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When the German army invaded France during World War II, Chagall escaped to the United States with his family to avoid anti-Semitic persecution. After the war ended, he returned to Paris and was able to regain the rights to many of the images he had made for Vollard. Drawing upon these earlier works, Chagall produced bible illustrations for two special issues of Verve art magazine, published by Tériade, in 1956 and again in 1960. For the second Verve issue, he produced 24 color lithographs, including the one on display. 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Bernstein", "Copyright_Type" : "© 2016 Artists Rights Society (ARS), New York / ADAGP, Paris", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/79-G-1049.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/79-G-1049.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/79-G-1049.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/79-G-1049.jpg", "IsPrimary" : "1", "_SurrogateID" : "2924", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/79-G-1049_detail.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/79-G-1049_detail.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/79-G-1049_detail.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/79-G-1049_detail.jpg", "IsPrimary" : "0", "_SurrogateID" : "2992", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2058, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2058", "Disp_Access_No" : "79-G-1050", "_AccNumSort1" : "", "Disp_Create_DT" : "1954-1955", "_Disp_Start_Dat" : "1954", "_Disp_End_Date" : "1955", "Disp_Title" : "Untitled [Fond Mauve]", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Fernand Léger", "Sort_Artist" : "Léger, Fernand", "Disp_Dimen" : "9 5/8 x 11 in. 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Bernstein", "Copyright_Type" : "© 2016 Artists Rights Society (ARS), New York / ADAGP, Paris", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/79-G-1050.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/79-G-1050.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/79-G-1050.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/79-G-1050.jpg", "IsPrimary" : "1", "_SurrogateID" : "2642", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2060, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2060", "Disp_Access_No" : "79-G-1052", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Untitled (Two Women in Boat)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Marie Laurencin", "Sort_Artist" : "Laurencin, Marie", "Disp_Dimen" : "7 x 8 3/4 in. (17.8 x 22.2 cm)", "Disp_Height" : "7 in.", "Disp_Width" : "8 3/4 in.", "Dimen_Extent" : "Image", "Medium" : "Color Engraving", "Support" : "", "Disp_Medium" : "Color Engraving", "Info_Page_Comm" : "", "Dedication" : "Gift of Benjamin D. Bernstein", "Copyright_Type" : "© Fondation Foujita / Artists Rights Society (ARS), New York / ADAGP, Paris 2016", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/79-G-1052.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/79-G-1052.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/79-G-1052.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/79-G-1052.jpg", "IsPrimary" : "1", "_SurrogateID" : "2456", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2062, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2062", "Disp_Access_No" : "79-G-1054", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1938-1939", "_Disp_Start_Dat" : "1938", "_Disp_End_Date" : "1939", "Disp_Title" : "Life (Young Girl Reading)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Dox Thrash", "Sort_Artist" : "Thrash, Dox", "Disp_Dimen" : "10 3/4 x 8 3/4 in. (27.3 x 22.2 cm)", "Disp_Height" : "10 3/4 in.", "Disp_Width" : "8 3/4 in.", "Dimen_Extent" : "Image", "Medium" : "Carborundum Mezzotint, Restrike", "Support" : "", "Disp_Medium" : "Carborundum Mezzotint, Restrike", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>Thrash depicted African American subjects in an era when many worried that being labeled an African American artist, rather than just an artist, would marginalize their work. Langston Hughes, Alain Locke, and Marcus Garvey called for race-conscious art and Thrash was among the artists who embraced their thinking. <BR/><BR/>Here Thrash depicts a little girl absorbed in the act of reading </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Life </SPAN><SPAN STYLE="font-size:10pt">magazine. The choice of </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Life</SPAN><SPAN STYLE="font-size:10pt"> magazine em­phasizes the girl’s identity as an American. Art historian Richard Powell asserts that the “non-racial genre” image soft sells the idea of “commonality” and “unity” rather than separation in the African American experience of childhood.<BR/><BR/>Between 1930 and 1947, African American illiteracy rates stood at 11-18% compared with 2-4% for European Americans.3 Thrash had left school after fourth grade, which was not uncommon for an African American growing up in rural Georgia in the early 20th century. Thrash was an autodidact who studied by correspondence while living on the road as a teenager before attending the School of the Art Institute of Chicago. The act of reading was no doubt intended to communicate a posi­tive affirmation of the sitter’s literacy, intelligence, and cultural savvy.<BR/><BR/>Carmen Vendelin </SPAN><SPAN STYLE="font-family:'Goudy Oldstyle Std';font-size:10pt"><BR/></SPAN><SPAN STYLE="font-family:'Goudy Oldstyle Std'">Curator of Art, La Salle University Art Museum<BR/></SPAN><SPAN STYLE="font-family:'Segoe UI'"><BR/></SPAN></SPAN>", "Dedication" : "Gift of Benjamin D. Bernstein", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/79-G-1054.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/79-G-1054.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/79-G-1054.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/79-G-1054.jpg", "IsPrimary" : "1", "_SurrogateID" : "2457", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2066, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2066", "Disp_Access_No" : "79-G-1058", "_AccNumSort1" : "", "Disp_Create_DT" : "Mid 20th Century", "_Disp_Start_Dat" : "1933", "_Disp_End_Date" : "1966", "Disp_Title" : "Man and Horse", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Marino Marini", "Sort_Artist" : "Marini, Marino", "Disp_Dimen" : "13 5/8 x 10 1/4 in. 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He illustrated common scenes of rural American life, promoting a sense of nostalgic national­ism and familiar appeal to middle class Americans in the 1930s and 1940s.<BR/><BR/>Southern Railroad’s mail train no. 97 derailed while en route from Monroe, VA, to Spencer, NC, on Septem­ber 27, 1903. The event inspired balladeers and coun­try music singers. “Everybody knows the song,” Benton wrote, “cowboys sing it, people who live in the southern Appalachians sing it, as well as those who live in the Ozarks and out on the prairie farms. It has even found its way to the fishing coasts of New England.” Benton ini­tially drew the subject in 1926-27 and created the litho­graph in 1944. The artist imagines a scene in which the speeding locomotive nearly collides with horse and cart, literally contrasting the dark steam and steel of prog­ress against the pure white working animal and simple spokes of the cart’s wheels.