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Saint-Georges, 1899", "Alt_Title" : "", "Obj_Title" : "La Place de Saint-Georges", "Series_Title" : "", "Disp_Maker_1" : "Maurice Delcourt", "Sort_Artist" : "Delcourt, Maurice", "Disp_Dimen" : "40.7 cm x 25.8 cm (16 in. x 10 3/16 in.)", "Disp_Height" : "40.7 cm", "Disp_Width" : "25.8 cm", "Dimen_Extent" : "sheet", "Medium" : "Color woodcut", "Support" : "", "Disp_Medium" : "Color woodcut", "Info_Page_Comm" : "Maurice Delcourt began as a painter and book illustrator. His first woodcut was published in the journal L’Ymagier in 1895, and in the late 1890s he issued large independent prints of his color woodcuts. These works were cut with a knife on endgrain boxwood and then overprinted with color blocks inked with gelatin colors. An impression of La Place Saint-Georges appeared in L’Estampe nouvelle in 1899 and was exhibited at the Salon of the Société nationale des Beaux-Arts in 1901. Delcourt broke from the tradition of three-dimensional modeling by juxtaposing flat areas of black and white and using expressive curved lines to depict a communicant and her mother in mourning (at left) passing by two elegant young women in the Place Saint Georges.", "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/2002.1581.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.1581.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.1581.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.1581.tif", "IsPrimary" : "1", "_SurrogateID" : "1808", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4325, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4325", "Disp_Access_No" : "G1971.4.9", "_AccNumSort1" : "", "Disp_Create_DT" : "1899", "_Disp_Start_Dat" : "1899", "_Disp_End_Date" : "1899", "Disp_Title" : "Old Jail, from the series Etchings of Glasgow", "Alt_Title" : "", "Obj_Title" : "Old Jail, from the series Etchings of Glasgow", "Series_Title" : "", "Disp_Maker_1" : "Sir Muirhead Bone", "Sort_Artist" : "Bone, Sir Muirhead", "Disp_Dimen" : "16.2 cm x 29.5 cm (6 3/8 in. x 11 5/8 in.)", "Disp_Height" : "16.2 cm", "Disp_Width" : "29.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching with drypoint", "Support" : "", "Disp_Medium" : "Etching with drypoint", "Info_Page_Comm" : "Etchings of Glasgow was Bone's first series of etchings and is indicative of his reliance on the work of the eighteenth-century Italian printmaker Giovanni Battista Piranesi, and more recent predecessors Charles Meryon and J.A.M. Whistler. Old Jail is the second scene from the series of six. With its diminutive rag pickers and muck rakers in the foreground and the looming prison as a backdrop, Bone, like Meryon before him, shows us the sinister underbelly of modern society. Alphonse Legros thought it so successful that he presented it to the Musée du Luxembourg, the museum of contemporary art in Paris, for their collection. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Charles and Dorothy Clark, 1971", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Scottish", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1971.4.9.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1971.4.9.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1971.4.9.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1971.4.9.tif", "IsPrimary" : "1", "_SurrogateID" : "4456", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4364, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4364", "Disp_Access_No" : "G1966.2.72", "_AccNumSort1" : "", "Disp_Create_DT" : "1905", "_Disp_Start_Dat" : "1905", "_Disp_End_Date" : "1905", "Disp_Title" : "John Knox's House", "Alt_Title" : "", "Obj_Title" : "John Knox's House", "Series_Title" : "", "Disp_Maker_1" : "Sir David Young Cameron", "Sort_Artist" : "Cameron, Sir David Young", "Disp_Dimen" : "27.45 cm x 19.2 cm (10 13/16 in. x 7 9/16 in.)", "Disp_Height" : "27.45 cm", "Disp_Width" : "19.2 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching with drypoint", "Support" : "", "Disp_Medium" : "Etching with drypoint", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the children of L.M. Tonkin, 1966", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "Scottish", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/G1966.2.72.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1966.2.72.