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Hage, Jr., 1970; 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/1982.766.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.766.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.766.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.766.tif", "IsPrimary" : "1", "_SurrogateID" : "6863", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5341, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5341", "Disp_Access_No" : "1979.32.3/6", "_AccNumSort1" : "", "Disp_Create_DT" : "1939", "_Disp_Start_Dat" : "1939", "_Disp_End_Date" : "1939", "Disp_Title" : "Por eso los hacen pandos...porque los montan tiernitos, from Dichos populares [They Make Them Bend...Because They Ride Them from Early On, from Popular Sayings]", "Alt_Title" : "They Make Them Bend...Because They Ride Them from Early On, from Popular Sayings", "Obj_Title" : "Por eso los hacen pandos...porque los montan tiernitos, from Dichos populares [They Make Them Bend...Because They Ride Them from Early On, from Popular Sayings]", "Series_Title" : "", "Disp_Maker_1" : "Raúl Anguiano", "Sort_Artist" : "Anguiano, Raúl", "Disp_Dimen" : "44.8 cm x 57.3 cm (17 5/8 in. x 22 9/16 in.)", "Disp_Height" : "44.8 cm", "Disp_Width" : "57.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "Folder for Dichos populares located in flat file 1: drawer 3.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Transfer from the General Libraries, The University of Texas at Austin, 1979", "Copyright_Type" : "", "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/1979.32.3-6.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1979.32.3-6.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1979.32.3-6.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1979.32.3-6.tif", "IsPrimary" : "1", "_SurrogateID" : "1182", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5799, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5799", "Disp_Access_No" : "1990.100", "_AccNumSort1" : "", "Disp_Create_DT" : "1948", "_Disp_Start_Dat" : "1948", "_Disp_End_Date" : "1948", "Disp_Title" : "The Unfamiliar Way", "Alt_Title" : "", "Obj_Title" : "The Unfamiliar Way", "Series_Title" : "", "Disp_Maker_1" : "Constance Forsyth", "Sort_Artist" : "Forsyth, Constance", "Disp_Dimen" : "43.9 cm x 28.5 cm (17 5/16 in. x 11 1/4 in.)", "Disp_Height" : "43.9 cm", "Disp_Width" : "28.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mr. and Mrs. Robert Selby, 1990", "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/1990.100.TIF", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1990.100.TIF", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1990.100.TIF", "IIIF_URL": "http://iiif.gallerysystems.com/1990.100.TIF", "IsPrimary" : "1", "_SurrogateID" : "9405", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6330, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6330", "Disp_Access_No" : "P1970.6.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "Ramona pupila", "Alt_Title" : "", "Obj_Title" : "Ramona pupila", "Series_Title" : "", "Disp_Maker_1" : "Antonio Berni", "Sort_Artist" : "Berni, Antonio", "Disp_Dimen" : "149.5 cm x 64.2 cm (58 7/8 in. x 25 1/4 in.)", "Disp_Height" : "149.5 cm", "Disp_Width" : "64.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Collograph", "Support" : "", "Disp_Medium" : "Collograph", "Info_Page_Comm" : "Antonio Berni’s experimental figuration was a key point of departure for the members of Nueva Figuración. Beginning in the late 1950s, Berni developed two narrative series based on the lives of imaginary characters Juanito Laguna, a boy from the slums, and Ramona Montiel, a prostitute. In these two works, Berni explores the use of three-dimensional printmaking techniques, lending surfaces a sculptural quality. Ramona seems to be assembled out of discarded objects the artist found in the street. Fragments of cheap tablecloths, broken mechanical parts, and forgotten ordinary items reinforce the marginality of Ramona’s existence. Berni pursued through these innovative collagraphs the central goal of his long and prolific career, an art of social engagement. See also: Antonio Berni, "Retrato de Ramona [Portrait of Ramona]," 1963, Collage of collagraph prints", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. 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Between the months of March and October he created 347 graphic works, published as the 347 Suite. With no central theme or technique in mind, Picasso’s creative thought flowed from one innovative idea to the next. In this print, he returns to the dual vantage motif he developed in the twenties. An aged Picasso on the right blankly stares past the woman on the left whose breasts and rear are presented to the audience simultaneously. 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Huntington Museum Fund, 1986", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "Puerto Rican", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1986.9.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.9.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.9.