<BR/><BR/>Rebecca Oviedo</SPAN><SPAN STYLE="font-size:10pt">, M.A. '16<BR/>Collections Manager/Registrar, La Salle University Art Museum<BR/></SPAN><SPAN STYLE="font-family:'Goudy Oldstyle Std';font-size:10pt"><BR/></SPAN><SPAN STYLE="font-family:'Goudy Oldstyle Std'"><BR/></SPAN><SPAN STYLE="font-family:'Goudy Oldstyle Std';font-size:5pt"><BR/></SPAN><SPAN STYLE="font-family:'Goudy Oldstyle Std'"><BR/></SPAN></SPAN>", "Dedication" : "Gift of Mrs. Richard Crampton", "Copyright_Type" : "Art © T.H. Benton and R.P. 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(42.2 x 27.9 cm)", "Disp_Height" : "16 5/8 in.", "Disp_Width" : "11 in.", "Dimen_Extent" : "Image", "Medium" : "Color woodcut", "Support" : "", "Disp_Medium" : "Color woodcut", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91-G-3081.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91-G-3081.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91-G-3081.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91-G-3081.jpg", "IsPrimary" : "1", "_SurrogateID" : "2857", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3029, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3029", "Disp_Access_No" : "91-G-3086", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Abstract", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Joan Miró", "Sort_Artist" : "Miró, Joan", "Disp_Dimen" : "20 3/4 x 27 5/8 in. (52.7 x 70.2 cm)", "Disp_Height" : "20 3/4 in.", "Disp_Width" : "27 5/8 in.", "Dimen_Extent" : "window opening", "Medium" : "Color Lithograph", "Support" : "", "Disp_Medium" : "Color Lithograph", "Info_Page_Comm" : " See the interpretive label written by Cornelia A. Tsakiridou, Ph.D., <i>Professor, Department of Philosophy</i> and <i>Director, Diplomat-In-Residence Program</i>, for the exhibition <i>Teaching and Learning in the Art Museum: La Salle University Faculty Selections</i> in the online exhibition <a href="https://digitalcommons.lasalle.edu/faculty_selections_2018/11/">HERE</a>. Label for "Beyond Cubism: European Modern Prints, 1920s-1960s", La Salle University Art Museum, March 7 – June 15, 2018: Joan Miró was born in Barcelona. His family encouraged him to study business as well as art, but he eventually devoted himself entirely to his art, training at various art academies in Barcelona. While he would always find his grounding and inspiration in the Catalonian countryside, he found it very provincial and, starting in 1920, split his time between there and Paris—a pattern disrupted by the Spanish Civil War (1936-1939). Miró was a major proponent of Surrealism, and his Paris studio was next to that of André Masson, another Surrealist artist. André Breton, the founder and spokesman for the Surrealists, called Miró "the most Surrealist of us all." However, Miró never embraced the automatism advocated by Breton, and when Miró and Max Ernst were invited by Sergei Diaghilev to contribute to the Ballets Russes' <i>Romeo and Juliet</i>, Breton staged a protest considering the collaboration too bourgeois. Miró’s work changed over the course of his career, shifting from an early Fauvist style, to Magical Realism in the early 1920s, to Surrealism starting around the mid-1920s, in which representational elements evolve into simplified biomorphic shapes, essentially personal ideographs, often achieved using Surrealist methods of “automatism.” This untitled lithograph comes from Miró's late career. -Thomas Blum, Ph.D. Associate Professor of Mathematics and Science", "Dedication" : "Purchased with funds provided by the Benjamin D. Bernstein Acquisition Fund", "Copyright_Type" : "© Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2016", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91-G-3086.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91-G-3086.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91-G-3086.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91-G-3086.jpg", "IsPrimary" : "1", "_SurrogateID" : "2247", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3033, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3033", "Disp_Access_No" : "91-G-3090", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Excavation", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Wells", "Sort_Artist" : "Wells, Charles", "Disp_Dimen" : "19 1/4 x 13 in. (48.9 x 33 cm)", "Disp_Height" : "19 1/4 in.", "Disp_Width" : "13 in.", "Dimen_Extent" : "Image", "Medium" : "Etching, roulette", "Support" : "", "Disp_Medium" : "Etching, roulette", "Info_Page_Comm" : "", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91-G-3090.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91-G-3090.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91-G-3090.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91-G-3090.jpg", "IsPrimary" : "1", "_SurrogateID" : "2664", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3034, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3034", "Disp_Access_No" : "91-G-3091", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Hart Crane", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Wells", "Sort_Artist" : "Wells, Charles", "Disp_Dimen" : "17 1/2 x 14 5/8 in. (44.5 x 37.1 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "14 5/8 in.", "Dimen_Extent" : "Image", "Medium" : "Mixed Intaglio", "Support" : "", "Disp_Medium" : "Mixed Intaglio", "Info_Page_Comm" : "", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91-G-3091.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91-G-3091.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91-G-3091.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91-G-3091.jpg", "IsPrimary" : "1", "_SurrogateID" : "2859", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3124, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3124", "Disp_Access_No" : "92-G-3100", "_AccNumSort1" : "", "Disp_Create_DT" : "Late 20th Century", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1999", "Disp_Title" : "Jeanne S.", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "J. Michael Armentrout", "Sort_Artist" : "Armentrout, J. Michael", "Disp_Dimen" : "18 x 15 in. (45.7 x 38.1 cm)", "Disp_Height" : "18 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/92-G-3100.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92-G-3100.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92-G-3100.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92-G-3100.jpg", "IsPrimary" : "1", "_SurrogateID" : "3271", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3126, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3126", "Disp_Access_No" : "92-G-3102", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Tom Working", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Michael Morin", "Sort_Artist" : "Morin, Michael", "Disp_Dimen" : "14 1/4 x 20 in. 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(34.3 x 59.7 cm)", "Disp_Height" : "13 1/2 in.", "Disp_Width" : "23 1/2 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/92-G-3104.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92-G-3104.