSort1" : "", "Disp_Create_DT" : "1800", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1800", "Disp_Title" : "Taking Physick", "Alt_Title" : "", "Obj_Title" : "Taking Physick", "Series_Title" : "", "Disp_Maker_1" : "James Gillray", "Sort_Artist" : "Gillray, James", "Disp_Dimen" : "28.5 cm x 22 cm (11 1/4 in. x 8 11/16 in.)", "Disp_Height" : "28.5 cm", "Disp_Width" : "22 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching and aquatint with hand-coloring", "Support" : "", "Disp_Medium" : "Etching and aquatint with hand-coloring", "Info_Page_Comm" : "This is possibly the first in a series of five prints demonstrating the stages of illness and, more importantly, how the cure is often more agonizing than the sickness. The series includes: Taking Physick, Gentle Emetic, Brisk–Cathartic, Breathing the Vein, and Charming-well Again. Dr. Philip Syng Physick (1768-1837), the conceivable inspiration behind the print, was an American physician who studied under John Hunter in London in the 1790s. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 2003", "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/2003.30.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.30.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.30.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2003.30.tif", "IsPrimary" : "1", "_SurrogateID" : "4806", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11357, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11357", "Disp_Access_No" : "1994.31", "_AccNumSort1" : "", "Disp_Create_DT" : "1810 - circa 1820 (p. 1903)", "_Disp_Start_Dat" : "1810", "_Disp_End_Date" : "1820", "Disp_Title" : "Ni por esas [Neither Do These], plate 11 from Los Desastres de la Guerra", "Alt_Title" : "", "Obj_Title" : "Ni por esas [Neither Do These], plate 11 from Los Desastres de la Guerra", "Series_Title" : "", "Disp_Maker_1" : "Francisco de Goya y Lucientes", "Sort_Artist" : "Goya y Lucientes, Francisco de", "Disp_Dimen" : "24.5 cm x 32.8 cm (9 5/8 in. x 12 15/16 in.)", "Disp_Height" : "24.5 cm", "Disp_Width" : "32.8 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching, lavis, drypoint and burin", "Support" : "", "Disp_Medium" : "Etching, lavis, drypoint and burin", "Info_Page_Comm" : "Goya began the drawings for this series of eighty prints, Los desastres de la guerra, in 1808, the year French forces invaded Spain and began their brutal six-year occupation of the country. The first plate was created in 1810 with the series completed and put in definitive order in 1820. Rather than the grand scale and heroic sweep of battle or the valor and bravery of the combatants, the Desastres present vignettes of deliberately awkward, fragmentary, and unstable composition and highlight the suffering of common people. This series is Goya’s most realistic; its close focus and unflinching record break with traditional artistic representations of war and presage documentary photography. Refusing to make any aspect of warfare attractive or to find any consolation for its effects, the Desastres anticipate the character of twentieth-century responses to war, from Expressionism to Existentialism. Because of the controversial nature of its content, Goya did not publish it during his lifetime. The first edition was issued in 1863, thirty-five years after Goya’s death. This plate is one of several in the series, that concern the suffering of Spanish women at the hands of the Napoleonic forces. The fine equilibrium of the group in the foreground, the elegant rhyme of the curve in the background, and the shadow of a church underscore the scene’s brutality", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of Susan Thomas, 1994", "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/1994.31.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1994.31.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1994.31.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1994.31.tif", "IsPrimary" : "1", "_SurrogateID" : "4916", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8663, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8663", "Disp_Access_No" : "1998.70", "_AccNumSort1" : "", "Disp_Create_DT" : "1797-1799", "_Disp_Start_Dat" : "1797", "_Disp_End_Date" : "1799", "Disp_Title" : "De que mal morira? [Of What Ill Will He Die?], plate 40 from Los Caprichos", "Alt_Title" : "", "Obj_Title" : "De que mal morira? [Of What Ill Will He Die?], plate 40 from Los Caprichos", "Series_Title" : "", "Disp_Maker_1" : "Francisco de Goya y Lucientes", "Sort_Artist" : "Goya y Lucientes, Francisco de", "Disp_Dimen" : "30.7 cm x 21.3 cm (12 1/16 in. x 8 3/8 in.)", "Disp_Height" : "30.7 cm", "Disp_Width" : "21.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching and aquatint", "Support" : "", "Disp_Medium" : "Etching and aquatint", "Info_Page_Comm" : "Goya used irony and satire to explain countless aspects of the human condition in his famous series Los Capricios. Based on Spanish folklore, the precise meaning of many of the images in this series continues to elude scholars. Nonetheless, it is clear that one of the sub-themes of the series concerns donkeys, in their bestial dumbness and proverbial stubbornness, in human roles. In this print, the doctor is the victim of Goya's satiric wit. A donkey, dressed in a contemporary doctor's outfit that includes gentlemen's shoes, sits at the bedside of a patient whose pulse he takes. The patient, whose hand is limp, looks gravely ill and in dire need of a doctor. The patient's loved ones, silhouetted in the background, anxiously await the report of four-legged, medical expert summoned to the sickbed. As the title underscores, it is not clear whether the patient will die from the illness or this doctor's treatment. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1998", "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/1998.70.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1998.70.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1998.70.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1998.70.tif", "IsPrimary" : "1", "_SurrogateID" : "4905", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11356, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11356", "Disp_Access_No" : "1989.131", "_AccNumSort1" : "", "Disp_Create_DT" : "1810 - circa 1820 (p. 1863)", "_Disp_Start_Dat" : "1810", "_Disp_End_Date" : "1820", "Disp_Title" : "Contra el bien general [Against the Common Good], plate 71 from Los Desastres de la Guerra", "Alt_Title" : " ", "Obj_Title" : "Contra el bien general [Against the Common Good], plate 71 from Los Desastres de la Guerra", "Series_Title" : "", "Disp_Maker_1" : "Francisco de Goya y Lucientes", "Sort_Artist" : "Goya y Lucientes, Francisco de", "Disp_Dimen" : "23.5 cm x 27.7 cm (9 1/4 in. x 10 7/8 in.)", "Disp_Height" : "23.5 cm", "Disp_Width" : "27.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching and burnisher", "Support" : "", "Disp_Medium" : "Etching and burnisher", "Info_Page_Comm" : "Goya began the drawings for this series of eighty prints, Los desastres de la guerra, in 1808, the year French forces invaded Spain and began their brutal six-year occupation of the country. The first plate was created in 1810 with the series completed and put in definitive order in 1820. Rather than the grand scale and heroic sweep of battle or the valor and bravery of the combatants, the Desastres present vignettes of deliberately awkward, fragmentary, and unstable composition and highlight the suffering of common people. This series is Goya’s most realistic; its close focus and unflinching record break with traditional artistic representations of war and presage documentary photography. Refusing to make any aspect of warfare attractive or to find any consolation for its effects, the Desastres anticipate the character of twentieth-century responses to war, from Expressionism to Existentialism. Because of the controversial nature of its content, Goya did not publish it during his lifetime. The first edition was issued in 1863, thirty-five years after Goya’s death. The last ten plates of the Desastres return to the fantastic imagery and satirical tone of the Caprichos. In this, the first of the group, a monk with monstrous wings writes in a great ledger. With his back turned to the pleading figures in the background, he raises an imperious finger to instruct their patience. Clerics played a prominent role in the hated bureaucracy of Ferdinand VII, king of Spain during the period. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Jonathan Bober, 1989", "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/1989.131.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1989.131.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1989.131.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1989.131.tif", "IsPrimary" : "1", "_SurrogateID" : "4913", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1478, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1478", "Disp_Access_No" : "1997.10", "_AccNumSort1" : "", "Disp_Create_DT" : "1991", "_Disp_Start_Dat" : "1991", "_Disp_End_Date" : "1991", "Disp_Title" : "Schizolines", "Alt_Title" : "", "Obj_Title" : "Schizolines", "Series_Title" : "", "Disp_Maker_1" : "Roger Guillemin", "Sort_Artist" : "Guillemin, Roger", "Disp_Dimen" : "57.3 cm x 69.6 cm (22 9/16 in. x 27 3/8 in.)", "Disp_Height" : "57.3 cm", "Disp_Width" : "69.6 cm", "Dimen_Extent" : "Sheet", "Medium" : "Four-color lithograph", "Support" : "", "Disp_Medium" : "Four-color lithograph", "Info_Page_Comm" : "Guillemin’s prints were computer generated on a Macintosh IIcx computer using PixelPaint and PixelPaint Professional software. The images were then stored in their digital form on disk, color-separated on a Scitex scanner, and then photo-transferred to lithographic plates for printing. Despite this calculated and analytical technique, Guillemin seldom provides an explanation for the significance of the images he creates. Certainly, this mechanically-generated image is reminiscent of medical graphic recordings of physical activity. As the title implies, perhaps the patterns are intended to suggest the brain wave activity of a schizophrenic. This particular and complicated case of medicine and printmaking intertwined is intended only to suggest, not define.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1997", "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/1997.10.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1997.10.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1997.10.