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1966.2.72.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1966.2.72.tif", "IsPrimary" : "1", "_SurrogateID" : "4454", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4430, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4430", "Disp_Access_No" : "1982.609", "_AccNumSort1" : "", "Disp_Create_DT" : "1916", "_Disp_Start_Dat" : "1916", "_Disp_End_Date" : "1916", "Disp_Title" : "Peck's Slip", "Alt_Title" : "", "Obj_Title" : "Peck's Slip", "Series_Title" : "", "Disp_Maker_1" : "Rudolph Ruzicka", "Sort_Artist" : "Ruzicka, Rudolph", "Disp_Dimen" : "21 cm x 27.5 cm (8 1/4 in. x 10 13/16 in.)", "Disp_Height" : "21 cm", "Disp_Width" : "27.5 cm", "Dimen_Extent" : "Sheet", "Medium" : "Color lithograph", "Support" : "", "Disp_Medium" : "Color lithograph", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Alvin and Ethel Romansky, 1977", "Copyright_Type" : "public domain", "Disp_Obj_Type" : "print", "Creation_Place2" : "American", "Department" : "Prints and Drawings; 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American and Contemporary Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1987.206.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1987.206.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1987.206.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1987.206.tif", "IsPrimary" : "1", "_SurrogateID" : "1442", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4709, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4709", "Disp_Access_No" : "1987.207", "_AccNumSort1" : "", "Disp_Create_DT" : "1927", "_Disp_Start_Dat" : "1927", "_Disp_End_Date" : "1927", "Disp_Title" : "Londoners Eating Lunch, from Alan Mulgan Home", "Alt_Title" : "", "Obj_Title" : "Londoners Eating Lunch, from Alan Mulgan Home", "Series_Title" : "", "Disp_Maker_1" : "Clare Leighton", "Sort_Artist" : "Leighton, Clare", "Disp_Dimen" : "13.6 cm x 14.1 cm (5 3/8 in. x 5 9/16 in.)", "Disp_Height" : "13.6 cm", "Disp_Width" : "14.1 cm", "Dimen_Extent" : "Sheet", "Medium" : "Wood engraving", "Support" : "", "Disp_Medium" : "Wood engraving", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the Still Water Foundation, 1987", "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/1987.207.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1987.207.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1987.207.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1987.207.tif", "IsPrimary" : "1", "_SurrogateID" : "1443", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4998, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4998", "Disp_Access_No" : "G1966.2.254", "_AccNumSort1" : "", "Disp_Create_DT" : "1931", "_Disp_Start_Dat" : "1931", "_Disp_End_Date" : "1931", "Disp_Title" : "Au Paris", "Alt_Title" : "", "Obj_Title" : "Au Paris", "Series_Title" : "", "Disp_Maker_1" : "Frank Klepper", "Sort_Artist" : "Klepper, Frank", "Disp_Dimen" : "22 cm x 18.25 cm (8 11/16 in. x 7 3/16 in.)", "Disp_Height" : "22 cm", "Disp_Width" : "18.25 cm", "Dimen_Extent" : "Sheet", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of the children of L.M. Tonkin, 1966", "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/G1966.2.254.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/G1966.2.254.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/G1966.2.254.tif", "IIIF_URL": "http://iiif.gallerysystems.com/G1966.2.254.tif", "IsPrimary" : "1", "_SurrogateID" : "5377", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5038, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5038", "Disp_Access_No" : "1992.226", "_AccNumSort1" : "", "Disp_Create_DT" : "1932", "_Disp_Start_Dat" : "1932", "_Disp_End_Date" : "1932", "Disp_Title" : "Breadline, New York", "Alt_Title" : "", "Obj_Title" : "Breadline, New York", "Series_Title" : "", "Disp_Maker_1" : "Clare Leighton", "Sort_Artist" : "Leighton, Clare", "Disp_Dimen" : "36.1 cm x 25.4 cm (14 3/16 in. x 10 in.)", "Disp_Height" : "36.1 cm", "Disp_Width" : "25.4 cm", "Dimen_Extent" : "Sheet", "Medium" : "Wood engraving", "Support" : "", "Disp_Medium" : "Wood engraving", "Info_Page_Comm" : "Between the early 1920s in her native England and the mid-1970s in the United States, the country she adopted after 1939, Clare Leighton created nearly eight hundred wood engravings. These were primarily images for fine literary