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92-G-3104.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92-G-3104.jpg", "IsPrimary" : "1", "_SurrogateID" : "3386", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3128, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3128", "Disp_Access_No" : "92-G-3105", "_AccNumSort1" : "", "Disp_Create_DT" : "c 1991", "_Disp_Start_Dat" : "1986", "_Disp_End_Date" : "1996", "Disp_Title" : "Mahalo", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Merle Spandorfer", "Sort_Artist" : "Spandorfer, Merle", "Disp_Dimen" : "26 7/8 x 20 3/8 in. (68.3 x 51.8 cm)", "Disp_Height" : "26 7/8 in.", "Disp_Width" : "20 3/8 in.", "Dimen_Extent" : "Image", "Medium" : "Color Lithograph", "Support" : "", "Disp_Medium" : "Color Lithograph", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/92-G-3105.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92-G-3105.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92-G-3105.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92-G-3105.jpg", "IsPrimary" : "1", "_SurrogateID" : "3387", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3129, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3129", "Disp_Access_No" : "92-G-3106", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Unknown", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Greg Gaskey", "Sort_Artist" : "Gaskey, Greg", "Disp_Dimen" : "30 x 22 1/4 in. (76.2 x 56.5 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "22 1/4 in.", "Dimen_Extent" : "Image", "Medium" : "Color Lithograph", "Support" : "", "Disp_Medium" : "Color Lithograph", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/92-G-3106.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92-G-3106.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92-G-3106.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92-G-3106.jpg", "IsPrimary" : "1", "_SurrogateID" : "3272", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3131, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3131", "Disp_Access_No" : "92-G-3108", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Gateside Conversation", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas Hart Benton", "Sort_Artist" : "Benton, Thomas Hart", "Disp_Dimen" : "9 3/4 x 13 7/8 in. (24.8 x 35.2 cm)", "Disp_Height" : "9 3/4 in.", "Disp_Width" : "13 7/8 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>The WPA/FAP and earlier government-funded art programs of the New Deal established community art centers, distributed art for free, and introduced many Americans to accessible art in their everyday lives. Art was not only for museums, and several organizations – most notably the Associated American Artists (AAA), created in 1934 – successfully marketed affordable high quality art to the average American. The AAA sold signed, limited-edition fine art prints for $5 each, dis­tributing the art through department stores and later through mail-order advertisements.<BR/><BR/>Depictions of the American Scene by Regionalist artists such as Thomas Hart Benton, Grant Wood, and John Steuart Curry, were popular for their representational, idealistic views of a simpler pre-Depression era coun­tryside. Farmers and farm animals, silos and rolling hills of cultivated land, and horse and buggies (seen here in Benton’s </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Gateside Conversatio</SPAN><SPAN STYLE="font-size:10pt">n) illustrated the classic American heartland. In </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Island Hay</SPAN><SPAN STYLE="font-size:10pt">, Benton portrays the manual labor of reapers working the uneven land of Martha’s Vineyard with long scythes instead of with modern machines.<BR/><BR/>Rebecca Oviedo, M.A. '16<BR/>Collections Manager/Registrar, La Salle University Art Museum<BR/><BR/><BR/></SPAN></SPAN>", "Dedication" : "Gift of Mrs. Richard Crampton", "Copyright_Type" : "Art © T.H. Benton and R.P. Benton Testamentary Trusts/UMB Bank Trustee/Licensed by VAGA, New York, NY", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/92-G-3108.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92-G-3108.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92-G-3108.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92-G-3108.jpg", "IsPrimary" : "1", "_SurrogateID" : "2248", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3132, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3132", "Disp_Access_No" : "92-G-3109", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William Gropper", "Sort_Artist" : "Gropper, William", "Disp_Dimen" : "14 1/8 x 9 7/8 in. 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While many artists involved in the Section d’Or later experimented with other styles, Gleizes remained a steadfast proponent of Cubism throughout his life. Despite his progressive interest in Modern art, many of his aesthetic theories looked back to earlier time periods. He argued that Cubism recovered artistic principles used in Romanesque murals, and offered a new artistic direction which carried the potential for social and spiritual renewal. During the late 1920s, Gleizes lived in a rural artist collective in southeastern France, and he began making artworks with overtly religious subject matter. He created paintings for the church of Saint-Blanche de Serrières, and he also produced related drawings, gouaches, and pochoirs such as this Descent from the Cross, which transforms a traditional Christian scene into a Cubist harmony of abstract colors and lines. -Klare Scarborough, Ph.D. Director and Chief Curator ", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "© 2016 Artists Rights Society (ARS), New York/ADAGP, Paris", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-G-3693.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-G-3693.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-G-3693.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-G-3693.jpg", "IsPrimary" : "1", "_SurrogateID" : "3520", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 951, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/951", "Disp_Access_No" : "13-G-3565", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1933", "_Disp_Start_Dat" : "1928", "_Disp_End_Date" : "1938", "Disp_Title" : "Methodist Temple, Chicago", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Turzak", "Sort_Artist" : "Turzak, Charles", "Disp_Dimen" : "13 1/4 x 8 5/8 in. 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These 1930s prints included Michigan Avenue Bridge, Chicago Snowstorm and </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Lincoln Par</SPAN><SPAN STYLE="font-size:10pt">k, among others.1 The print on display was featured in a guide book, </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">All About Chi­cag</SPAN><SPAN STYLE="font-size:10pt">o, published in 1933.2 Turzak also produced highly successful woodcut collections depicting the lives of Abraham Lincoln and Benjamin Franklin. 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Ford", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/09-G-3462.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/09-G-3462.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/09-G-3462.