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1997.10.tif", "IsPrimary" : "1", "_SurrogateID" : "2861", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1870, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1870", "Disp_Access_No" : "1989.103.5/13", "_AccNumSort1" : "", "Disp_Create_DT" : "1917", "_Disp_Start_Dat" : "1917", "_Disp_End_Date" : "1917", "Disp_Title" : "Der Narr [The Fool], from Bauhaus Drucke: Neue Europäeische Graphik, 5te Mappe: Deutsche Kuenstler [Bauhaus Prints: New European Graphics, 5th Portfolio: German Artists]", "Alt_Title" : "", "Obj_Title" : "Der Narr [The Fool], from Bauhaus Drucke: Neue Europäeische Graphik, 5te Mappe: Deutsche Kuenstler [Bauhaus Prints: New European Graphics, 5th Portfolio: German Artists]", "Series_Title" : "", "Disp_Maker_1" : "Erich Heckel", "Sort_Artist" : "Heckel, Erich", "Disp_Dimen" : "45.8 cm x 37.8 cm (18 1/16 in. x 14 7/8 in.)", "Disp_Height" : "45.8 cm", "Disp_Width" : "37.8 cm", "Dimen_Extent" : "Sheet", "Medium" : "Woodcut", "Support" : "", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "This print was created when the artist was working as a hospital orderly with German forces at Ostende, Belgium, in 1917. What began as a portrait of Wolf the hospital attendant, became a jester when Heckel enlarged the size of the sitter’s buttons, creating the appearance of a clown’s costume. Clowns, jesters, and acrobats appear often in Heckel’s art as existentially tragic and despairing figures, often serving as metaphors for the artist-poet. ", "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/1989.103.5-13.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1989.103.5-13.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1989.103.5-13.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1989.103.5-13.tif", "IsPrimary" : "1", "_SurrogateID" : "4495", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3165, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3165", "Disp_Access_No" : "1999.15", "_AccNumSort1" : "", "Disp_Create_DT" : "1728, (c. 1768)", "_Disp_Start_Dat" : "1728", "_Disp_End_Date" : "1728", "Disp_Title" : "The Political Clyster", "Alt_Title" : "", "Obj_Title" : "The Political Clyster", "Series_Title" : "", "Disp_Maker_1" : "William Hogarth", "Sort_Artist" : "Hogarth, William", "Disp_Dimen" : "21.2 cm x 32.3 cm (8 3/8 in. x 12 11/16 in.)", "Disp_Height" : "21.2 cm", "Disp_Width" : "32.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching and engraving", "Support" : "", "Disp_Medium" : "Etching and engraving", "Info_Page_Comm" : "The subject of this print comes from Jonathan Swift’s satirical masterpiece, Gulliver’s Travels. The various societies that Gulliver encounters in this four-book series parodies the follies of humankind. This image derives from Book I, in which the shipwrecked Gulliver finds himself a prisoner of the six-inch high arrogant and self-important Lilliputians. It shows Gulliver, on the receiving end of an enema, being punished for urinating on the Royal Palace of Midland, an act he performed in order to extinguish a fire. In part, this is Hogarth’s critique of contemporary medical practices that seemed ineffectual. It is also a critique of politicians and public servants that includes a clergy man officiating from a chamber pot and a First Minister observing from his thimble carriage. Both ignore the activities of their own people, who misbehave in the landscape around them", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1999", "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/1999.15.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1999.15.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1999.15.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1999.15.tif", "IsPrimary" : "1", "_SurrogateID" : "8234", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3164, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3164", "Disp_Access_No" : "1999.14", "_AccNumSort1" : "", "Disp_Create_DT" : "1726", "_Disp_Start_Dat" : "1726", "_Disp_End_Date" : "1726", "Disp_Title" : "Cunicularii, or The Wise Men of Godliman in Consultation", "Alt_Title" : "", "Obj_Title" : "Cunicularii, or The Wise Men of Godliman in Consultation", "Series_Title" : "", "Disp_Maker_1" : "William Hogarth", "Sort_Artist" : "Hogarth, William", "Disp_Dimen" : "19 cm x 25.6 cm (7 1/2 in. x 10 1/16 in.)", "Disp_Height" : "19 cm", "Disp_Width" : "25.6 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching and engraving", "Support" : "", "Disp_Medium" : "Etching and engraving", "Info_Page_Comm" : "The Weekly Journal of 19 November 1726 read: From Guilford comes a strange but well-attested Piece of News. That a poor Woman who lives at Godalmin [sic], near that Town, was about a Month past delivered by Mr John Howard, an Eminent Surgeon and Man-Midwife, of a creature resembling a Rabbit but whose Heart and Lungs grew without its Belly, about 14 Days since she was delivered by the same Person, of a perfect Rabbit: and in a few Days after of 4 more; and on Friday, Saturday, Sunday, the 4th, 5th, and 6th instant, of one in each day: in all nine, they died all in bringing into the World. The woman hath made Oath, that two months ago, being working in a Field with other Women, they put up a Rabbit, who running from them, they pursued it, but to no Purpose: This created in her such a Longing to it, that she (being with Child) was taken ill and miscarried, and from that Time she hath not been able to avoid thinking of Rabbits. This print by Hogarth was published on 12 December 1726, a few days after Mary Toft's full confession of fraud. Strangely enough, it is not Mary Toft but rather the doctors who are chastised in this composition, a mock heroic type of a bedside drama. It is said that a group of surgeons commissioned this print in order to expose the failings of the doctors so carefully identified at the bottom. After the circulation of this print, it took some time for the physicians identified here to repair their reputation. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1999", "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/1999.14.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1999.14.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1999.14.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1999.14.tif", "IsPrimary" : "1", "_SurrogateID" : "8233", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8555, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8555", "Disp_Access_No" : "1991.158", "_AccNumSort1" : "", "Disp_Create_DT" : "1751", "_Disp_Start_Dat" : "1751", "_Disp_End_Date" : "1751", "Disp_Title" : "The Reward of Cruelty, from The Four Stages of Cruelty", "Alt_Title" : "", "Obj_Title" : "The Reward of Cruelty, from The Four Stages of Cruelty", "Series_Title" : "", "Disp_Maker_1" : "William Hogarth", "Sort_Artist" : "Hogarth, William", "Disp_Dimen" : "58.5 cm x 44.5 cm (23 1/16 in. x 17 1/2 in.)", "Disp_Height" : "58.5 cm", "Disp_Width" : "44.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching with engraving", "Support" : "", "Disp_Medium" : "Etching with engraving", "Info_Page_Comm" : "In Early Georgian England, surgeons and their patients had a low social status relative to physicians and their aristocratic clientele. Surgery, which treated external maladies, such as cuts, bruises, and broken bones, retained its inferior status because it was a manual trade. Making matters worse, surgical practice and sedation were inadequate. Patients endured excruciating pain and the procedures often caused gangrene. Amputation had a frighteningly high mortality rate. Dissection by surgeons for anatomy lessons was particularly loathed, primarily because of the body stealing necessary. In an era when body and soul were not conceived separate, only the most evil of souls or the unidentified were subject to the anatomist’s knife. The Reward of Cruelty is the last print in the series of four entitled The Four Stages of Cruelty, which depicts the life of Tom Nero, a murderer who met his death by the hangman’s noose. In this print, Nero suffers the fate of many criminals of the day who were turned over to a company of surgeons for dissection. Ironically, Nero has befallen the same forms of mutilation and dismemberment, including the gouging of one of his eyes, that he inflicted upon others during his killing spree. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1991", "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/1991.158.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.158.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.158.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.158.tif", "IsPrimary" : "1", "_SurrogateID" : "3471", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.158.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.158.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.158.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.158.tif", "IsPrimary" : "0", "_SurrogateID" : "3474", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16565, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16565", "Disp_Access_No" : "2002.2815", "_AccNumSort1" : "", "Disp_Create_DT" : "1725-1768", "_Disp_Start_Dat" : "1725", "_Disp_End_Date" : "1768", "Disp_Title" : "Hudibras beats Sidrophel and his man Whacum, plate VIII from Illustrations for Samuel Butler's Hudibras, February 1725/6", "Alt_Title" : "", "Obj_Title" : "Hudibras beats Sidrophel and his man Whacum, plate VIII from Illustrations for Samuel Butler's Hudibras, February 1725/6", "Series_Title" : "", "Disp_Maker_1" : "William Hogarth", "Sort_Artist" : "Hogarth, William", "Disp_Dimen" : "29.1 cm x 47.2 cm (11 7/16 in. x 18 9/16 in.)", "Disp_Height" : "29.1 cm", "Disp_Width" : "47.2 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching and engraving", "Support" : "", "Disp_Medium" : "Etching and engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. 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/2002.2815.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2815.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2815.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2815.tif", "IsPrimary" : "1", "_SurrogateID" : "8271", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2735, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2735", "Disp_Access_No" : "1991.88", "_AccNumSort1" : "", "Disp_Create_DT" : "1645", "_Disp_Start_Dat" : "1645", "_Disp_End_Date" : "1645", "Disp_Title" : "Two Caricatural Heads, after Leonardo da Vinci", "Alt_Title" : "", "Obj_Title" : "Two Caricatural Heads, after Leonardo da Vinci", "Series_Title" : "", "Disp_Maker_1" : "Wenzel Hollar", "Sort_Artist" : "Hollar, Wenzel", "Disp_Dimen" : "7.8 cm x 10.9 cm (3 1/16 in. x 4 5/16 in.)", "Disp_Height" : "7.8 cm", "Disp_Width" : "10.9 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1991", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Bohemian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.88.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.88.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.88.