editions, illustrations of her own texts on nature and her craft, and independent prints showing human industry. All are characterized by brilliant technique and forceful personality, but above all they communicate a concern for the dignity of labor and the principles of democracy. Fairly large in scale for a wood engraving of this time, Breadline is probably Leighton’s most famous image, though in many ways it is atypical of her production. Unlike her usual rural meditations, it concentrates on the effects of the Great Depression in the city. Furthermore, her contrast of the massive office towers, which usually celebrate the capitalistic might and social optimism of New York, with the never-ending line of hungry men, is uncharacteristically ironic and therefore compelling. With a donation from the Still Water Foundation in 1987, the Blanton acquired a virtually complete collection of Leighton’s prints—most from the artist’s own archive—and thus became the most significant repository of her graphic work. 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Chávez Morado reflects his pessimistic view of the growing metropolis in a series of unsettling vignettes set in dark streets. Outside a theatre, musicians perform by the light of the passing cars. Police are about to storm a peaceful meeting. A seductive woman waits by the door of a one-star hotel. A man leaves the scene of a hideous crime. Under the cover of night, we discover the dark side of modernity. 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Michener, 1991", "Copyright_Type" : "", "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/1991.194.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.194.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.194.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1991.194.tif", "IsPrimary" : "1", "_SurrogateID" : "6394", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14705, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14705", "Disp_Access_No" : "1986.42", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Noninvolvement", "Alt_Title" : "", "Obj_Title" : "Noninvolvement", "Series_Title" : "", "Disp_Maker_1" : "Frank Freed", "Sort_Artist" : "Freed, Frank", "Disp_Dimen" : "50.5 cm x 61 cm (19 7/8 in. x 24 in.)", "Disp_Height" : "50.5 cm", "Disp_Width" : "61 cm", "Dimen_Extent" : "Sheet", "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 Eleanor Freed, 1986", "Copyright_Type" : "", "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/1986.42.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1986.42.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1986.42.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1986.42.tif", "IsPrimary" : "1", "_SurrogateID" : "5616", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 15121, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/15121", "Disp_Access_No" : "1977.97", "_AccNumSort1" : "", "Disp_Create_DT" : "1976", "_Disp_Start_Dat" : "1976", "_Disp_End_Date" : "1976", "Disp_Title" : "Mediodía [Noontime]", "Alt_Title" : "[Mediodía]", "Obj_Title" : "Mediodía [Noontime]", "Series_Title" : "", "Disp_Maker_1" : "Antonio Berni", "Sort_Artist" : "Berni, Antonio", "Disp_Dimen" : "198.7 cm x 199 cm (78 1/4 in. x 78 3/8 in.)", "Disp_Height" : "198.7 cm", "Disp_Width" : "199 cm", "Dimen_Extent" : "canvas", "Medium" : "Acrylic and collage", "Support" : "canvas", "Disp_Medium" : "Acrylic and collage on canvas", "Info_Page_Comm" : "Antonio Berni was one of the great painters of social themes and critical commentary in the twentieth century. Although less known internationally, his work merits comparison with that of the Mexican Muralists. Unlike the Muralists, Berni was never part of a large government-sponsored art program. And while he remained committed to themes of social justice shared with the Muralists, he adopted a range of different artistic styles, from his experiments with Surrealism and Socialist Realism in the 1930s, to his subversion of Pop art in the 1960s and 1970s. Like many Latin American artists, Berni moved to New York in the 1970s, escaping political uncertainty and persecution at home in Argentina. He painted Mediodía in New York, and while the subject is clearly Argentine (the sign is in Spanish), the treatment of the professionally painted advertising sign indicates his awareness of American and European Pop art. However, the stark contrast between the brightly colored sign advertising new cars and the humble black and white used in depicting the workers who produce those consumer goods shows an explicit political conscience missing in much American Pop art of the period.