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/09-G-3462.jpg", "IsPrimary" : "1", "_SurrogateID" : "2822", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 964, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/964", "Disp_Access_No" : "13-G-3578", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1935", "_Disp_Start_Dat" : "1930", "_Disp_End_Date" : "1940", "Disp_Title" : "Unemployed", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George E. C. Wiggins", "Sort_Artist" : "Wiggins, George E. C.", "Disp_Dimen" : "8 1/4 x 12 1/2 in. (21 x 31.8 cm)", "Disp_Height" : "8 1/4 in.", "Disp_Width" : "12 1/2 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : " See the interpretive label written by S. Joel Garver, Ph.D., <i>Assistant Professor, Department of Philosophy</i>, for the exhibition <i>Teaching and Learning in the Art Museum: La Salle University Faculty Selections</i> in the online exhibition <a href="https://digitalcommons.lasalle.edu/faculty_selections_2018/9/">HERE</a>. <SPAN><SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>Originally from Arkansas, Wiggins attended the Penn­sylvania Academy of the Fine Arts and was awarded a prestigious Cresson scholarship for study abroad. He eventually settled in Philadelphia and worked as an il­lustrator for the </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Saturday Evening Post</SPAN><SPAN STYLE="font-size:10pt"> and other publi­cations.<BR/><BR/>In this Social Realist depiction, Wiggins focuses on the subject of a union strike. The banner in the background, “Philadelphia Union Workers,” situates the scene in Philadelphia. Signs reading “To Hell with Charity” and “[Wo]rkers [De]mand Free […] Water and [Elect]ricity” suggest possible connections with the burst of union activity that took place around 1935, with numerous organized union strikes and the emergence of the Com­mittee for Industrial Organization (CIO). On the left, a fiery speaker stands next to an American flag, his ex­tended arm pointing into the center of the composition; while a mounted policeman on the far right looks in­wards over the crowd of protestors. In the foreground, a smiling woman appears to beg for money. Wearing an armband in support of the strike, she holds out a cup to a gentleman who reaches into his pocket for coins. <BR/><BR/>Klare Scarborough<BR/>Director and Chief Curator, La Salle University Art Museum</SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3578.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3578.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3578.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3578.jpg", "IsPrimary" : "1", "_SurrogateID" : "2398", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 999, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/999", "Disp_Access_No" : "14-G-3599", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1935", "_Disp_Start_Dat" : "1930", "_Disp_End_Date" : "1940", "Disp_Title" : "Puppet Show Backstage", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hubert Morley", "Sort_Artist" : "Morley, Hubert", "Disp_Dimen" : "11 3/4 x 7 in. 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Puppet shows could be produced with small budgets and few workers but could entertain many people, especially youth, in rural communities that could not support a large theater. Additionally, puppet shows had great ap­peal during the WPA era for their instructional value for youth. Performers could use puppets not only to instruct children about arts and crafts, but also to illustrate clas­sic stories and fairy tales, and even to teach about health issues, morality, and safety. 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The balance of horizontals and diagonals in the composition is accentuated by the crisscrossed suspenders worn by many members of the audience. An ice cream stand in the right foreground adds local interest. <BR/><BR/>Klare Scarborough<BR/>Director and Chief Curator, La Salle University Art Museum<BR/></SPAN><SPAN STYLE="font-family:'Goudy Oldstyle Std'"><BR/></SPAN></SPAN>", "Dedication" : "Purchased with The Marjorie and Irwin Nat Pincus Fund for Prints and Drawings", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3567.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3567.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3567.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3567.jpg", "IsPrimary" : "1", "_SurrogateID" : "2168", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 968, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/968", "Disp_Access_No" : "13-G-3582", "_AccNumSort1" : "", "Disp_Create_DT" : "1933", "_Disp_Start_Dat" : "1933", "_Disp_End_Date" : "1933", "Disp_Title" : "Dust", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Mervin Jules", "Sort_Artist" : "Jules, Mervin", "Disp_Dimen" : "7 x 13 1/2 in. 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This print, made while Jules was a student in Baltimore, was exhibited in the first national exhibition of the American Artists’ Congress as part of 30 duplicate “socially-conscious” exhibitions held in 30 American cities in December 1936, with the activist agenda of encouraging contact between artists and their audiences and furthering the democratization of art.<BR/><BR/>Klare Scarborough<BR/>Director and Chief Curator, La Salle University Art Museum</SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3582.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3582.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3582.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3582.jpg", "IsPrimary" : "1", "_SurrogateID" : "2401", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 983, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/983", "Disp_Access_No" : "13-G-3597", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1938", "_Disp_Start_Dat" : "1933", "_Disp_End_Date" : "1943", "Disp_Title" : "Jazz Band", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Laura Woolsey", "Sort_Artist" : "Woolsey, Laura", "Disp_Dimen" : "8 7/8 x 8 1/8 in. 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(21 x 16.5 cm)", "Disp_Height" : "8 1/4 in.", "Disp_Width" : "6 1/2 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "", "Copyright_Type" : "Art © Estate of Fritz Eichenberg/Licensed by VAGA, New York, NY", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/67-G-151.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/67-G-151.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/67-G-151.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/67-G-151.jpg", "IsPrimary" : "1", "_SurrogateID" : "2704", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1204, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1204", "Disp_Access_No" : "67-G-152", "_AccNumSort1" : "", "Disp_Create_DT" : "1933", "_Disp_Start_Dat" : "1933", "_Disp_End_Date" : "1933", "Disp_Title" : "Karamazov", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Fritz Eichenberg", "Sort_Artist" : "Eichenberg, Fritz", "Disp_Dimen" : "8 3/8 x 6 1/4 in. (21.3 x 15.9 cm)", "Disp_Height" : "8 3/8 in.", "Disp_Width" : "6 1/4 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "", "Copyright_Type" : "Art © Estate of Fritz Eichenberg/Licensed by VAGA, New York, NY", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/67-G-152.