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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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A pupil of Beauvarlet, one of his favorite engravers, Binet was a late participant. Le ménage captures the bold design and moralizing concern of a highly finished drawing that has been lost. An unrecorded proof, this impression is exceptionally strong but precedes an inscription underscoring the meaning: "These good folks carry everything with them.”", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Leo Steinberg Collection, 2002", "Copyright_Type" : "Public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "French", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.1939.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1939.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1939.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1939.tif", "IsPrimary" : "1", "_SurrogateID" : "1873", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13457, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13457", "Disp_Access_No" : "2002.2292", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1592", "_Disp_Start_Dat" : "1587", "_Disp_End_Date" : "1597", "Disp_Title" : "The Marriage Balance, plate 2 from the Series of Six Proverbs, after Karel van Mander", "Alt_Title" : "", "Obj_Title" : "The Marriage Balance, plate 2 from the Series of Six Proverbs, after Karel van Mander", "Series_Title" : "", "Disp_Maker_1" : "Workshop of Hendrick Goltzius", "Sort_Artist" : "Goltzius, Workshop of Hendrick", "Disp_Dimen" : "24.2 cm x 16.9 cm (9 1/2 in. x 6 5/8 in.)", "Disp_Height" : "24.2 cm", "Disp_Width" : "16.9 cm", "Dimen_Extent" : "sheet", "Medium" : "Engraving", "Support" : "", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "As humanism advanced in Europe, the idea that companionship was an important aspect of marriage spread. In the Marriage Balance, Karl van Mander reacts to this novel idea by insisting on the "traditional" function of marriage, which was economic. The inscription at the bottom reads, "Neither love nor virtue, but only a dowry weighed out fairly in the scales makes a stable marriage . . ." The fact that this image was printed in several states by different publishers and with translations from the Latin into Dutch and English suggests that the principle it illustrates held wide currency. 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To record what was regarded as a departing national treasure, the publisher John Boydell commissioned a series of mezzotints after the collection’s most important paintings. Named for Walpole’s residence, the Houghton Gallery was one of the major print projects in late eighteenth century Britain. Noted for its subject and geniality, Jordaens’s painting remains in the Hermitage, St. Petersburg.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Lawrence Lawver, 2010", "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/2010.79.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2010.79.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2010.79.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2010.79.tif", "IsPrimary" : "1", "_SurrogateID" : "7259", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19198, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19198", "Disp_Access_No" : "2008.124", "_AccNumSort1" : "", "Disp_Create_DT" : "after 1678", "_Disp_Start_Dat" : "1679", "_Disp_End_Date" : "1688", "Disp_Title" : "Barbara, Duchess of Cleveland and Daughter", "Alt_Title" : "", "Obj_Title" : "Barbara, Duchess of Cleveland and Daughter", "Series_Title" : "", "Disp_Maker_1" : "Henri Gascar", "Sort_Artist" : "Gascar, Henri", "Disp_Dimen" : "30.2 cm x 39.2 cm (11 7/8 in. x 15 7/16 in.)", "Disp_Height" : "30.2 cm", "Disp_Width" : "39.2 cm", "Dimen_Extent" : "sheet", "Medium" : "Mezzotint", "Support" : "", "Disp_Medium" : "Mezzotint", "Info_Page_Comm" : "Barbara Villiers was a famous beauty who became the influential mistress of King Charles II. A French portraitist, Gascar executed a small number of mezzotints after his own paintings. “Original” as opposed to “reproductive,” somewhat awkward in their drawing, but exquisite in their textures, these mezzotints are unusual in kind. Impressions are also exceedingly rare.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Jack S. 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