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Barbara Duncan Fund, 1977", "Copyright_Type" : "all approved", "Disp_Obj_Type" : "painting", "Creation_Place2" : "Argentinean", "Department" : "Latin American Art", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1977.97.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1977.97.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1977.97.tif", "IIIF_URL": "http://iiif.gallerysystems.com/1977.97.tif", "IsPrimary" : "1", "_SurrogateID" : "1166", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16635, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16635", "Disp_Access_No" : "2002.2847.6/12", "_AccNumSort1" : "", "Disp_Create_DT" : "1747", "_Disp_Start_Dat" : "1747", "_Disp_End_Date" : "1747", "Disp_Title" : "The Industrious 'Prentice Out of His Time and Married to His Master's Daughter, plate VI from Industry and Idleness", "Alt_Title" : "", "Obj_Title" : "The Industrious 'Prentice Out of His Time and Married to His Master's Daughter, plate VI from Industry and Idleness", "Series_Title" : "", "Disp_Maker_1" : "William Hogarth", "Sort_Artist" : "Hogarth, William", "Disp_Dimen" : "29 cm x 43.5 cm (11 7/16 in. x 17 1/8 in.)", "Disp_Height" : "29 cm", "Disp_Width" : "43.5 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching and engraving", "Support" : "", "Disp_Medium" : "Etching and engraving", "Info_Page_Comm" : "Previous cataloguing gave state as "final 'lifetime' state". Revised by CZ Oct. 2012", "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" : "English", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2847.6-12.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2847.6-12.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2847.6-12.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2847.6-12.tif", "IsPrimary" : "1", "_SurrogateID" : "8258", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16205, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16205", "Disp_Access_No" : "2017.1400", "_AccNumSort1" : "", "Disp_Create_DT" : "mid 1770s", "_Disp_Start_Dat" : "1770", "_Disp_End_Date" : "1770", "Disp_Title" : "The Storyteller", "Alt_Title" : "", "Obj_Title" : "The Storyteller", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Domenico Tiepolo", "Sort_Artist" : "Tiepolo, Giovanni Domenico", "Disp_Dimen" : "33.8 cm x 57.1 cm (13 5/16 in. x 22 1/2 in.)", "Disp_Height" : "33.8 cm", "Disp_Width" : "57.1 cm", "Dimen_Extent" : "canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Standing on a chair before a crowd in a piazza, a storyteller points to a portable image that helps illustrate his story. The baroque guitar on his back and the triangle in his female assistant's hand suggest that their performance also involved music. Not everyone is absorbed in his story, however. The young lady in a bright orange dress turns her head to respond to the man in a mask, whose suspicious intentions seem to have been noticed by the wary dog in the foreground. The diverse gestures, facial expressions, and colorful attire of the audience offer a glimpse of a popular carnival activity in eighteenth-century Venice. The low viewpoint and the long horizontal format help the viewer to witness the event at the eye level of the depicted figures, which adds to the sense of reality of the painted scene.", "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" : "Problematic but keeping in (FC:jb 4/6/15)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.1400.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.1400.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.1400.