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/67-G-152.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/67-G-152.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/67-G-152.jpg", "IsPrimary" : "1", "_SurrogateID" : "2705", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2706, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2706", "Disp_Access_No" : "85-G-1306", "_AccNumSort1" : "", "Disp_Create_DT" : "1933", "_Disp_Start_Dat" : "1933", "_Disp_End_Date" : "1933", "Disp_Title" : "Vigneron", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Arthur William Heintzelman", "Sort_Artist" : "Heintzelman, Arthur William", "Disp_Dimen" : "12 1/4 x 9 1/2 in. (31.1 x 24.1 cm)", "Disp_Height" : "12 1/4 in.", "Disp_Width" : "9 1/2 in.", "Dimen_Extent" : "Image", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds provided by Alfred J. Crawford, Esq.", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/85-G-1306.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/85-G-1306.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/85-G-1306.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/85-G-1306.jpg", "IsPrimary" : "1", "_SurrogateID" : "2006", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 952, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/952", "Disp_Access_No" : "13-G-3566", "_AccNumSort1" : "", "Disp_Create_DT" : "1934", "_Disp_Start_Dat" : "1934", "_Disp_End_Date" : "1934", "Disp_Title" : "Woodbine", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ernest William Watson", "Sort_Artist" : "Watson, Ernest William", "Disp_Dimen" : "8 1/2 x 10 1/4 in. (21.6 x 26 cm)", "Disp_Height" : "8 1/2 in.", "Disp_Width" : "10 1/4 in.", "Dimen_Extent" : "Image", "Medium" : "Linocut in colors", "Support" : "", "Disp_Medium" : "Linocut in colors", "Info_Page_Comm" : "<SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>Ernest Watson was born in Conway, MA, and attended Boston’s Massachusetts Arts School. Woodbine is a subject he likely found near his summer home in the Berkshires. In his linocuts, Watson transforms a1 “square of [linoleum] floor covering” to create a rich pastoral view. In order to produce his colors, the artist made three blocks and then blended oil paint with his roller to produce nine hues. Watson was a member of several artistic associations, including the Prairie Printmakers. In addition to making art, he was art editor of Scholastic, the national high school weekly publication. <BR/><BR/>In this linocut, warm light bathes this image in tones of green and brown. While the fence and outbuildings lean with age, the house stands sturdy under a drape of vegetation. The gnarled tree contrasts with the healthy and productive cow.<BR/><BR/>Nina Coffin, M.A. '15</SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "© 2016 Artists Rights Society (ARS), New York / DACS, London", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3566.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3566.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3566.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3566.jpg", "IsPrimary" : "1", "_SurrogateID" : "2167", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1170, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1170", "Disp_Access_No" : "66-G-RS-95", "_AccNumSort1" : "", "Disp_Create_DT" : "1934-1935", "_Disp_Start_Dat" : "1934", "_Disp_End_Date" : "1935", "Disp_Title" : "Death Calling", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Käthe Kollwitz", "Sort_Artist" : "Kollwitz, Käthe", "Disp_Dimen" : "14 1/2 x 16 in. (36.8 x 40.6 cm)", "Disp_Height" : "14 1/2 in.", "Disp_Width" : "16 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph, restrike", "Support" : "", "Disp_Medium" : "Lithograph, restrike", "Info_Page_Comm" : "", "Dedication" : "", "Copyright_Type" : "© 2016 Artists Rights Society (ARS), New York", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/66-G-RS-95.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/66-G-RS-95.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/66-G-RS-95.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/66-G-RS-95.jpg", "IsPrimary" : "1", "_SurrogateID" : "3185", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1182, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1182", "Disp_Access_No" : "67-G-120", "_AccNumSort1" : "", "Disp_Create_DT" : "1934", "_Disp_Start_Dat" : "1934", "_Disp_End_Date" : "1934", "Disp_Title" : "A Mourner", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Julius Bloch", "Sort_Artist" : "Bloch, Julius", "Disp_Dimen" : "14 x 10 in. (35.6 x 25.4 cm)", "Disp_Height" : "14 in.", "Disp_Width" : "10 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Gift of the Artist's Estate", "Copyright_Type" : "", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/67-G-120.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/67-G-120.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/67-G-120.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/67-G-120.jpg", "IsPrimary" : "1", "_SurrogateID" : "2178", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1770, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1770", "Disp_Access_No" : "76-G-634", "_AccNumSort1" : "", "Disp_Create_DT" : "1934", "_Disp_Start_Dat" : "1934", "_Disp_End_Date" : "1934", "Disp_Title" : "Changing City", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Benton Murdoch Spruance", "Sort_Artist" : "Spruance, Benton Murdoch", "Disp_Dimen" : "10 x 14 1/2 in. (25.4 x 36.8 cm)", "Disp_Height" : "10 in.", "Disp_Width" : "14 1/2 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Gift of Victoria Donohoe", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/76-G-634.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/76-G-634.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/76-G-634.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/76-G-634.jpg", "IsPrimary" : "1", "_SurrogateID" : "1716", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2736, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2736", "Disp_Access_No" : "85-G-1336", "_AccNumSort1" : "", "Disp_Create_DT" : "1934", "_Disp_Start_Dat" : "1934", "_Disp_End_Date" : "1934", "Disp_Title" : "The City of London", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Graham Clilverd", "Sort_Artist" : "Clilverd, Graham", "Disp_Dimen" : "8 3/4 x 15 3/4 in. (22.2 x 40 cm)", "Disp_Height" : "8 3/4 in.", "Disp_Width" : "15 3/4 in.", "Dimen_Extent" : "Image", "Medium" : "Drypoint", "Support" : "", "Disp_Medium" : "Drypoint", "Info_Page_Comm" : "", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/85-G-1336.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/85-G-1336.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/85-G-1336.