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.88.tif", "IsPrimary" : "1", "_SurrogateID" : "8331", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3613, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3613", "Disp_Access_No" : "1999.16", "_AccNumSort1" : "", "Disp_Create_DT" : "1775", "_Disp_Start_Dat" : "1775", "_Disp_End_Date" : "1775", "Disp_Title" : "Le Pharmacie rustique [The Rural Pharmacy (Michel Schuppach, Uroscopist)], after Gottfried Locher", "Alt_Title" : "", "Obj_Title" : "Le Pharmacie rustique [The Rural Pharmacy (Michel Schuppach, Uroscopist)], after Gottfried Locher", "Series_Title" : "", "Disp_Maker_1" : "Barthelemi Hübner", "Sort_Artist" : "Hübner, Barthelemi", "Disp_Dimen" : "37 cm x 38.9 cm (14 9/16 in. x 15 5/16 in.)", "Disp_Height" : "37 cm", "Disp_Width" : "38.9 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching and engraving", "Support" : "", "Disp_Medium" : "Etching and engraving", "Info_Page_Comm" : "In the late eighteenth century, apothecaries had the legal right to attend and prescribe for the sick as long as they charged only for the drugs dispensed. Physical examination rarely occurred except uroscopy, the examination of urine, a method based on the humors. Uroscopy was a common method for diagnosing illness. The color of the urine, as well as the cloudiness, precipitates, and particles in the urine, was believed to indicate the cause of the disorder. It is one of the oldest forms of diagnostic testing, extending back to the days of Hippocrates. It was a necessary procedure because direct examination of a patient, or at least disrobing the patient, was socially unacceptable. Perhaps it is for this reason that while apothecaries still carried an aura of trade, the profession was nonetheless considered a genteel business and was quite popular. Michel Schuppach, a famed uroscopist, is celebrated in this print. He is portrayed at work in his pharmacy, examining a vial of the young lady’s urine, while others wait their turn. The well-mannered clientele in their fine costume offer visual testimony to the widespread reputation of the distinguished uroscopist. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. 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Through radically simplified compositions and an austere palette of black and white, Kollwitz decried the atrocities of World War I that claimed the lives of millions of her countrymen, including that of her youngest son. Five years after her son’s death, Kollwitz began experimenting with the woodcut medium, which provided an expressive vehicle for describing her grief. The cuts and slashes that define the figure in The Widow I, like its companions in the series Seven Woodcuts on War, convey not the violence of the battlefields but the trauma inflicted on those left behind. The widow’s face is turned away, as if she were seeking privacy in which to mourn; her oversized hands anchor the composition. 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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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These series remained popular through the seventeenth century. Another regular concern in printmaking was the representation of the trades and occupations. Larmessin creatively and humorously combined these two traditions together in a series of figures wearing fanciful costumes of their trade. This particular figure from the series is a personification of the cutler’s trade. He wears a coat which is adorned with surgeon's implements including knives, scissors, and forceps, while in his left hand he holds a surgeon’s saw. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1999", "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/1999.17.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1999.17.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1999.17.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1999.17.tif", "IsPrimary" : "1", "_SurrogateID" : "2852", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11055, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11055", "Disp_Access_No" : "P1961.86", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1519", "_Disp_Start_Dat" : "1514", "_Disp_End_Date" : "1524", "Disp_Title" : "Young Man with a Skull", "Alt_Title" : "", "Obj_Title" : "Young Man with a Skull", "Series_Title" : "", "Disp_Maker_1" : "Lucas van Leyden", "Sort_Artist" : "Leyden, Lucas van", "Disp_Dimen" : "18.7 cm x 14.6 cm (7 3/8 in. x 5 3/4 in.)", "Disp_Height" : "18.7 cm", "Disp_Width" : "14.6 cm", "Dimen_Extent" : "Sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "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" : "Dutch", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/P1961.86.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1961.86.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1961.86.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1961.86.tif", "IsPrimary" : "1", "_SurrogateID" : "5583", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8292, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8292", "Disp_Access_No" : "1991.128", "_AccNumSort1" : "", "Disp_Create_DT" : "1620-21", "_Disp_Start_Dat" : "", "_Disp_End_Date" : "", "Disp_Title" : "Figure of Death Carrying a Banner in Triumph", "Alt_Title" : "", "Obj_Title" : "Figure of Death Carrying a Banner in Triumph", "Series_Title" : "", "Disp_Maker_1" : "Filippo Liagno, called Napoletano", "Sort_Artist" : "Liagno, called Napoletano, Filippo", "Disp_Dimen" : "14.5 cm x 9.2 cm (5 11/16 in. x 3 5/8 in.)", "Disp_Height" : "14.5 cm", "Disp_Width" : "9.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1991", "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/1991.128.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.128.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.128.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.128.tif", "IsPrimary" : "1", "_SurrogateID" : "3695", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.128.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.128.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.128.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.128.tif", "IsPrimary" : "0", "_SurrogateID" : "3710", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.128.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.128.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.128.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.128.tif", "IsPrimary" : "0", "_SurrogateID" : "3712", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.128.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.128.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.128.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.128.tif", "IsPrimary" : "0", "_SurrogateID" : "3744", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5794, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5794", "Disp_Access_No" : "1982.1040", "_AccNumSort1" : "", "Disp_Create_DT" : "1947", "_Disp_Start_Dat" : "1947", "_Disp_End_Date" : "1947", "Disp_Title" : "The Bandage", "Alt_Title" : "", "Obj_Title" : "The Bandage", "Series_Title" : "", "Disp_Maker_1" : "Francisco Mora", "Sort_Artist" : "Mora, Francisco", "Disp_Dimen" : "19.4 cm x 16 cm (7 5/8 in. x 6 5/16 in.)", "Disp_Height" : "19.4 cm", "Disp_Width" : "16 cm", "Dimen_Extent" : "Sheet", "Medium" : "Woodcut", "Support" : "", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "", "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" : "print", "Creation_Place2" : "Mexican", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.1040.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.1040.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.1040.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.1040.tif", "IsPrimary" : "1", "_SurrogateID" : "6827", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8700, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8700", "Disp_Access_No" : "1989.26", "_AccNumSort1" : "", "Disp_Create_DT" : "1810-1811", "_Disp_Start_Dat" : "1810", "_Disp_End_Date" : "1811", "Disp_Title" : "The Transfiguration, after Raphael", "Alt_Title" : "", "Obj_Title" : "The Transfiguration, after Raphael", "Series_Title" : "", "Disp_Maker_1" : "Raphael Morghen", "Sort_Artist" : "Morghen, Raphael", "Disp_Dimen" : "99.2 cm x 63 cm (39 1/16 in. x 24 13/16 in.)", "Disp_Height" : "99.2 cm", "Disp_Width" : "63 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching and engraving", "Support" : "", "Disp_Medium" : "Etching and engraving", "Info_Page_Comm" : "Morghen’s reputation as one of the last great reproductive engravers is evident in this engraving after Raphael’s last work, the familiar Renaissance masterpiece now in the Vatican. The engraver has captured the shining radiance that reflects onto the figures from the bright cloud that surrounds Christ in Raphael’s interpretation of the Transfiguration. The composition conflates two consecutive incidents from Matthew 17. At the top of the print is the Transfiguration, the occasion when Christ revealed his divine nature to the disciples Peter, James, and John. Christ took the disciples up Mt. Tabor in Galilee and became transfigured: his face shone like the sun and his clothes became dazzling white. After Moses and Elijah appeared on either side of Christ, a voice from heaven said, “This is my son.” The apostles then fell prostrate before the vision. On the bottom of the print appears the event in which the divine healing power of Christ is manifest. Immediately following the descent down the mountain, a father brings his epileptic son to Christ to be cured. Here, one of these apostles gestures toward the earlier vision of Christ above, tying him to the latter narrative below. By looking at Peter at the center of the group of the apostles, a viewer might also be reminded of the healing powers that Peter inherits from Christ. This is an excellent example of how twentieth-century medical practitioners assist the art historian by interpreting and diagnosing from even the greatest artistic works. By looking at the print, modern doctors have identified the late stage of the seizure the boy is experiencing, locating the exact moment in these narrative events. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1989", "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/1989.26.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1989.26.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1989.26.