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2017.1400.tif", "IsPrimary" : "1", "_SurrogateID" : "2661", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 16629, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/16629", "Disp_Access_No" : "2002.2847.12/12", "_AccNumSort1" : "", "Disp_Create_DT" : "1747", "_Disp_Start_Dat" : "1747", "_Disp_End_Date" : "1747", "Disp_Title" : "The Industrious 'Prentice Lord Mayor of London, plate XII from Industry and Idleness", "Alt_Title" : "", "Obj_Title" : "The Industrious 'Prentice Lord Mayor of London, plate XII from Industry and Idleness", "Series_Title" : "", "Disp_Maker_1" : "William Hogarth", "Sort_Artist" : "Hogarth, William", "Disp_Dimen" : "29.1 cm x 42.8 cm (11 7/16 in. x 16 7/8 in.)", "Disp_Height" : "29.1 cm", "Disp_Width" : "42.8 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching and engraving", "Support" : "", "Disp_Medium" : "Etching and engraving", "Info_Page_Comm" : "Previous cataloguing gave state as "final 'lifetime' state". Revised by CZ Oct. 2012", "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" : "English", "Department" : "Prints and Drawings", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2847.12-12.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2847.12-12.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2847.12-12.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2847.12-12.tif", "IsPrimary" : "1", "_SurrogateID" : "8264", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17149, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17149", "Disp_Access_No" : "2004.102", "_AccNumSort1" : "", "Disp_Create_DT" : "1930", "_Disp_Start_Dat" : "1930", "_Disp_End_Date" : "1930", "Disp_Title" : "Corner Shadows", "Alt_Title" : "", "Obj_Title" : "Corner Shadows", "Series_Title" : "", "Disp_Maker_1" : "Martin Lewis", "Sort_Artist" : "Lewis, Martin", "Disp_Dimen" : "27.7 cm x 31 cm (10 7/8 in. x 12 3/16 in.)", "Disp_Height" : "27.7 cm", "Disp_Width" : "31 cm", "Dimen_Extent" : "sheet", "Medium" : "Drypoint", "Support" : "", "Disp_Medium" : "Drypoint and sand ground", "Info_Page_Comm" : "", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Susan Garwood in memory of Sue Ann Reagan, 2004", "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/2004.102.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.102.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.102.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.102.tif", "IsPrimary" : "1", "_SurrogateID" : "8955", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17227, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17227", "Disp_Access_No" : "2004.147.4/8", "_AccNumSort1" : "", "Disp_Create_DT" : "1735", "_Disp_Start_Dat" : "1735", "_Disp_End_Date" : "1735", "Disp_Title" : "The Arrest, plate IV from A Rake's Progress", "Alt_Title" : "", "Obj_Title" : "The Arrest, plate IV from A Rake's Progress", "Series_Title" : "", "Disp_Maker_1" : "William Hogarth", "Sort_Artist" : "Hogarth, William", "Disp_Dimen" : "45.6 cm x 57.6 cm (17 15/16 in. x 22 11/16 in.)", "Disp_Height" : "45.6 cm", "Disp_Width" : "57.6 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching and engraving", "Support" : "", "Disp_Medium" : "Etching and engraving", "Info_Page_Comm" : "Previous cataloguing gave state as "ii/ii (1758, before final revisions)". Revised by CZ Sept. 2012", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, The Karen G. and Dr. Elgin W. Ware, Jr. Collection, 2004", "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/2004.147.4-8.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.147.4-8.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.147.4-8.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.147.4-8.tif", "IsPrimary" : "1", "_SurrogateID" : "8248", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17232, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17232", "Disp_Access_No" : "2004.148", "_AccNumSort1" : "", "Disp_Create_DT" : "1735", "_Disp_Start_Dat" : "1735", "_Disp_End_Date" : "1735", "Disp_Title" : "The Arrest, plate IV from A Rake's Progress", "Alt_Title" : "", "Obj_Title" : "The Arrest, plate IV from A Rake's Progress", "Series_Title" : "", "Disp_Maker_1" : "William Hogarth", "Sort_Artist" : "Hogarth, William", "Disp_Dimen" : "48.4 cm x 52.7 cm (19 1/16 in. x 20 3/4 in.)", "Disp_Height" : "48.4 cm", "Disp_Width" : "52.7 cm", "Dimen_Extent" : "sheet", "Medium" : "Etching and engraving", "Support" : "", "Disp_Medium" : "Etching and engraving", "Info_Page_Comm" : "Previous cataloguing gave state as "i/ii (subscriber's copy)". Revised by CZ Sept. 2012", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Jack S. Blanton Curatorial Endowment Fund, 2004", "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/2004.148.