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/85-G-1336.jpg", "IsPrimary" : "1", "_SurrogateID" : "1732", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 88, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/88", "Disp_Access_No" : "02-G-3267", "_AccNumSort1" : "", "Disp_Create_DT" : "1935", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1935", "Disp_Title" : "Blind Musician", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hale Aspacio Woodruff", "Sort_Artist" : "Woodruff, Hale Aspacio", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Woodcut", "Support" : "", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>Woodruff was born in Cairo, IL, and grew up in Nash­ville, TN. His art career began with political cartoons for the African American newspaper, The Indianapolis Ledger, while receiving formal art training at the John Herron Art Institute in Indianapolis.1 Woodruff went on to attend the Art Institute of Chicago and spent four years in Paris (1927-1931), where he was heavily influ­enced by the Cubist Movement. <BR/><BR/>Upon his return to the United States, Woodruff accept­ed a position as the first art instructor at the Atlanta University Center, and his artwork began to develop characteristics of Regionalism and Social Realism.2 His apprenticeship under famed Mexican muralist Diego Rivera in summer 1936, working with Rivera’s standard high-keyed colors, influenced his work throughout the rest of his career.3 Additionally, he often incorporated African symbolism in his artwork, which in later years became more abstract. Woodruff’s depiction of Blind Musician demonstrates his respect for his African American heritage and the rise of the Jazz Age. <BR/><BR/>Molly Fay, '14</SPAN><SPAN STYLE="font-family:'Segoe UI'"><BR/><BR/></SPAN></SPAN>", "Dedication" : "Gift of Milton & Nancy Washington", "Copyright_Type" : "Art © Estate of Hale Woodruff/Licensed by VAGA, New York, NY", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/02-G-3267.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/02-G-3267.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/02-G-3267.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/02-G-3267.jpg", "IsPrimary" : "1", "_SurrogateID" : "2369", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 940, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/940", "Disp_Access_No" : "13-G-3554", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1940", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1945", "Disp_Title" : "Food After Flood", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Dudley (Henry Jr.) Morris", "Sort_Artist" : "Morris, Dudley (Henry Jr.)", "Disp_Dimen" : "9 5/8 x 13 3/8 in. (24.4 x 34 cm)", "Disp_Height" : "9 5/8 in.", "Disp_Width" : "13 3/8 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph, Edition of 25", "Support" : "", "Disp_Medium" : "Lithograph, Edition of 25", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>Born in New York City, Morris studied at the Art Stu­dents League and Yale University. He was active in New York and New Jersey as a painter, illustrator and print­maker.<BR/><BR/>This lithograph highlights the themes of human resilience and community bonding. While the scene has a universal quality and could have been set anywhere, Morris’ depiction of Food After Flood may allude to the coastal flooding caused by powerful hurricanes in 1938 and 1944, with the latter bringing a high storm surge and damage to hundreds of homes along the Eastern seaboard. Communities often come together after such natural disasters, with religious and social service groups providing food and shelter to the needy. Here people line up to receive food from an outdoor soup kitchen, while others bring food to injured individuals sitting in the front left and right of the composition. Set within a shallow stage-like setting, before a fabric awning sup­ported by a crumbling building and a wooden post, Food After Flood represents the triumph of the human spirit and humanitarian compassion in the aftermath of trag­edy.<BR/><BR/>Klare Scarborough<BR/>Director and Chief Curator, La Salle University Art Museum<BR/></SPAN><SPAN STYLE="font-family:'Times New Roman';font-size:10pt"><BR/></SPAN><SPAN STYLE="font-family:'Segoe UI'"><BR/></SPAN><SPAN STYLE="font-family:'Goudy Oldstyle Std';font-size:10pt"><BR/></SPAN><SPAN STYLE="font-family:'Segoe UI'"><BR/><BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by Mr. & Mrs. Leslie Wilson Farrell and Mary Morrow Farrell in honor of Lt. Col. Leslie Wilson.", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3554.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3554.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3554.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3554.jpg", "IsPrimary" : "1", "_SurrogateID" : "2389", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 961, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/961", "Disp_Access_No" : "13-G-3575", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1940", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1945", "Disp_Title" : "Parachute Jump", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Lesley Buckland Crawford", "Sort_Artist" : "Crawford, Lesley Buckland", "Disp_Dimen" : "13 3/8 x 10 1/4 in. (34 x 26 cm)", "Disp_Height" : "13 3/8 in.", "Disp_Width" : "10 1/4 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>A native of New York City, Crawford graduated from Vassar College in 1908 and also studied at the Art Stu­dents League of NYC.1 She lived in Summit, NJ, and Springfield, VT, where she later settled permanently.<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Parachute Jump </SPAN><SPAN STYLE="font-size:10pt">depicts the famous Life Savers Para­chute Jump amusement ride from the 1939 World’s Fair in Queens, NY. Inspired by military parachute practice towers, the novel 250-foot tall ride was a major attrac­tion. When the fair closed in 1941, the ride was moved to Steeplechase Park on Coney Island where it was en­joyed by visitors until the park’s closure in 1964. Today, the Parachute Jump still stands as a visual reminder of times past. Crawford’s nighttime depiction of the Para­chute Jump underscores the 1939 World’s Fair theme of electricity in the use of outdoor lighting. <BR/><BR/>The roots of amusement parks in the United States are grounded in the World’s Fair movement. The Colum­bian Exposition of 1893 (also known as The Chicago World’s Fair), while preceded by earlier fairs in New York and Philadelphia, marked the beginning of Ameri­ca’s passion for laughter and delight at the hands of new industrial machinery. The Columbian Exposition was the first World’s Fair to clearly designate a place, called “Midway,” for amusement rides such as the first Ferris Wheel, and for side attractions. Soon after, amusement parks in the United States became popular, with three major competitors—Luna Park, Steeplechase Park, and Dreamland on Coney Island, New York—driving en­gineers and investors to constantly add new and excit­ing attractions in the early decades of the 20th century, feeding Americans’ new-found passion for fun and ex­citement.<BR/><BR/>Molly Fay, '14</SPAN><SPAN STYLE="font-family:'Segoe UI'"><BR/></SPAN><SPAN STYLE="font-family:'Goudy Oldstyle Std';font-size:10pt"><BR/></SPAN><SPAN STYLE="font-family:'Goudy Oldstyle Std'"><BR/></SPAN></SPAN>", "Dedication" : "Purchased with The Marjorie and Irwin Nat Pincus Fund for Prints and Drawings", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3575.