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1989.26.tif", "IsPrimary" : "1", "_SurrogateID" : "2865", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8366, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8366", "Disp_Access_No" : "1996.110", "_AccNumSort1" : "", "Disp_Create_DT" : "1640s", "_Disp_Start_Dat" : "1640", "_Disp_End_Date" : "1640", "Disp_Title" : "Memento Mori, after Philippe de Champaigne", "Alt_Title" : "", "Obj_Title" : "Memento Mori, after Philippe de Champaigne", "Series_Title" : "", "Disp_Maker_1" : "Jean Morin", "Sort_Artist" : "Morin, Jean", "Disp_Dimen" : "32.1 cm x 31.9 cm (12 5/8 in. x 12 9/16 in.)", "Disp_Height" : "32.1 cm", "Disp_Width" : "31.9 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching and engraving", "Support" : "", "Disp_Medium" : "Etching and engraving", "Info_Page_Comm" : "If limited in subject and even number of plates, Jean Morin was the most subtle etcher in seventeenth-century France. All of his work was reproductive, mostly after paintings by the solemn classicist Philippe de Champaigne. Morin interpreted these works in a mode inspired as much by naturalistic painting as by printmaking, employing an extremely varied and flexible mark. His rare landscapes and devotional works capture the most fleeting and evocative qualities of light and surface. Most of his work consists of portraits of the size and bust format that was becoming conventional in France. The Memento Mori records a famous lost composition by Champaigne. The motifs alone—the skull set between an open timepiece and a vase of roses—would symbolically express the transient nature of existence. But their contrived arrangement and exquisite rendering underscore the futility of attachment to the material world. As a reminder of the ashes to which all persons will return, it is also a somber retort to the ubiquitous portrait prints of the day. This impression is laid down on a heavy eighteenth-century sheet with a severely drawn border. It was probably posted as a funerary announcement. Because of such adaptations, very few impressions have survived. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1996", "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/1996.110.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1996.110.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1996.110.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1996.110.tif", "IsPrimary" : "1", "_SurrogateID" : "1663", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3603, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3603", "Disp_Access_No" : "1996.281", "_AccNumSort1" : "", "Disp_Create_DT" : "1775", "_Disp_Start_Dat" : "1775", "_Disp_End_Date" : "1775", "Disp_Title" : "Ophelia, from the Shakespeare Characters, First Series", "Alt_Title" : "", "Obj_Title" : "Ophelia, from the Shakespeare Characters, First Series", "Series_Title" : "", "Disp_Maker_1" : "John Hamilton Mortimer", "Sort_Artist" : "Mortimer, John Hamilton", "Disp_Dimen" : "57 cm x 41.8 cm (22 7/16 in. x 16 7/16 in.)", "Disp_Height" : "57 cm", "Disp_Width" : "41.8 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "Ophelia, the rejected lover of Hamlet in Shakespeare's tragedy, is a symbol of innocence gone mad. In the play, Ophelia's father manipulates her into spying on Hamlet. Once she is discovered, Hamlet feigns madness with her and treats her cruelly. Having lost Hamlet's affection and her father whom Hamlet killed, Ophelia goes mad and soon dies. It is uncertain whether her death by drowning was accidental or suicide. The scene of her madness (act IV, scene 5) is one of the best known in Western literature. Mortimer, one of the leading English artists of the eighteenth century, was known for bringing the Italian Baroque aesthetic sensibility in etching to England. He etched some of the most ambitious and dramatic plates of the period in the vigorous style of his pen drawings. The Shakespeare Characters was his best known series. Ophelia is one of eight from its first part. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of M.K. Hage, Jr. and the Archer M. Huntington Museum Fund, 1996", "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/1996.281.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1996.281.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1996.281.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1996.281.tif", "IsPrimary" : "1", "_SurrogateID" : "4858", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2921, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2921", "Disp_Access_No" : "1997.85", "_AccNumSort1" : "", "Disp_Create_DT" : "1660", "_Disp_Start_Dat" : "1660", "_Disp_End_Date" : "1660", "Disp_Title" : "Le Bassin [Philibert - Emmanuel de Beaumanoir de Lavardin]", "Alt_Title" : "", "Obj_Title" : "Le Bassin [Philibert - Emmanuel de Beaumanoir de Lavardin]", "Series_Title" : "", "Disp_Maker_1" : "Robert Nanteuil and Anonymous", "Sort_Artist" : "Nanteuil and Anonymous, Robert", "Disp_Dimen" : "34 cm x 25.6 cm (13 3/8 in. x 10 1/16 in.)", "Disp_Height" : "34 cm", "Disp_Width" : "25.6 cm", "Dimen_Extent" : "Sheet", "Medium" : "Engraving with etching", "Support" : "", "Disp_Medium" : "Engraving with etching", "Info_Page_Comm" : "Nanteuil, the greatest of all French portrait engravers, was the printmaker to the court of Louis XIV. He created the earlier portrait of Philbert-Emmanuel de Beaumanoir de Lavardin, bishop of Le Mans, in 1660. During the 1660s Beaumanoir de Lavardin developed a reputation as an atheist. He was formally denounced by the Church leadership after his death in 1671. Sometime after the decline in the bishop’s reputation, an anonymous artist transformed the sitter into a type of quack doctor that was popular in Dutch genre painting, which was appropriate for an individual whose name became synonymous with fraud. In the new print, Le Bassin, an unknown, different artist added etching to the engraved plate to change various details. The bishop of Le Mans was provided with a fur lined mantel that academics wore, and an oversized hat and pincenez. Various pills and sprigs of flowers are arranged on the parapet. The artist also added a bottle containing a tartar emetic, a "vomitive medicament," that indicates the contents of the chamber-pot. The inclusion of tartar emetic adds a distinctly Parisian twist. This (potentially deadly) remedy made of antimony caused a 100-year paper war between the rival medical faculties of Paris and Montpelier, which ended in the humiliation of the Paris School of Medicine in 1666.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, purchase from the Leo Steinberg Collection", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "French", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Parent" : [ { "Rel_Obj_ID" : "2918", "Rel_Obj_Title" : "Philibert-Emmanuel de Beaumanoir de Lavardin" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1997.85.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1997.85.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1997.85.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1997.85.tif", "IsPrimary" : "1", "_SurrogateID" : "4868", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6246, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6246", "Disp_Access_No" : "1982.1071", "_AccNumSort1" : "", "Disp_Create_DT" : "1962", "_Disp_Start_Dat" : "1962", "_Disp_End_Date" : "1962", "Disp_Title" : "Percance [Misfortune]", "Alt_Title" : "", "Obj_Title" : "Percance [Misfortune]", "Series_Title" : "", "Disp_Maker_1" : "Isidoro Ocampo", "Sort_Artist" : "Ocampo, Isidoro", "Disp_Dimen" : "30.8 cm x 47.3 cm (12 1/8 in. x 18 5/8 in.)", "Disp_Height" : "30.8 cm", "Disp_Width" : "47.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Color aquatint and etching", "Support" : "", "Disp_Medium" : "Color aquatint and etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Thomas Cranfill, 1974; 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Its traditional title, La Petite Tombe, refers to the pedestal beneath Christ—a “little tomb”—but derives from a misunderstanding of an early reference to Pieter de la Tombe, for whom Rembrandt probably created the print. The scene conflates the events in Matthew 19, the culmination of Christ’s ministry, in which he explains the sanctity of marriage, orders his disciples to “let the children come to me,” and describes the virtue of poverty. The composition, conceived in light of works by Raphael, is unusually explicit in structure. Christ’s alignment with its axes and his gesture, arms upraised, hands oversized, effectively prefigure the Crucifixion. At the same time, this rigor and this content are relieved by wonderfully observed human incidents, from the unmoved Pharisees to the children, one dumb and led by the hand, another oblivious as he draws with a finger. All are subjected to a mysterious shadow that fuses the theological and human meanings of the scene. These meanings emerge in any impression, but no more than a handful so thoroughly express the artist’s aesthetic intention. With the work in drypoint vivid, a veil of ink tone unifying the surface, and a slightly translucent Japanese paper imparting a faint glow, this would have been among the very first printed by Rembrandt himself.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of the Still Water Foundation, The Dean of the College of Fine Arts, and the Archer M. Huntington Museum Fund, 1995", "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/1995.46.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1995.46.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1995.46.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1995.46.tif", "IsPrimary" : "1", "_SurrogateID" : "1658", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2847, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2847", "Disp_Access_No" : "1996.137", "_AccNumSort1" : "", "Disp_Create_DT" : "1654", "_Disp_Start_Dat" : "1654", "_Disp_End_Date" : "1654", "Disp_Title" : "The Circumcision in the Stable", "Alt_Title" : "", "Obj_Title" : "The Circumcision in the Stable", "Series_Title" : "", "Disp_Maker_1" : "Rembrandt Harmensz. van Rijn", "Sort_Artist" : "Rembrandt Harmensz. van Rijn", "Disp_Dimen" : "10 cm x 15 cm (3 15/16 in. x 5 7/8 in.)", "Disp_Height" : "10 cm", "Disp_Width" : "15 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 Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1996", "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/1996.137.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1996.137.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1996.137.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1996.137.tif", "IsPrimary" : "1", "_SurrogateID" : "6205", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3960, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3960", "Disp_Access_No" : "1995.177", "_AccNumSort1" : "", "Disp_Create_DT" : "1851", "_Disp_Start_Dat" : "1851", "_Disp_End_Date" : "1851", "Disp_Title" : "Der Tod als Freund [Death as a Friend]", "Alt_Title" : "", "Obj_Title" : "Der Tod als Freund [Death as a Friend]", "Series_Title" : "", "Disp_Maker_1" : "Alfred Rethel", "Sort_Artist" : "Rethel, Alfred", "Disp_Dimen" : "30.2 x 27 cm (11 7/8 x 10 5/8 in.)", "Disp_Height" : "30.2 cm", "Disp_Width" : "27 cm", "Dimen_Extent" : "Sheet", "Medium" : "Wood engraving (by Richard Julius Jungtow)", "Support" : "", "Disp_Medium" : "Wood engraving (by Richard Julius Jungtow)", "Info_Page_Comm" : "Death as a Friend portrays a pious monk’s peaceful passage into eternity. As the sun sets, Death, who is dressed as an ally in his monk’s robe adorned with a pilgrim’s shell, respectfully bows his head as he tolls the knell for his friend", "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, 1995", "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/1995.177.