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.9.tif", "IsPrimary" : "1", "_SurrogateID" : "7129", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7678, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7678", "Disp_Access_No" : "1983.7", "_AccNumSort1" : "", "Disp_Create_DT" : "1981", "_Disp_Start_Dat" : "1981", "_Disp_End_Date" : "1981", "Disp_Title" : "Dos ciclistas [Two Cyclists]", "Alt_Title" : "Two Cyclists", "Obj_Title" : "Dos ciclistas [Two Cyclists]", "Series_Title" : "", "Disp_Maker_1" : "Armando Morales", "Sort_Artist" : "Morales, Armando", "Disp_Dimen" : "45 cm x 152 cm (17 11/16 in. x 59 13/16 in.)", "Disp_Height" : "45 cm", "Disp_Width" : "152 cm", "Dimen_Extent" : "Image", "Medium" : "Two-run lithograph from two stones", "Support" : "", "Disp_Medium" : "Two-run lithograph from two stones", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1983", "Copyright_Type" : "", "Disp_Obj_Type" : "print", "Creation_Place2" : "Nicaraguan", "Department" : "Prints and Drawings; Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1983.7.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1983.7.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1983.7.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1983.7.tif", "IsPrimary" : "1", "_SurrogateID" : "5391", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7989, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7989", "Disp_Access_No" : "1996.196", "_AccNumSort1" : "", "Disp_Create_DT" : "1993", "_Disp_Start_Dat" : "1993", "_Disp_End_Date" : "1993", "Disp_Title" : "Amazon", "Alt_Title" : "", "Obj_Title" : "Amazon", "Series_Title" : "", "Disp_Maker_1" : "Judith Linhares", "Sort_Artist" : "Linhares, Judith", "Disp_Dimen" : "63.5 cm x 95.5 cm (25 in. x 37 5/8 in.)", "Disp_Height" : "63.5 cm", "Disp_Width" : "95.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Linoleum cut", "Support" : "", "Disp_Medium" : "Linoleum cut", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Transfer from the Guest Artists in Printmaking Program, Art Department, The University of Texas at Austin, 1996", "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/1996.196.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1996.196.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1996.196.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1996.196.tif", "IsPrimary" : "1", "_SurrogateID" : "3971", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8091, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8091", "Disp_Access_No" : "P1965.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1530's", "_Disp_Start_Dat" : "1530", "_Disp_End_Date" : "1530", "Disp_Title" : "The Women's Bath", "Alt_Title" : "", "Obj_Title" : "The Women's Bath", "Series_Title" : "", "Disp_Maker_1" : "Sebald Beham", "Sort_Artist" : "Beham, Sebald", "Disp_Dimen" : "29.35 cm x 29.5 cm (11 9/16 in. x 11 5/8 in.)", "Disp_Height" : "29.35 cm", "Disp_Width" : "29.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Woodcut", "Support" : "", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. Huntington Museum Fund, 1965", "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/P1965.2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/P1965.2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/P1965.2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/P1965.2.tif", "IsPrimary" : "1", "_SurrogateID" : "6537", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8131, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8131", "Disp_Access_No" : "1997.6", "_AccNumSort1" : "", "Disp_Create_DT" : "1550-1583", "_Disp_Start_Dat" : "1550", "_Disp_End_Date" : "1583", "Disp_Title" : "The Rape of Hippodamia, after Enea Vico, after Rosso Fiorentino", "Alt_Title" : "", "Obj_Title" : "The Rape of Hippodamia, after Enea Vico, after Rosso Fiorentino", "Series_Title" : "", "Disp_Maker_1" : "Etienne Delaune", "Sort_Artist" : "Delaune, Etienne", "Disp_Dimen" : "8.3 cm x 13 cm (3 1/4 in. x 5 1/8 in.)", "Disp_Height" : "8.3 cm", "Disp_Width" : "13 cm", "Dimen_Extent" : "Sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of the Still Water Foundation, 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/1997.6.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1997.6.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1997.6.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1997.6.tif", "IsPrimary" : "1", "_SurrogateID" : "4790", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8662, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8662", "Disp_Access_No" : "1994.56", "_AccNumSort1" : "", "Disp_Create_DT" : "1797-1798 (p. 1868)", "_Disp_Start_Dat" : "1797", "_Disp_End_Date" : "1798", "Disp_Title" : "Donde vá mama? [Where is Mother Going?], plate 65 from Los Caprichos", "Alt_Title" : "", "Obj_Title" : "Donde vá mama? [Where is Mother Going?], plate 65 from Los Caprichos", "Series_Title" : "", "Disp_Maker_1" : "Francisco de Goya y Lucientes", "Sort_Artist" : "Goya y Lucientes, Francisco de", "Disp_Dimen" : "31.6 cm x 21.7 cm (12 7/16 in. x 8 9/16 in.)", "Disp_Height" : "31.6 cm", "Disp_Width" : "21.7 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching, aquatint and drypoint", "Support" : "", "Disp_Medium" : "Etching, aquatint and drypoint", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Mr. and Mrs. Makoto Miyagi, 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/1994.56.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1994.56.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1994.56.