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.148.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.148.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.148.tif", "IsPrimary" : "1", "_SurrogateID" : "8244", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 17258, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/17258", "Disp_Access_No" : "2004.166", "_AccNumSort1" : "", "Disp_Create_DT" : "1839", "_Disp_Start_Dat" : "1839", "_Disp_End_Date" : "1839", "Disp_Title" : "Hôtel de Cluny, Paris", "Alt_Title" : "", "Obj_Title" : "Hôtel de Cluny, Paris", "Series_Title" : "", "Disp_Maker_1" : "Thomas Shotter Boys", "Sort_Artist" : "Boys, Thomas Shotter", "Disp_Dimen" : "36.4 cm x 53.9 cm (14 5/16 in. x 21 1/4 in.)", "Disp_Height" : "36.4 cm", "Disp_Width" : "53.9 cm", "Dimen_Extent" : "sheet", "Medium" : "Color lithograph", "Support" : "", "Disp_Medium" : "Color lithograph", "Info_Page_Comm" : "Color lithographs are usually made with one stone for each color. This poses a challenge for artists who have to envision a complex blending of tones, and for printers who then have to register or align the sheet perfectly on each stone. Thomas Shotter Boys and his printer, Charles Hullmandel, perfected the process, using four or five stones, which carefully superimposed and juxtaposed colors to create a full chromatic range and the delicacy of a watercolor. Their work established a completely new standard for color printing. ", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Jack S. Blanton Curatorial Endowment Fund, 2004", "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/2004.166.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.166.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.166.tif", "IIIF_URL": "http://iiif.gallerysystems.com/2004.166.tif", "IsPrimary" : "1", "_SurrogateID" : "3679", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 19467, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/19467", "Disp_Access_No" : "2010.11.1/3-3/3", "_AccNumSort1" : "", "Disp_Create_DT" : "1996-1998", "_Disp_Start_Dat" : "1996", "_Disp_End_Date" : "1998", "Disp_Title" : "Accidente en Rotterdam [Accident in Rotterdam]", "Alt_Title" : "", "Obj_Title" : "Accidente en Rotterdam [Accident in Rotterdam]", "Series_Title" : "", "Disp_Maker_1" : "Jorge Macchi", "Sort_Artist" : "Macchi, Jorge", "Disp_Dimen" : "95.6 cm x 95.6 cm (37 5/8 in. x 37 5/8 in.)", "Disp_Height" : "95.6 cm", "Disp_Width" : "95.6 cm", "Dimen_Extent" : "each panel", "Medium" : "Chromogenic color print on metal panel, triptych", "Support" : "", "Disp_Medium" : "Chromogenic color print on metal panel, triptych", "Info_Page_Comm" : "Jorge Macchi often combines the use of chance and found objects to suggest a poetic or humorous narrative. In these photographs, he took advantage of the shadows cast by windows on the floor of his temporary studio in Rotterdam to stage a series of recurrent imaginary scenes featuring two toy cars. He transforms the darkened floors into an urban grid devoid of traffic or human presence. Such emptiness cannot prevent the toy cars’ fatal attraction, challenging the very notion of an accident.", "Dedication" : "Blanton Museum of Art, The University of Texas at Austin, Gift of Donald R. 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Chavez Avenida [Cesar E. Chavez Avenue]", "Alt_Title" : "", "Obj_Title" : "Cesar E. Chavez Avenida [Cesar E. Chavez Avenue]", "Series_Title" : "", "Disp_Maker_1" : "Roberto Gutiérrez", "Sort_Artist" : "Gutiérrez, Roberto", "Disp_Dimen" : "60.8 x 66.3 cm (23 15/16 x 26 1/8 in.)", "Disp_Height" : "60.8 cm", "Disp_Width" : "66.3 cm", "Dimen_Extent" : "sheet", "Medium" : "Screenprint", "Support" : "", "Disp_Medium" : "Screenprint", "Info_Page_Comm" : "For artists like Roberto Gutiérrez, who grew up in East Los Angeles, Self Help felt like a second home that was always welcoming. "Cesar E. Chavez Avenida" records the neighborhood’s history, as it commemorates the name change of the area’s main avenue from “Brooklyn” to “Cesar E. Chavez” in 1994. During the 1960s, this part of the city transformed from a predominantly Jewish to a Mexican American community. Today East Los is undergoing another change in demographics as a targeted site of gentrification. 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