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1995.177.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1995.177.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1995.177.tif", "IsPrimary" : "1", "_SurrogateID" : "5550", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3961, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3961", "Disp_Access_No" : "1995.190", "_AccNumSort1" : "", "Disp_Create_DT" : "1851", "_Disp_Start_Dat" : "1851", "_Disp_End_Date" : "1851", "Disp_Title" : "Der Tod als Erwürger [Death as Strangler]", "Alt_Title" : "", "Obj_Title" : "Der Tod als Erwürger [Death as Strangler]", "Series_Title" : "", "Disp_Maker_1" : "Alfred Rethel", "Sort_Artist" : "Rethel, Alfred", "Disp_Dimen" : "33.5 cm x 27.4 cm (13 3/16 in. x 10 13/16 in.)", "Disp_Height" : "33.5 cm", "Disp_Width" : "27.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Wood engraving (by Gustav Richard Steinbrecher)", "Support" : "", "Disp_Medium" : "Wood engraving (by Gustav Richard Steinbrecher)", "Info_Page_Comm" : "Death as an Enemy is inspired by a story of the first appearance of cholera in France written by the German poet Heinrich Heine. In the image, his dancing slippers appear from beneath Death’s monk’s robe as he dances to the fiddle music that he plays. In his wake lie the bodies of the costumed revelers, who were met unprepared for death. ", "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, 1995", "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/1995.190.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1995.190.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1995.190.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1995.190.tif", "IsPrimary" : "1", "_SurrogateID" : "5551", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2562, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2562", "Disp_Access_No" : "1989.24", "_AccNumSort1" : "", "Disp_Create_DT" : "1628", "_Disp_Start_Dat" : "1628", "_Disp_End_Date" : "1628", "Disp_Title" : "Drunken Silenus", "Alt_Title" : "", "Obj_Title" : "Drunken Silenus", "Series_Title" : "", "Disp_Maker_1" : "Jusepe de Ribera", "Sort_Artist" : "Ribera, Jusepe de", "Disp_Dimen" : "27.3 cm x 35 cm (10 3/4 in. x 13 3/4 in.)", "Disp_Height" : "27.3 cm", "Disp_Width" : "35 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching and engraving", "Support" : "", "Disp_Medium" : "Etching and engraving", "Info_Page_Comm" : "Jusepe de Ribera was the most extraordinary realist of the Italian Baroque. His paintings are Caravaggesque in essence but given to unusual subjects, pungent interpretations, and an irregular stylization that owes something to his Spanish origins. His human content is so broad and unflinching that it approaches Rembrandt’s. And his stunningly pure palette and singularly textured brushwork equal the painterliness of Italian virtuosi like Dominico Fetti and Bernardo Strozzi. Etching was an occasional but very concentrated activity for Ribera. His earliest plates, made upon his arrival in Naples in 1616, are swift and energetic sketches of a fairly conventional sort. His major plates, all of the 1620s, rephrase subjects of paintings with exquisitely sensitive drawing, richly varied textures, and the same terribly moving expression. Drunken Silenus elaborates upon a painting of 1626 (Capodimonte, Naples). Its subject is the inebriation of the son of Pan, a Roman agricultural divinity who acted as guardian of the young Bacchus. A frequent pretext for showing the consequences of abandoning reason, the myth is pushed here toward a burlesque of bulging bellies and laughing asses. The etched version is his largest plate, the most similar to a painting, and the most carefully developed. Especially in this exceptionally early impression, Ribera is revealed as an absolute master of the technique. The collection includes thirteen etchings by Ribera, most of his printed oeuvre. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The 1989 Friends of the Archer M. Huntington Art Gallery Purchase", "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/1989.24.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1989.24.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1989.24.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1989.24.tif", "IsPrimary" : "1", "_SurrogateID" : "1494", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11616, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11616", "Disp_Access_No" : "1997.15", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1940", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1945", "Disp_Title" : "Accident Ward", "Alt_Title" : "", "Obj_Title" : "Accident Ward", "Series_Title" : "", "Disp_Maker_1" : "Robert Riggs", "Sort_Artist" : "Riggs, Robert", "Disp_Dimen" : "46.8 cm x 60.4 cm (18 7/16 in. x 23 3/4 in.)", "Disp_Height" : "46.8 cm", "Disp_Width" : "60.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph with tint stone", "Support" : "", "Disp_Medium" : "Lithograph with tint stone", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1997", "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/1997.15.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1997.15.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1997.15.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1997.15.tif", "IsPrimary" : "1", "_SurrogateID" : "2863", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5407, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5407", "Disp_Access_No" : "2000.9", "_AccNumSort1" : "", "Disp_Create_DT" : "1940", "_Disp_Start_Dat" : "1940", "_Disp_End_Date" : "1940", "Disp_Title" : "Psychopathic Ward", "Alt_Title" : "", "Obj_Title" : "Psychopathic Ward", "Series_Title" : "", "Disp_Maker_1" : "Robert Riggs", "Sort_Artist" : "Riggs, Robert", "Disp_Dimen" : "43.7 cm x 60 cm (17 3/16 in. x 23 5/8 in.)", "Disp_Height" : "43.7 cm", "Disp_Width" : "60 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph with tint stone", "Support" : "", "Disp_Medium" : "Lithograph with tint stone", "Info_Page_Comm" : "Riggs covered the stone with a medium grey tone and then scratched to add highlights and added black in areas. A tint stone, which is also scraped away in places to expose the white of the sheet, adds additional depth to the composition. By covering the entire print in a grey tone, Riggs emphasizes the central figure around whom chaos looms. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 2000", "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/2000.9.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.9.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.9.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.9.tif", "IsPrimary" : "1", "_SurrogateID" : "3741", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11615, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11615", "Disp_Access_No" : "1997.37", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1940", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1945", "Disp_Title" : "Ward Rounds", "Alt_Title" : "", "Obj_Title" : "Ward Rounds", "Series_Title" : "", "Disp_Maker_1" : "Robert Riggs", "Sort_Artist" : "Riggs, Robert", "Disp_Dimen" : "43.6 cm x 58.3 cm (17 3/16 in. x 22 15/16 in.)", "Disp_Height" : "43.6 cm", "Disp_Width" : "58.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph with tint-stone", "Support" : "", "Disp_Medium" : "Lithograph with tint-stone", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, gift of Mr. and Mrs. John Minna, 1997", "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/1997.37.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1997.37.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1997.37.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1997.37.tif", "IsPrimary" : "1", "_SurrogateID" : "2864", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8603, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8603", "Disp_Access_No" : "1997.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1763-1764", "_Disp_Start_Dat" : "1763", "_Disp_End_Date" : "1764", "Disp_Title" : "Le Sarcophage, plate 6 from Les Soirées de Rome", "Alt_Title" : "", "Obj_Title" : "Le Sarcophage, plate 6 from Les Soirées de Rome", "Series_Title" : "", "Disp_Maker_1" : "Hubert Robert", "Sort_Artist" : "Robert, Hubert", "Disp_Dimen" : "13.8 cm x 9.6 cm (5 7/16 in. x 3 3/4 in.)", "Disp_Height" : "13.8 cm", "Disp_Width" : "9.6 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 Karen G. and Dr. Elgin W. 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Ware, Jr. Collection, 2000", "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/2000.58.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.58.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.58.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.58.tif", "IsPrimary" : "1", "_SurrogateID" : "4286", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.58.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.58.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.58.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.58.tif", "IsPrimary" : "0", "_SurrogateID" : "4289", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.58.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.58.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.58.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.58.tif", "IsPrimary" : "0", "_SurrogateID" : "4297", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2653, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2653", "Disp_Access_No" : "1988.65", "_AccNumSort1" : "", "Disp_Create_DT" : "1634", "_Disp_Start_Dat" : "1634", "_Disp_End_Date" : "1634", "Disp_Title" : "A Man Grieving, after Rembrandt van Rijn", "Alt_Title" : "", "Obj_Title" : "A Man Grieving, after Rembrandt van Rijn", "Series_Title" : "", "Disp_Maker_1" : "Jan Joris van Vliet", "Sort_Artist" : "Vliet, Jan Joris van", "Disp_Dimen" : "23.2 cm x 19 cm (9 1/8 in. x 7 1/2 in.)", "Disp_Height" : "23.2 cm", "Disp_Width" : "19 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1988", "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/1988.65.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1988.65.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1988.65.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1988.65.tif", "IsPrimary" : "1", "_SurrogateID" : "3947", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11096, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11096", "Disp_Access_No" : "1990.134", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1550", "_Disp_Start_Dat" : "1545", "_Disp_End_Date" : "1555", "Disp_Title" : "The Laocöon, after Marco Dente, after a Roman copy of a Hellenistic statue, 1st century B.C.", "Alt_Title" : "", "Obj_Title" : "The Laocöon, after Marco Dente, after a Roman copy of a Hellenistic statue, 1st century B.C.", "Series_Title" : "", "Disp_Maker_1" : "Nicolas Beatrizet", "Sort_Artist" : "Beatrizet, Nicolas", "Disp_Dimen" : "49.2 cm x 32.7 cm (19 3/8 in. x 12 7/8 in.)", "Disp_Height" : "49.2 cm", "Disp_Width" : "32.