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1994.56.tif", "IsPrimary" : "1", "_SurrogateID" : "8308", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8723, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8723", "Disp_Access_No" : "1996.261", "_AccNumSort1" : "", "Disp_Create_DT" : "1824-1825", "_Disp_Start_Dat" : "1824", "_Disp_End_Date" : "1825", "Disp_Title" : "The Conflict between Satan and Death, from John Milton's Paradise Lost, Book 2, line 727", "Alt_Title" : "", "Obj_Title" : "The Conflict between Satan and Death, from John Milton's Paradise Lost, Book 2, line 727", "Series_Title" : "", "Disp_Maker_1" : "John Martin", "Sort_Artist" : "Martin, John", "Disp_Dimen" : "27.7 cm x 37.3 cm (10 7/8 in. x 14 11/16 in.)", "Disp_Height" : "27.7 cm", "Disp_Width" : "37.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Mezzotint and drypoint", "Support" : "", "Disp_Medium" : "Mezzotint and drypoint", "Info_Page_Comm" : "From the gates of hell Sin leaps up to stop these two demons—Satan and Death—from annihilating each other. Satan, with his bat-like wings, stands poised to thrust his spear, while a toad-like Death emerges shrouded in black fog. Martin hints at Death’s form, burnishing out only the whites of its eyes, unable or unwilling to define it for us.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Purchase through the generosity of the Still Water Foundation, 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/1996.261.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1996.261.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1996.261.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1996.261.tif", "IsPrimary" : "1", "_SurrogateID" : "5476", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8888, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8888", "Disp_Access_No" : "1999.255", "_AccNumSort1" : "", "Disp_Create_DT" : "1910", "_Disp_Start_Dat" : "1910", "_Disp_End_Date" : "1910", "Disp_Title" : "Baigneuse debout, à mi-jambes [Standing bather, three quarter length]", "Alt_Title" : "", "Obj_Title" : "Baigneuse debout, à mi-jambes [Standing bather, three quarter length]", "Series_Title" : "", "Disp_Maker_1" : "Pierre-Auguste Renoir", "Sort_Artist" : "Renoir, Pierre-Auguste", "Disp_Dimen" : "24.9 cm x 16.2 cm (9 13/16 in. x 6 3/8 in.)", "Disp_Height" : "24.9 cm", "Disp_Width" : "16.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "Pierre-Auguste Renoir began printmaking in the 1890s at the urging of friends and publishers. Renoir never owned a press and did not supervise the printing of his etchings. He was more interested in the medium’s commercial possibilities than its expressive potential. Renoir’s first prints reproduced some of his earlier drawings from 1887. In total, he made about fifty prints, featuring the familiar subject matter of his paintings—portraits of friends and children as well as a series of reclining nudes and bathers, as exemplified by this etching.", "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, 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/1999.255.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1999.255.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1999.255.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1999.255.tif", "IsPrimary" : "1", "_SurrogateID" : "5444", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8920, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8920", "Disp_Access_No" : "1980.91", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Nue endormie [Sleeping Nude]", "Alt_Title" : "Nude Sleeping", "Obj_Title" : "Nue endormie [Sleeping Nude]", "Series_Title" : "", "Disp_Maker_1" : "Paul Albert Besnard", "Sort_Artist" : "Besnard, Paul Albert", "Disp_Dimen" : "20 cm x 27.3 cm (7 7/8 in. x 10 3/4 in.)", "Disp_Height" : "20 cm", "Disp_Width" : "27.3 cm", "Dimen_Extent" : "Sheet", "Medium" : "Sepia etching", "Support" : "", "Disp_Medium" : "Sepia etching", "Info_Page_Comm" : "Unlike many of the other artists shown here, Besnard successfully navigated the official academic art establishment, winning the coveted Prix de Rome, which allowed him to study at the government’s expense in Rome for five years and subsequently to earn many publicly funded commissions. The Symbolists were attracted to Besnard’s ability to create mood through a manipulation of luminous effects in his prints and paintings. His best-known print series is Elle [She], an essay on the femme fatale. This single image shows the alternative to the femme fatale – woman as vulnerable and innocent, resting peacefully, unencumbered by desire or ambition. The choice of a sepia toned ink and a cream laid paper contribute to the warmth and intimacy of the subject.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Thomas Cranfill, 1980", "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/1980.91.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1980.91.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1980.91.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1980.91.tif", "IsPrimary" : "1", "_SurrogateID" : "4932", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8961, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8961", "Disp_Access_No" : "1982.705", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1879-1880", "_Disp_Start_Dat" : "1879", "_Disp_End_Date" : "1880", "Disp_Title" : "La Sortie du bain [Leaving the Bath]", "Alt_Title" : "", "Obj_Title" : "La Sortie du bain ", "Series_Title" : "", "Disp_Maker_1" : "Hilaire-Germain-Edgar Degas", "Sort_Artist" : "Degas, Hilaire-Germain-Edgar", "Disp_Dimen" : "22.7 cm x 16.5 cm (8 15/16 in. x 6 1/2 in.)", "Disp_Height" : "22.7 cm", "Disp_Width" : "16.