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3575.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3575.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3575.jpg", "IsPrimary" : "1", "_SurrogateID" : "2396", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 967, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/967", "Disp_Access_No" : "13-G-3581", "_AccNumSort1" : "", "Disp_Create_DT" : "1935", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1935", "Disp_Title" : "Man of the Soil (CT. Yankee Farmer)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Stevan Dohanos", "Sort_Artist" : "Dohanos, Stevan", "Disp_Dimen" : "12 1/4 x 9 1/2 in. (31.1 x 24.1 cm)", "Disp_Height" : "12 1/4 in.", "Disp_Width" : "9 1/2 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>Born to a working class family in Lorain, OH, Dohanos completed two years of art training by mail before at­tending the Cleveland School of Art. He was a leader in a group called the “Cleveland Print Makers” which would create the “Print-a-Month Club” to make local art affordable. </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Man of the Soil </SPAN><SPAN STYLE="font-size:10pt">was issued in February of 1935 as an edition of 250 prints for which the artist was paid only $50. Dohanos is best known for creating over 100 Saturday Evening Post covers. <BR/><BR/>Dramatically lit, a farmer—Man of the Soil—faces the viewer holding a heavy object. Its weight is expressed by strong vertical lines in the man’s hat, face, arms and shirt sleeves. The black shadow cast by his forearm ob­scures the foreground, but repetition of the shape in the wheelbarrow and landscape behind reveal him to be clearing his field of large rocks. <BR/><BR/>Nina Coffin, M.A. '15</SPAN></SPAN>", "Dedication" : "Purchased with The Marjorie and Irwin Nat Pincus Fund for Prints and Drawings", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3581.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3581.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3581.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3581.jpg", "IsPrimary" : "1", "_SurrogateID" : "2400", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1027, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1027", "Disp_Access_No" : "14-G-3628", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1940", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1945", "Disp_Title" : "Independence Hall, Philadelphia", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Salvatore Pinto", "Sort_Artist" : "Pinto, Salvatore", "Disp_Dimen" : "8 5/8 x 11 5/8 in. (21.9 x 29.5 cm)", "Disp_Height" : "8 5/8 in.", "Disp_Width" : "11 5/8 in.", "Dimen_Extent" : "Image", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds from the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/14-G-3628.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14-G-3628.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14-G-3628.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14-G-3628.jpg", "IsPrimary" : "1", "_SurrogateID" : "2415", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1029, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1029", "Disp_Access_No" : "14-G-3630", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1940", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1945", "Disp_Title" : "Guitar in the Park", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ralph Fabri", "Sort_Artist" : "Fabri, Ralph", "Disp_Dimen" : "9 3/4 x 7 7/8 in. (24.8 x 20 cm)", "Disp_Height" : "9 3/4 in.", "Disp_Width" : "7 7/8 in.", "Dimen_Extent" : "Image", "Medium" : "Drypoint", "Support" : "", "Disp_Medium" : "Drypoint", "Info_Page_Comm" : "", "Dedication" : "Purchased with The Marjorie and Irwin Nat Pincus Fund for Prints and Drawings", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/14-G-3630.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14-G-3630.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14-G-3630.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14-G-3630.jpg", "IsPrimary" : "1", "_SurrogateID" : "2417", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1184, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1184", "Disp_Access_No" : "67-G-125", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1940", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1945", "Disp_Title" : "Head Study (Self-Portrait)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Julius Bloch", "Sort_Artist" : "Bloch, Julius", "Disp_Dimen" : "11 3/4 x 9 in. (29.8 x 22.9 cm)", "Disp_Height" : "11 3/4 in.", "Disp_Width" : "9 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Gift of the Artist's Estate", "Copyright_Type" : "", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/67-G-125.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/67-G-125.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/67-G-125.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/67-G-125.jpg", "IsPrimary" : "1", "_SurrogateID" : "2180", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1187, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1187", "Disp_Access_No" : "67-G-132", "_AccNumSort1" : "", "Disp_Create_DT" : "C. 1940", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1945", "Disp_Title" : "Head Study", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Julius Bloch", "Sort_Artist" : "Bloch, Julius", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Gift of the Artist's Estate", "Copyright_Type" : "", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/67-G-132.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/67-G-132.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/67-G-132.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/67-G-132.jpg", "IsPrimary" : "1", "_SurrogateID" : "3189", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3339, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3339", "Disp_Access_No" : "96-G-3202", "_AccNumSort1" : "", "Disp_Create_DT" : "1935", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1935", "Disp_Title" : "Christ and the Children, Plate 6, Passion", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Georges Rouault", "Sort_Artist" : "Rouault, Georges", "Disp_Dimen" : "11 3/4 x 8 1/4 in. (29.8 x 21 cm)", "Disp_Height" : "11 3/4 in.", "Disp_Width" : "8 1/4 in.", "Dimen_Extent" : "Image", "Medium" : "Etching, aquatint", "Support" : "", "Disp_Medium" : "Etching, aquatint", "Info_Page_Comm" : "", "Dedication" : "Gift of Ann Chahbandour and Jay Robert Stiefel", "Copyright_Type" : "© 2016 Artists Rights Society (ARS), New York / ADAGP, Paris", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/96-G-3202.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/96-G-3202.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/96-G-3202.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/96-G-3202.jpg", "IsPrimary" : "1", "_SurrogateID" : "2791", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4086, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4086", "Disp_Access_No" : "14-G-3660", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1940", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1945", "Disp_Title" : "Skaters on Hope's Pond", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Kyra Markham", "Sort_Artist" : "Markham, Kyra", "Disp_Dimen" : "10 1/8 x 12 7/8 in. (25.7 x 32.7 cm)", "Disp_Height" : "10 1/8 in.", "Disp_Width" : "12 7/8 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds from the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/14-G-3660.