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "In the great Hellenistic statuary group known as the Laocöon, the Trojan high priest and his sons are strangled by serpents. A sensation from the moment of its discovery in Rome in 1506, the group inspired countless artists to copy its complex postures, tortured anatomy, and extraordinary virtuosity. Within a decade of the discovery, Marco Dente had interpreted its forms as a reproductive engraving. Two generations later, Beatrizet’s version would translate Dente’s work into one governed by an even more arbitrary, almost abstract pattern. This print epitomizes Mannerist delight in artful departure from natural appearance. It shows attention to accuracy and at the same time a distance from antique sources. The classical backdrop has been replaced with an abstract background of horizontal lines, which focuses the viewer’s attention on the prototype as an object. Moreover, Beatrizet recorded the precise appearance at the time, indicating missing fingers and limbs, as well as the 1540 restoration of the central figure’s right arm. This engraving is part of an encyclopedic group of prints, the Speculum Romanae Magnificentiae [The Mirror of the Splendors of Rome], that reproduce the wonders of contemporary and ancient Rome as they had survived and appeared to the modern visitor. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. 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Not the Feet of the One and Only is inspired by Avery’s own massaging of the feet of one of his first patients at a time when many AIDS workers worried about exposure to the disease. The patient had Kaposi’s sarcoma, a common AIDS-related skin cancer. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1996", "Copyright_Type" : "edu; promo; web", "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/1996.116.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1996.116.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1996.116.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1996.116.tif", "IsPrimary" : "1", "_SurrogateID" : "9043", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11614, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11614", "Disp_Access_No" : "1997.16", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1940", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1945", "Disp_Title" : "Children's Ward", "Alt_Title" : "", "Obj_Title" : "Children's Ward", "Series_Title" : "", "Disp_Maker_1" : "Robert Riggs", "Sort_Artist" : "Riggs, Robert", "Disp_Dimen" : "43.2 cm x 58.7 cm (17 in. x 23 1/8 in.)", "Disp_Height" : "43.2 cm", "Disp_Width" : "58.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph with tint-stone", "Support" : "", "Disp_Medium" : "Lithograph with tint-stone", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1997", "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/1997.16.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1997.16.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1997.16.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1997.16.tif", "IsPrimary" : "1", "_SurrogateID" : "9044", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4500, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4500", "Disp_Access_No" : "1999.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1921", "_Disp_Start_Dat" : "1921", "_Disp_End_Date" : "1921", "Disp_Title" : "Helft Russland [Help Russia]", "Alt_Title" : "", "Obj_Title" : "Helft Russland [Help Russia]", "Series_Title" : "", "Disp_Maker_1" : "Käthe Kollwitz", "Sort_Artist" : "Kollwitz, Käthe", "Disp_Dimen" : "49.9 cm x 64.7 cm (19 5/8 in. x 25 1/2 in.)", "Disp_Height" : "49.9 cm", "Disp_Width" : "64.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "Kollwitz designed this image for a poster appealing for aid to famine relief efforts in the struggling new nation, the Soviet Union. The composition, with the emaciated young man with helping hands reaching toward him, makes her plea explicit. In the years following World War I, Kollwitz created many such prints to aid with the relief of countless victims of post-war hunger, unemployment, and poverty by using posters to draw attention to their plight. While Kollwitz did not align herself with any radical political groups, she was always outspoken in her support of the rights of people of all nations.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1999", "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/1999.2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1999.2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1999.2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1999.2.tif", "IsPrimary" : "1", "_SurrogateID" : "9045", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11361, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11361", "Disp_Access_No" : "1999.6", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1816", "_Disp_Start_Dat" : "1811", "_Disp_End_Date" : "1821", "Disp_Title" : "Les Effets de la médecine [The Results of Medicine], after James Gillray", "Alt_Title" : "", "Obj_Title" : "Les Effets de la médecine [The Results of Medicine], after James Gillray", "Series_Title" : "", "Disp_Maker_1" : "Anonymous", "Sort_Artist" : "Anonymous", "Disp_Dimen" : "37.3 cm x 26.7 cm (14 11/16 in. x 10 1/2 in.)", "Disp_Height" : "37.3 cm", "Disp_Width" : "26.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph with hand coloring", "Support" : "", "Disp_Medium" : "Lithograph with hand coloring", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1999", "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/1999.6.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1999.6.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1999.6.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1999.6.tif", "IsPrimary" : "1", "_SurrogateID" : "9046", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11363, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11363", "Disp_Access_No" : "1999.8", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1816", "_Disp_Start_Dat" : "1811", "_Disp_End_Date" : "1821", "Disp_Title" : "Le Lendemain de médecine [The Day after Medicine], after James Gillray", "Alt_Title" : "", "Obj_Title" : "Le Lendemain de médecine [The Day after Medicine], after James Gillray", "Series_Title" : "", "Disp_Maker_1" : "Anonymous", "Sort_Artist" : "Anonymous", "Disp_Dimen" : "37.5 cm x 27.9 cm (14 3/4 in. x 11 in.)", "Disp_Height" : "37.5 cm", "Disp_Width" : "27.9 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph with hand coloring", "Support" : "", "Disp_Medium" : "Lithograph with hand coloring", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1999", "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/1999.8.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1999.8.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1999.8.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1999.8.tif", "IsPrimary" : "1", "_SurrogateID" : "9047", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11355, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11355", "Disp_Access_No" : "1999.9", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1810", "_Disp_Start_Dat" : "1805", "_Disp_End_Date" : "1815", "Disp_Title" : "Les Malheurs de la vaccine [The Misfortunes of the Vaccine]", "Alt_Title" : "", "Obj_Title" : "Les Malheurs de la vaccine [The Misfortunes of the Vaccine]", "Series_Title" : "", "Disp_Maker_1" : "Anonymous", "Sort_Artist" : "Anonymous", "Disp_Dimen" : "35.3 cm x 52.6 cm (13 7/8 in. x 20 11/16 in.)", "Disp_Height" : "35.3 cm", "Disp_Width" : "52.6 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching and engraving with hand-coloring", "Support" : "", "Disp_Medium" : "Etching and engraving with hand-coloring", "Info_Page_Comm" : "In the nineteenth century the prestige and influence of doctors rose quite rapidly; however, their newly elevated position in society had its price. Doctors also elicited a degree of hostility which was frequently vented in the work of humorous illustrators, who satirically depicted the various diagnostic and therapeutic methods of their day. Most major discoveries in the field, such as microorganisms as the cause of infection, and anesthesia, were made during the latter part of the century. Prior to that, treatments primarily focused upon diet, emetics, bloodletting, and enemas which more often made patients feel worse and, at times, caused death. The precise meaning of this print is not known; however, within this context, there are a number of possibilities. It could be a satiric comment on a fad for a certain kind of vaccine or the potential side effects of the drug, including addiction. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1999", "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/1999.9.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1999.9.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1999.9.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1999.9.tif", "IsPrimary" : "1", "_SurrogateID" : "9048", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3592, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3592", "Disp_Access_No" : "1999.10", "_AccNumSort1" : "", "Disp_Create_DT" : "1773", "_Disp_Start_Dat" : "1773", "_Disp_End_Date" : "1773", "Disp_Title" : "The Merits and Defects of the Dead by Their Ingenious Secretary", "Alt_Title" : "", "Obj_Title" : "The Merits and Defects of the Dead by Their Ingenious Secretary", "Series_Title" : "", "Disp_Maker_1" : "William Austin", "Sort_Artist" : "Austin, William", "Disp_Dimen" : "29.1 x 37.3 cm (11 7/16 x 14 11/16 in.)", "Disp_Height" : "29.1 cm", "Disp_Width" : "37.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching with engraving", "Support" : "", "Disp_Medium" : "Etching with engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1999", "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/1999.10.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1999.10.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1999.10.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1999.10.tif", "IsPrimary" : "1", "_SurrogateID" : "9049", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1480, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1480", "Disp_Access_No" : "1997.9.1/4", "_AccNumSort1" : "", "Disp_Create_DT" : "1996", "_Disp_Start_Dat" : "1996", "_Disp_End_Date" : "1996", "Disp_Title" : "Photoworks, Suite III, Print IX", "Alt_Title" : "", "Obj_Title" : "Photoworks, Suite III, Print IX", "Series_Title" : "", "Disp_Maker_1" : "Dirk De Bruycker", "Sort_Artist" : "De Bruycker, Dirk", "Disp_Dimen" : "52.3 cm x 38.3 cm (20 9/16 in. x 15 1/16 in.)", "Disp_Height" : "52.3 cm", "Disp_Width" : "38.