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Smith, 1985", "Copyright_Type" : "case by case basis.", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1985.170-Detail-Stretcher Inscrip", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1985.170-Detail-Stretcher Inscrip", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1985.170-Detail-Stretcher Inscrip", "IIIF_URL": "http://iiif.gallerysystems.com/1985.170-Detail-Stretcher Inscrip", "IsPrimary" : "0", "_SurrogateID" : "10347", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1985.170-2016new.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1985.170-2016new.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1985.170-2016new.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1985.170-2016new.tif", "IsPrimary" : "1", "_SurrogateID" : "14663", "Image_Type" : "Digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14879, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14879", "Disp_Access_No" : "1984.92", "_AccNumSort1" : "", "Disp_Create_DT" : "1914", "_Disp_Start_Dat" : "1914", "_Disp_End_Date" : "1914", "Disp_Title" : "The Roping", "Alt_Title" : "", "Obj_Title" : "The Roping", "Series_Title" : "", "Disp_Maker_1" : "William Robinson Leigh", "Sort_Artist" : "Leigh, William Robinson", "Disp_Dimen" : "114.9 cm x 97.2 cm (45 1/4 in. x 38 1/4 in.)", "Disp_Height" : "114.9 cm", "Disp_Width" : "97.2 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "William Robinson Leigh began his career as a magazine and book illustrator, but on the advice of the well-respected landscape painter Thomas Moran, he switched to oil paintings of the American landscape and experience. This vibrant work is one of a series of images that Leigh painted of cowboys on galloping horses. Quickly painted and action-packed, it handily conveys the heat and dust, the straining effort of the horse, and the composure and grace of its rider. Leigh prided himself on the authentic details of the clothes and gear that he depicted. Based in midtown Manhattan, he would travel every summer to the Southwest to sketch, study, photograph, and collect artifacts that later figured prominently in his studio-made works. He noted in The Western Pony, a book that he wrote and illustrated in 1933: “I find in the West the truely [sic] typical and distinctively American motifs, a grandeur in natural surroundings, a dramatic simplicity in life which can be found nowhere else. In that life, in those surroundings—marvelously varied and abundant—the horse plays a major role.” ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of C.R. Smith, 1984", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.92.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.92.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.92.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.92.tif", "IsPrimary" : "1", "_SurrogateID" : "1305", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1984.92.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1984.92.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1984.92.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1984.92.tif", "IsPrimary" : "0", "_SurrogateID" : "4883", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14910, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14910", "Disp_Access_No" : "1984.44", "_AccNumSort1" : "", "Disp_Create_DT" : "1983", "_Disp_Start_Dat" : "1983", "_Disp_End_Date" : "1983", "Disp_Title" : "Prairie Runners", "Alt_Title" : "", "Obj_Title" : "Prairie Runners", "Series_Title" : "", "Disp_Maker_1" : "Eugenie Kamrath Mygdal", "Sort_Artist" : "Mygdal, Eugenie Kamrath", "Disp_Dimen" : "25.4 cm x 29.2 cm x 33 cm (10 in. x 11 1/2 in. x 13 in.)", "Disp_Height" : "25.4 cm", "Disp_Width" : "29.2 cm", "Dimen_Extent" : "HLW", "Medium" : "Terracotta", "Support" : "", "Disp_Medium" : "Terracotta", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Ann Byrd Nalle, 1984", "Copyright_Type" : "All", "Disp_Obj_Type" : "sculpture", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ ] },{ "embark_ID" : 15011, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15011", "Disp_Access_No" : "1982.20", "_AccNumSort1" : "", "Disp_Create_DT" : "1904", "_Disp_Start_Dat" : "1904", "_Disp_End_Date" : "1904", "Disp_Title" : "Breaking the Circle", "Alt_Title" : "", "Obj_Title" : "Breaking the Circle", "Series_Title" : "", "Disp_Maker_1" : "Charles Schreyvogel", "Sort_Artist" : "Schreyvogel, Charles", "Disp_Dimen" : "114.6 cm x 145 cm (45 1/8 in. x 57 1/16 in.)", "Disp_Height" : "114.6 cm", "Disp_Width" : "145 cm", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of C.R. Smith, 1982", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "American", "Department" : "American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.20.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.20.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.20.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.20.tif", "IsPrimary" : "1", "_SurrogateID" : "1238", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1982.20.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1982.20.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1982.20.