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Electric crayon, etching, drypoint and aquatint", "Support" : "", "Disp_Medium" : "Electric crayon, etching, drypoint and aquatint", "Info_Page_Comm" : "Depicting scenes of a woman bathing, usually in the guise of a classical goddess or biblical heroine, is a long-held tradition in Western art, simultaneously satisfying the presumably male viewer’s prurient interests while conveying a moral lesson about women’s virtue. Edgar Degas’s interpretations of the subject, however, were anything but idealized or conventional. Daring in his composition, Degas here has given us an essentially empty center formed by the white towel held behind the bather and a raking perspective that accentuates the awkwardness of the model. Unlike his predecessors and contemporaries, including fellow Impressionist Pierre-Auguste Renoir, Degas delighted in showing women as imperfect beings and frequently focused on what he perceived to be their “beastly” traits. He once admitted, “Perhaps I have considered woman too much as an animal.” Along with horses and dancers, bathers were a favorite subject of the artist. Degas never meant La sortie du bain to be published or commercially distributed. It was instead a personal essay the artist worked and reworked over the course of a year. There are twenty-two states of this plate, variously done in etching, engraving, and aquatint. Recently, the museum acquired a very good impression of the cancelled plate as further demonstration of Degas’s variation upon the theme.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Archer M. 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"Disp_Maker_1" : "John Skippe", "Sort_Artist" : "Skippe, John", "Disp_Dimen" : "14 cm x 18.8 cm (5 1/2 in. x 7 3/8 in.)", "Disp_Height" : "14 cm", "Disp_Width" : "18.8 cm", "Dimen_Extent" : "sheet", "Medium" : "Aquatint", "Support" : "", "Disp_Medium" : "Aquatint", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "English", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2741.TIF", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2741.TIF", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2741.TIF", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2741.TIF", "IsPrimary" : "1", "_SurrogateID" : "9952", "Image_Type" : "", 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Before this, Nolde’s print production consisted of boldly carved woodcuts, a medium he embraced for its references to the origins of printmaking and for its seeming naïveté. For similar reasons, he chose iron rather than copper plates for his etchings: the earliest etchings were made by German artists using iron plates. The quality of the metal lent a coarseness to the line that may have been problematic for Renaissance artists, but this kind of primitivism was exactly what Expressionist artists sought. That this impression is so rare—there were only about 18—signals the experimental nature of the artist’s efforts. Unusually large, Nolde’s Liegendes Weib emerges from the gray tone of the ground to confront the viewer. Unlike the conventional nude, she does not offer herself in a pose of abandon, but leans forward on her folded arms and makes eye contact with the onlooker. Exploiting the crudeness of the line produced in an iron ground, the figure’s contours are sharp, irregular, broken, and discontinuous, seeming to violate the murky tone from which they have materialized. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Jack S. Blanton Curatorial Endowment Fund, 2002", "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/2002.2878.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2878.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2878.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2878.tif", "IsPrimary" : "1", "_SurrogateID" : "2035", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16778, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16778", "Disp_Access_No" : "2003.25", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1786", "_Disp_Start_Dat" : "1781", "_Disp_End_Date" : "1791", "Disp_Title" : "The Injured Count,,S-", "Alt_Title" : "", "Obj_Title" : "The Injured Count,,S-", "Series_Title" : "", "Disp_Maker_1" : "James Gillray", "Sort_Artist" : "Gillray, James", "Disp_Dimen" : "28.2 cm x 42.5 cm (11 1/8 in. x 16 3/4 in.)", "Disp_Height" : "28.2 cm", "Disp_Width" : "42.5 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching and softground etching with hand-coloring", "Support" : "", "Disp_Medium" : "Etching and softground etching with hand-coloring", "Info_Page_Comm" : "Because of their subject matter, several of Gillray’s prints, including this one, were not in circulation; these “suppressed plates” were published in a separate volume circa 1850. Mary Eleanor Bowes is pictured drinking with her servants, suckling her precious cats and neglecting her crying children while her footman beacons her to bed. Her cruel and adulterous husband, Andrew Stoney-Bowes, on the far left of the image, examines a map of his wife’s estates. His behavior drove his wife to petition for divorce, something that was rarely granted to woman at this time. In order to hinder her success, he launched a smear campaign against her; her husband probably funded the production of this particularly slanderous print for this purpose. 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