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Photolithograph", "Support" : "", "Disp_Medium" : "Photolithograph", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1997", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "Belgian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1997.9.1-4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1997.9.1-4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1997.9.1-4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1997.9.1-4.tif", "IsPrimary" : "1", "_SurrogateID" : "9050", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1481, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1481", "Disp_Access_No" : "1997.9.2/4", "_AccNumSort1" : "", "Disp_Create_DT" : "1996", "_Disp_Start_Dat" : "1996", "_Disp_End_Date" : "1996", "Disp_Title" : "Photoworks, Suite III, Print X", "Alt_Title" : "", "Obj_Title" : "Photoworks, Suite III, Print X", "Series_Title" : "", "Disp_Maker_1" : "Dirk De Bruycker", "Sort_Artist" : "De Bruycker, Dirk", "Disp_Dimen" : "52.3 cm x 38.5 cm (20 9/16 in. x 15 3/16 in.)", "Disp_Height" : "52.3 cm", "Disp_Width" : "38.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Photolithograph", "Support" : "", "Disp_Medium" : "Photolithograph", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1997", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "Belgian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1997.9.2-4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1997.9.2-4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1997.9.2-4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1997.9.2-4.tif", "IsPrimary" : "1", "_SurrogateID" : "9051", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1482, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1482", "Disp_Access_No" : "1997.9.3/4", "_AccNumSort1" : "", "Disp_Create_DT" : "1996", "_Disp_Start_Dat" : "1996", "_Disp_End_Date" : "1996", "Disp_Title" : "Photoworks, Suite III, Print XI", "Alt_Title" : "", "Obj_Title" : "Photoworks, Suite III, Print XI", "Series_Title" : "", "Disp_Maker_1" : "Dirk De Bruycker", "Sort_Artist" : "De Bruycker, Dirk", "Disp_Dimen" : "52.3 cm x 38.7 cm (20 9/16 in. x 15 1/4 in.)", "Disp_Height" : "52.3 cm", "Disp_Width" : "38.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Photolithograph", "Support" : "", "Disp_Medium" : "Photolithograph", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1997", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "Belgian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1997.9.3-4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1997.9.3-4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1997.9.3-4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1997.9.3-4.tif", "IsPrimary" : "1", "_SurrogateID" : "9052", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1479, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1479", "Disp_Access_No" : "1997.9.4/4", "_AccNumSort1" : "", "Disp_Create_DT" : "1996", "_Disp_Start_Dat" : "1996", "_Disp_End_Date" : "1996", "Disp_Title" : "Photoworks, Suite III, Print XII", "Alt_Title" : "", "Obj_Title" : "Photoworks, Suite III, Print XII", "Series_Title" : "", "Disp_Maker_1" : "Dirk De Bruycker", "Sort_Artist" : "De Bruycker, Dirk", "Disp_Dimen" : "52.4 cm x 38.3 cm (20 5/8 in. x 15 1/16 in.)", "Disp_Height" : "52.4 cm", "Disp_Width" : "38.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Photolithograph", "Support" : "", "Disp_Medium" : "Photolithograph", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1997", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "Belgian", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1997.9.4-4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1997.9.4-4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1997.9.4-4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1997.9.4-4.tif", "IsPrimary" : "1", "_SurrogateID" : "9053", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8482, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8482", "Disp_Access_No" : "2000.51", "_AccNumSort1" : "", "Disp_Create_DT" : "1771", "_Disp_Start_Dat" : "1771", "_Disp_End_Date" : "1771", "Disp_Title" : "The Female Consultation on the Blessed Medicine", "Alt_Title" : "", "Obj_Title" : "The Female Consultation on the Blessed Medicine", "Series_Title" : "", "Disp_Maker_1" : "Anonymous", "Sort_Artist" : "Anonymous", "Disp_Dimen" : "23 cm x 15.5 cm (9 1/16 in. x 6 1/8 in.)", "Disp_Height" : "23 cm", "Disp_Width" : "15.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Mezzotint with burin", "Support" : "", "Disp_Medium" : "Mezzotint with burin", "Info_Page_Comm" : "“Blessed medicine” is a euphemism for the treatment of syphilis, putting the probity of these women into question. Practically from the origin of the medium, anonymous printmakers conveyed subjects of everyday concern using rudimentary techniques. Occasionally, such popular subjects have appeared in “artistic” works. Over the course of the eighteenth-century, and especially in England, this upward migration became more common. This print, done in the most sophisticated technique of the day––mezzotint––is a choice example.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 2000", "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/2000.51.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.51.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.51.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.51.tif", "IsPrimary" : "1", "_SurrogateID" : "9054", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3594, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3594", "Disp_Access_No" : "2000.53", "_AccNumSort1" : "", "Disp_Create_DT" : "1773", "_Disp_Start_Dat" : "1773", "_Disp_End_Date" : "1773", "Disp_Title" : "Major G...n + Lady Landing at Southhampton in Cripples Walk", "Alt_Title" : "", "Obj_Title" : "Major G...n + Lady Landing at Southhampton in Cripples Walk", "Series_Title" : "", "Disp_Maker_1" : "William Austin", "Sort_Artist" : "Austin, William", "Disp_Dimen" : "39.4 cm x 28.4 cm (15 1/2 in. x 11 3/16 in.)", "Disp_Height" : "39.4 cm", "Disp_Width" : "28.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 2000", "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/2000.53.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.53.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.53.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.53.tif", "IsPrimary" : "1", "_SurrogateID" : "9055", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8474, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8474", "Disp_Access_No" : "2000.59", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Study of the Musculature: Right Arm, Posterior", "Alt_Title" : "", "Obj_Title" : "Study of the Musculature: Right Arm, Posterior", "Series_Title" : "", "Disp_Maker_1" : "Anonymous", "Sort_Artist" : "Anonymous", "Disp_Dimen" : "54.4 cm x 37.4 cm (21 7/16 in. x 14 3/4 in.)", "Disp_Height" : "54.4 cm", "Disp_Width" : "37.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Stipple engraving in color", "Support" : "", "Disp_Medium" : "Stipple engraving in color", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 2000", "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/2000.59.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.59.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.59.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.59.tif", "IsPrimary" : "1", "_SurrogateID" : "9056", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8475, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8475", "Disp_Access_No" : "2000.60", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Study of Musculature: Upper Arm, Posterior", "Alt_Title" : "", "Obj_Title" : "Study of Musculature: Upper Arm, Posterior", "Series_Title" : "", "Disp_Maker_1" : "Anonymous", "Sort_Artist" : "Anonymous", "Disp_Dimen" : "40.3 cm x 51.2 cm (15 7/8 in. x 20 3/16 in.)", "Disp_Height" : "40.3 cm", "Disp_Width" : "51.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Stipple engraving in color", "Support" : "", "Disp_Medium" : "Stipple engraving in color", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. 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Ware, Jr. Collection, 2000", "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/2000.57.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.57.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.57.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.57.tif", "IsPrimary" : "1", "_SurrogateID" : "9082", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8602, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8602", "Disp_Access_No" : "1997.4", "_AccNumSort1" : "", "Disp_Create_DT" : "1763-1764", "_Disp_Start_Dat" : "1763", "_Disp_End_Date" : "1764", "Disp_Title" : "Le Buste, title page from Les Soirées de Rome", "Alt_Title" : "", "Obj_Title" : "Le Buste, title page from Les Soirées de Rome", "Series_Title" : "", "Disp_Maker_1" : "Hubert Robert", "Sort_Artist" : "Robert, Hubert", "Disp_Dimen" : "13.9 cm x 9.7 cm (5 1/2 in. x 3 13/16 in.)", "Disp_Height" : "13.9 cm", "Disp_Width" : "9.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "Robert was known as “Robert of the Ruins” for his many paintings, drawings and prints of ruins and cemeteries. Created for Marguerite Le Comte, Les soirées de Rome is a series of views of ancient Roman ruins overrun by lush foliage. Le sarcophage, is an image of an antique tomb similar to those along the Via Appia in Rome. The initials D.M. on the base invoke the Dieux Mânes, or Gods of the Dead. The appeal of Roman ruins is best articulated in the words of Robert’s contemporary, Diderot, when he wrote: The ideas that ruins evoke in me are of great significance. Everything is reduced to nothing, everything perishes, everything disappears. Only the world is left. Only time remains. How old the world is! I walk between two eternities. No matter where I let my eyes fall, the objects surround me speak to me of an end to everything and force me to resign myself to my own end. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 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/1997.4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1997.4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1997.4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1997.4.tif", "IsPrimary" : "1", "_SurrogateID" : "9071", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8854, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8854", "Disp_Access_No" : "2000.22", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1867-1873", "_Disp_Start_Dat" : "1867", "_Disp_End_Date" : "1873", "Disp_Title" : "Christ Healing the Possessed Boy, after Alexandre Bida", "Alt_Title" : "", "Obj_Title" : "Christ Healing the Possessed Boy, after Alexandre Bida", "Series_Title" : "", "Disp_Maker_1" : "Félix Bracquemond", "Sort_Artist" : "Bracquemond, Félix", "Disp_Dimen" : "22.1 cm x 34.9 cm (8 11/16 in. x 13 3/4 in.)", "Disp_Height" : "22.1 cm", "Disp_Width" : "34.9 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching on chine appliqué", "Support" : "", "Disp_Medium" : "Etching on chine appliqué", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 2000", "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/2000.22.