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1982.20.tif", "IsPrimary" : "0", "_SurrogateID" : "4887", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16076, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16076", "Disp_Access_No" : "2017.1274", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1525-1527", "_Disp_Start_Dat" : "1525", "_Disp_End_Date" : "1527", "Disp_Title" : "The Entombment of Christ", "Alt_Title" : "", "Obj_Title" : "The Entombment of Christ", "Series_Title" : "", "Disp_Maker_1" : "Parmigianino (Francesco Mazzola)", "Sort_Artist" : "Parmigianino (Francesco Mazzola)", "Disp_Dimen" : "24.4 cm x 18.8 cm (9 5/8 in. x 7 3/8 in.)", "Disp_Height" : "24.4 cm", "Disp_Width" : "18.8 cm", "Dimen_Extent" : "panel", "Medium" : "Oil on wood panel", "Support" : "", "Disp_Medium" : "Oil on wood panel", "Info_Page_Comm" : "Parmigianino was the most elegant and refined of all sixteenth-century Italian artists. Provincial but inspired by his visionary compatriot Correggio, he tended from the outset toward eccentric form and idiosyncratic expression. Affected by Raphael during a sojourn in Rome, his style became more self-conscious and rigorous. Increasingly abstracted and impossibly beautiful, Parmigianino’s late works determined the course of Mannerism and remained the measure of high artifice through the eighteenth century. His etchings were the first to essay the technique’s conceptual relation with drawing and potential for original expression. This small panel is the most important surviving link between Parmigianino’s painting and printmaking. It was once regarded as a copy after his most developed and famous etching. The two compositions, however, differ in numerous details, and the elaboration of the panel departs from a loose underdrawing in dark pigment—indicative of an evolving rather than a derivative conception. The quality of the painting is confirmed by the soundness of its figures, the modulation of light, and the incisiveness of touch. Still close to Raphael’s designs, the painting was probably executed in Rome. Later, in Bologna, it would have served as the model for the etching. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "11065", "Rel_Obj_Title" : "The Entombment of Christ" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1274.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1274.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1274.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1274.tif", "IsPrimary" : "1", "_SurrogateID" : "3360", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16179, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16179", "Disp_Access_No" : "2017.1168", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1616-1617", "_Disp_Start_Dat" : "1616", "_Disp_End_Date" : "1617", "Disp_Title" : "Landscape with Tobias and the Angel", "Alt_Title" : "", "Obj_Title" : "Landscape with Tobias and the Angel", "Series_Title" : "", "Disp_Maker_1" : "Guercino (Giovanni Francesco Barbieri)", "Sort_Artist" : "Guercino (Giovanni Francesco Barbieri)", "Disp_Dimen" : "31 cm x 40.5 cm (12 3/16 in. x 15 15/16 in.)", "Disp_Height" : "31 cm", "Disp_Width" : "40.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "copper", "Disp_Medium" : "Oil on copper", "Info_Page_Comm" : "Archangel Raphael points to a great fish located at the painting’s bottom edge and instructs a surprised, bathing Tobias to seize it. Tobias, the son of the title character in the Book of Tobit, would later use the fish’s entrails to cure the blindness of his father and to dispel a demon tormenting his future wife, Sara. Guercino was a leading painter in the Bolognese school of the seventeenth century. He was known for his ability to communicate emotion through human gesture and expression. His talent for depicting contrasts in light also appears in the painting’s dark landscape lit by a setting sun, which echoes Tobias’ story of faith and revelation. This rare work is likely Guercino’s only landscape painting on copper to incorporate a religious narrative. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1168.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1168.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1168.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1168.tif", "IsPrimary" : "1", "_SurrogateID" : "2618", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16352, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16352", "Disp_Access_No" : "2017.1409", "_AccNumSort1" : "", "Disp_Create_DT" : "early 1730s", "_Disp_Start_Dat" : "1730", "_Disp_End_Date" : "1730", "Disp_Title" : "The Annunciation", "Alt_Title" : "", "Obj_Title" : "The Annunciation", "Series_Title" : "", "Disp_Maker_1" : "Domenico Antonio Vaccaro", "Sort_Artist" : "Vaccaro, Domenico Antonio", "Disp_Dimen" : "52.1 cm x 41.5 cm (20 1/2 in. x 16 5/16 in.)", "Disp_Height" : "52.1 cm", "Disp_Width" : "41.5 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "The current date of the painting (after circa 1720) is credited to Nicola Spinosa, director of the Museo Nazionale di Capodimonte in Naples, through correspondence with Jonathan Bober 2 April 2009. Should be in play at the lower level. Falling out of its frame, not a good fit. Conservation issues, condition issues: needs to be cleaned, especially the putti and cloud (FC:jb 4/9/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1409.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1409.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1409.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1409.tif", "IsPrimary" : "1", "_SurrogateID" : "2665", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16369, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16369", "Disp_Access_No" : "2017.1203", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1671", "_Disp_Start_Dat" : "1666", "_Disp_End_Date" : "1676", "Disp_Title" : "Mercury Transforming Chelone into a Turtle", "Alt_Title" : "", "Obj_Title" : "Mercury Transforming Chelone into a Turtle", "Series_Title" : "", "Disp_Maker_1" : "Filippo Lauri", "Sort_Artist" : "Lauri, Filippo", "Disp_Dimen" : "59 cm x 71.2 cm (23 1/4 in. x 28 1/16 in.)", "Disp_Height" : "59 cm", "Disp_Width" : "71.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Mercury, here seen in his winged hat, invited all gods, humans, and animals to his father Jupiter’s wedding to the goddess Juno. Everyone came, except the nymph Chelone, who mocked the union. Enraged by her arrogance, Mercury threw Chelone’s house into the river and turned her into a turtle. This painting diverges from the popular version of the story and presents Juno as the protagonist who condemns Chelone. Mercury occupies a secondary place behind the seated Jupiter. Cupid, the god of love, evokes the nuptial context of the scene, which is also highlighted by the youthful features of Jupiter and Juno. The oval shape of the canvas likely indicates that it was a decorative painting to be placed over a doorway or a window. Filippo Lauri was renowned for depicting landscapes, architecture, flowers, and animals to embellish important palaces in Rome. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Pair with Lauri''s Venus and Adonis (FC:jb 4/2/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1203.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1203.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1203.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1203.tif", "IsPrimary" : "1", "_SurrogateID" : "2748", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16406, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16406", "Disp_Access_No" : "2017.1177", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1680-1685", "_Disp_Start_Dat" : "1680", "_Disp_End_Date" : "1685", "Disp_Title" : "Holy Family with the Young Saint John the Baptist", "Alt_Title" : "", "Obj_Title" : "Holy Family with the Young Saint John the Baptist", "Series_Title" : "", "Disp_Maker_1" : "Bartolomeo Guidobono", "Sort_Artist" : "Guidobono, Bartolomeo", "Disp_Dimen" : "72.3 cm x 58.2 cm (28 7/16 in. x 22 15/16 in.)", "Disp_Height" : "72.3 cm", "Disp_Width" : "58.2 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Lovely in description, sweet in disposition, and careful in craft, Bartolomeo Guidobono’s work is a distinctive variation upon the grand manner of late seventeenth-century Genoese painting. His style arose from his first training and lifelong collaboration in the family business of fine porcelain painting. Its larger context is the Genoese taste for Netherlandish painting that goes back to the fifteenth century. After a series of trips to Emilia, Guidobono shifted this already delicate style toward the soft contour, luminous color, and gentleness of Correggio. Later he would reconcile it with the large rhythms and efficient manufacture of Domenico Piola. This "Holy Family" is a beautiful compendium of Guidobono’s early style. Its matrix is surely Genoese, with the figural group suggested by Piola and the pure hues reminiscent of Baciccio. Instead, the grain of light, amplitude of the figures, and tenderness reveal the recent debt to Correggio. Most impressive, however, are the refined drawing and meticulous finish, practically those of a miniature painting. In few other works of Guidobono is the craft more sustained or the reflection of his first activity more apparent. This unorthodox petite manière also anticipates the prettiness of the Rococo and the developing relation of the Genoese school to the French. In fact, the painting was at one time attributed to the eighteenth-century French painter Jean-Baptiste Le Prince.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Suida-Manning Collection, 2017", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Italian", "Department" : "European Paintings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1177.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1177.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1177.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1177.tif", "IsPrimary" : "1", "_SurrogateID" : "2620", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19680, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19680", "Disp_Access_No" : "2011.51", "_AccNumSort1" : "", "Disp_Create_DT" : "1976 (1999)", "_Disp_Start_Dat" : "1976", "_Disp_End_Date" : "1976", "Disp_Title" : "Progress II", "Alt_Title" : "", "Obj_Title" : "Progress II", "Series_Title" : "", "Disp_Maker_1" : "Luis Jiménez", "Sort_Artist" : "Jiménez, Luis", "Disp_Dimen" : "319.4 cm x 662.94 cm x 346 cm (125 3/4 in. x 261 in. x 136 1/4 in.)", "Disp_Height" : "319.4 cm", "Disp_Width" : "662.9 cm", "Dimen_Extent" : "HLW", "Medium" : "Fiberglass, resin and acrylic paint", "Support" : "", "Disp_Medium" : "Fiberglass, resin and acrylic paint", "Info_Page_Comm" : "Luis Jiménez’s sculptures, prints, and drawings view the history of the American West through the lens of personal and collective experience. Jiménez dedicated much of his career to creating public art that could be seen and appreciated by every one. This commitment to accessibility and social commentary aligns Jiménez with American and Mexican muralists of the Depression era, while his bright colors, industrial materials, references to popular culture, and depictions of those typically excluded from the American cultural narrative root his work in the Chicano movement. His monumental sculptures can be found today in public settings throughout the United States. One of Jiménez’s first monumental works, Progress II, depicts a vaquero, or horseman from the Southwest or Mexico, as he wrangles a raging steer in a dynamic, gravity-defying composition. Jiménez’s treatment of his materials further generates a sense of momentum. Constructed from fiberglass and painted with automobile paint, the sculpture has the ultra-slick finish of a hotrod. Exploring themes of technological progress and westward migration, Jiménez depicts various modes of transportation. Horse, stagecoach, car, train, and airplane appear in The Progress Suite, a series of four prints made as companions to the sculpture. “I am a traditional artist in the sense that I give form to my culture’s icons,” Jiménez once stated. “In the past, important icons were religious; now they are secular.” Icons of the American West—cowboy, “Indian,” horse, buffalo, steer—feature prominently in the sculptures and prints that comprise the Progress series. The theme of capture is also ubiquitous: the vaquero ropes a steer, a Native American hunts a buffalo, and a stagecoach whisks off a damsel in distress. Underneath the main components of the sculpture exists a smaller pursuit: an owl stalks a mouse. 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