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.22.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.22.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.22.tif", "IsPrimary" : "1", "_SurrogateID" : "9077", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11458, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11458", "Disp_Access_No" : "2000.24", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1904", "_Disp_Start_Dat" : "1899", "_Disp_End_Date" : "1909", "Disp_Title" : "Le Stropiat [The Cripple], from Les Affliges", "Alt_Title" : "", "Obj_Title" : "Le Stropiat [The Cripple], from Les Affliges", "Series_Title" : "", "Disp_Maker_1" : "Bernard Naudin", "Sort_Artist" : "Naudin, Bernard", "Disp_Dimen" : "22.4 cm x 13.5 cm (8 13/16 in. x 5 5/16 in.)", "Disp_Height" : "22.4 cm", "Disp_Width" : "13.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 2000", "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/2000.24.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.24.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.24.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.24.tif", "IsPrimary" : "1", "_SurrogateID" : "9079", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11386, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11386", "Disp_Access_No" : "1999.13", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1840", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1845", "Disp_Title" : "Dangereux effet des pâtes orientales [The dangerous effect of oriental noodles], plate 2 from Revers des médailles [The Other Side of the Coin, in La Caricature, 29 March 1840", "Alt_Title" : "Dangereux effet des pâtes orientales, telles que le rachaout ou / le nafé d’Arabie, sur des organisations trop délicates [The dangerous effect of oriental noodles, such as rachaout [sic] or / Arabian nafé [sic], on very sensitive organizations], plate 2 from Revers des médailles [The Other Side of the Coin], in La Caricature, 29 March 1840", "Obj_Title" : "Dangereux effet des pâtes orientales [The dangerous effect of oriental noodles], plate 2 from Revers des médailles [The Other Side of the Coin, in La Caricature, 29 March 1840", "Series_Title" : "", "Disp_Maker_1" : "Paul Gavarni", "Sort_Artist" : "Gavarni, Paul", "Disp_Dimen" : "35.9 cm x 24.8 cm (14 1/8 in. x 9 3/4 in.)", "Disp_Height" : "35.9 cm", "Disp_Width" : "24.8 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "Gavarni was almost exclusively a satirical printmaker and second only to Daumier in acuteness during the nineteenth century in France. In this characteristic print, the obese, middle-class child accompanied by his large dog stands with ironic portrayals of aristocratic counterparts framed on the wall behind him. The humor in this print comes from the artist's allusions to traditional allegorical figures of Gluttony in art within this contemporary scene. Representing one of the Seven Deadly Sins, images of Gluttony were held out as moralizing examples since the middle ages. The inscription provides an additional ironic twist to this print as it implies that the cause of the contour of the child's belly is his delicate system, rather than his over-eating. Published in La Caricature, 29 March 1840; published in Le Charivari, 12 November 1842", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1999", "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/1999.13.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1999.13.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1999.13.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1999.13.tif", "IsPrimary" : "1", "_SurrogateID" : "9074", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11364, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11364", "Disp_Access_No" : "1999.12", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1816-1822", "_Disp_Start_Dat" : "1816", "_Disp_End_Date" : "1822", "Disp_Title" : "Antichambre d'un médicin [A Doctor's Waiting Room], no. 33 from Musée grotesque", "Alt_Title" : "", "Obj_Title" : "Antichambre d'un médicin [A Doctor's Waiting Room], no. 33 from Musée grotesque", "Series_Title" : "", "Disp_Maker_1" : "Godissart de Cari", "Sort_Artist" : "Cari, Godissart de", "Disp_Dimen" : "26.9 cm x 35.4 cm (10 9/16 in. x 13 15/16 in.)", "Disp_Height" : "26.9 cm", "Disp_Width" : "35.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching and engraving with hand-coloring", "Support" : "", "Disp_Medium" : "Etching and engraving with hand-coloring", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1999", "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/1999.12.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1999.12.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1999.12.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1999.12.tif", "IsPrimary" : "1", "_SurrogateID" : "9073", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8855, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8855", "Disp_Access_No" : "2000.23", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1867-1873", "_Disp_Start_Dat" : "1867", "_Disp_End_Date" : "1873", "Disp_Title" : "Christ Healing the Possessed Boy, after Alexandre Bida", "Alt_Title" : "", "Obj_Title" : "Christ Healing the Possessed Boy, after Alexandre Bida", "Series_Title" : "", "Disp_Maker_1" : "Félix Bracquemond", "Sort_Artist" : "Bracquemond, Félix", "Disp_Dimen" : "31.4 cm x 44.8 cm (12 3/8 in. x 17 5/8 in.)", "Disp_Height" : "31.4 cm", "Disp_Width" : "44.8 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 Karen G. and Dr. Elgin W. Ware, Jr. Collection, 2000", "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/2000.23.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.23.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.23.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.23.tif", "IsPrimary" : "1", "_SurrogateID" : "9078", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8519, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8519", "Disp_Access_No" : "2000.25", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Gout and the Spider, from The Fables of Jean de La Fontaine, after Jean-Baptiste Oudry", "Alt_Title" : "", "Obj_Title" : "Gout and the Spider, from The Fables of Jean de La Fontaine, after Jean-Baptiste Oudry", "Series_Title" : "", "Disp_Maker_1" : "Pierre-Louis de Surugue, the younger", "Sort_Artist" : "Surugue, the younger, Pierre-Louis de", "Disp_Dimen" : "30.7 cm x 22.8 cm (12 1/16 in. x 9 in.)", "Disp_Height" : "30.7 cm", "Disp_Width" : "22.8 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 Karen G. and Dr. Elgin W. Ware, Jr. Collection, 2000", "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/2000.25.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.25.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.25.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2000.25.tif", "IsPrimary" : "1", "_SurrogateID" : "9080", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3568, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3568", "Disp_Access_No" : "1999.18", "_AccNumSort1" : "", "Disp_Create_DT" : "1770", "_Disp_Start_Dat" : "1770", "_Disp_End_Date" : "1770", "Disp_Title" : "Camille de Boissieu", "Alt_Title" : "", "Obj_Title" : "Camille de Boissieu", "Series_Title" : "", "Disp_Maker_1" : "Jean-Jacques de Boissieu", "Sort_Artist" : "Boissieu, Jean-Jacques de", "Disp_Dimen" : "24.2 cm x 18 cm (9 1/2 in. x 7 1/16 in.)", "Disp_Height" : "24.2 cm", "Disp_Width" : "18 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "This is a loving memorial tribute by Boissieu to his brother, a doctor, Camille de Boissieu, who died in the year the artist created the print. Camille had an illustrious career before his untimely death at age thirty-six. He received his doctorate from Montpellier in 1755, and was distinguished for his devotion during an epidemic that ravished Mâcon in 1768. In 1769, his book on antiseptics was published, and his book on heating and cooling methods (probably based on the humors) was published post-mortem in 1772. Jean-Jacques de Boissieu was a pioneer of the return to pure, painterly etching in the late eighteenth century. This is a rare image, printed in a small edition, it was obviously intended for an intimate circle of family and close friends. The lack of a printed inscription further indicates that it was intended for a small audience to whom its subject and context needed no explanation ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1999", "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/1999.18.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1999.18.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1999.18.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1999.18.tif", "IsPrimary" : "1", "_SurrogateID" : "9075", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3988, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3988", "Disp_Access_No" : "1996.290", "_AccNumSort1" : "", "Disp_Create_DT" : "1855", "_Disp_Start_Dat" : "1855", "_Disp_End_Date" : "1855", "Disp_Title" : "Rue de la Vieille Lanterne", "Alt_Title" : "", "Obj_Title" : "Rue de la Vieille Lanterne", "Series_Title" : "", "Disp_Maker_1" : "Célestin François Nanteuil", "Sort_Artist" : "Nanteuil, Célestin François", "Disp_Dimen" : "30.4 cm x 23.2 cm (11 15/16 in. x 9 1/8 in.)", "Disp_Height" : "30.4 cm", "Disp_Width" : "23.2 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 Karen G. and Dr. Elgin W. Ware, Jr. Collection, 1996", "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/1996.290.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1996.290.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1996.290.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1996.290.tif", "IsPrimary" : "1", "_SurrogateID" : "9070", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16568, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16568", "Disp_Access_No" : "2002.2818", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Pas mauvais, pas mauvais, No. 50 from Moeurs parisiennes", "Alt_Title" : "", "Obj_Title" : "Pas mauvais, pas mauvais, No. 50 from Moeurs parisiennes", "Series_Title" : "", "Disp_Maker_1" : "Edmé Jean Pigal", "Sort_Artist" : "Pigal, Edmé Jean", "Disp_Dimen" : "36.6 cm x 27.7 cm (14 7/16 in. x 10 7/8 in.)", "Disp_Height" : "36.6 cm", "Disp_Width" : "27.7 cm", "Dimen_Extent" : "sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. 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