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14-G-3660.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14-G-3660.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14-G-3660.jpg", "IsPrimary" : "1", "_SurrogateID" : "2422", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 948, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/948", "Disp_Access_No" : "13-G-3562", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1936-1942", "_Disp_Start_Dat" : "1936", "_Disp_End_Date" : "1942", "Disp_Title" : "Coal Mining", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "David Burke", "Sort_Artist" : "Burke, David", "Disp_Dimen" : "9 5/8 x 14 in. (24.4 x 35.6 cm)", "Disp_Height" : "9 5/8 in.", "Disp_Width" : "14 in.", "Dimen_Extent" : "Image", "Medium" : "Woodcut", "Support" : "", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>Active in 1930s and 1940s New York City for the WPA/ FAP, Burke experimented with a number of printing techniques, including color woodcuts, lithographs, lin­ocuts and serigraphs. He typically depicted scenes of large-scale industrial construction, anonymous laboring masses and abandoned farm homes in disrepair. Burke had a particular interest in the coal industry, producing imagery of pairs of laborers at work in the mining shaft and teams of coal pickers hunched over on steep hills. Unlike his lithograph </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Coal Hole </SPAN><SPAN STYLE="font-size:10pt">(c. 1935-43), which depicts two workers at rest in a black and white palette, Coal Mining captures them mid-toil, their increasingly abstracted bodies echoing the geometric shape of the coal shaft.<BR/><BR/>Maeve Coudrelle<BR/>Ph.D. student in Art History, Tyler School of Art, Temple University</SPAN><SPAN STYLE="font-family:'Segoe UI'"><BR/><BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3562.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3562.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3562.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3562.jpg", "IsPrimary" : "1", "_SurrogateID" : "2390", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 949, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/949", "Disp_Access_No" : "13-G-3563", "_AccNumSort1" : "", "Disp_Create_DT" : "1936", "_Disp_Start_Dat" : "1936", "_Disp_End_Date" : "1936", "Disp_Title" : "Side Show", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Elizabeth Olds", "Sort_Artist" : "Olds, Elizabeth", "Disp_Dimen" : "9 3/4 x 15 in. (24.8 x 38.1 cm)", "Disp_Height" : "9 3/4 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>Born in Minneapolis, MN, Olds studied at the Art Stu­dents League in New York City and was a Guggenheim Fellow in 1926-27. After traveling in Europe for several years, she moved to Nebraska in 1929 and became inter­ested in depicting the suffering of workers and animals. In 1934 she worked for the PWAP in Omaha; then in 1935 she returned to New York City and worked for the WPA/FAP in the silkscreen unit of the Graphic Arts Di­vision. A prominent Social Realist, she was a member of the Artists’ Union and the American Artists’ Congress and actively engaged in the struggles of workers. She did illustrations for the Communist paper New Masses, and in 1936 she wrote an important essay advocating the production of fine art prints for the masses. <BR/><BR/>Side Show was made during Olds’ tenure with the WPA/ FAP in New York City. The setting is a carnival or fair, with big tents and a Ferris wheel in the background. Side shows featuring an emaciated thin man or “human skeleton” were common at the time; however, Olds’ de­piction should be considered in light of her social con­cerns. The scene takes place near an entrance to the fairgrounds, within a shallow stage-like area lit by spot­lights highlighting a megaphone announcer in the cen­ter. Three portly individuals stand gawking on the left, and a marching band plays on the right. The curvy forms of the rotund audience members and the musical instru­ments contrast with, and accentuate, the gaunt angular forms of the faceless thin man. <BR/><BR/>Klare Scarborough<BR/></SPAN><SPAN STYLE="font-size:10pt">Director and Chief Curator, La Salle University Art Museum</SPAN><SPAN STYLE="font-family:'Segoe UI'"><BR/><BR/></SPAN></SPAN>", "Dedication" : "Purchased with The Marjorie and Irwin Nat Pincus Fund for Prints and Drawings.", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3563.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3563.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3563.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3563.jpg", "IsPrimary" : "1", "_SurrogateID" : "2391", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1009, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1009", "Disp_Access_No" : "14-G-3609", "_AccNumSort1" : "", "Disp_Create_DT" : "1936", "_Disp_Start_Dat" : "1936", "_Disp_End_Date" : "1936", "Disp_Title" : "Four of a Kind", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Nura Woodson Ulreich", "Sort_Artist" : "Ulreich, Nura Woodson", "Disp_Dimen" : "10 x 11 5/8 in. 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He instead learned the technique in the Paris shop of Edmond and Jacques Desjobert while on a Cresson grant study trip.1 Spruance especially liked that lithographs could be economically mass-produced and acquired by people who could not otherwise afford to buy art. <BR/><BR/>Like many American Modern artists of his generation, Spruance aspired to create work that was intrinsically American in response to the dominance of European Modernism.3 Spruance’s style evolved throughout his career. In the 1930s, he worked in a then-contemporary Social Realist vein and his series, </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">The People Work</SPAN><SPAN STYLE="font-size:10pt">, shows his clear affinity for the work of Ashcan artist George Bellows, Regionalist Thomas Hart Benton, and Mexican muralists.<BR/><BR/>The People Work (1937) was Spruance’s first major se­ries. In the four compositions, the city’s workers move through the urban environment at different times of the day—Morning, Noon, </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Evening</SPAN><SPAN STYLE="font-size:10pt">, and Night—going about their daily business. The series attracted national media attention and won the Pennsylvania Academy of the Fine Arts Pennell Medal.<BR/><BR/>Carmen Vendelin<BR/>Curator of Art, La Salle University Art Museum</SPAN></SPAN>", "Dedication" : "Gift of William J. 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He instead learned the technique in the Paris shop of Edmond and Jacques Desjobert while on a Cresson grant study trip.1 Spruance especially liked that lithographs could be economically mass-produced and acquired by people who could not otherwise afford to buy art.<BR/><BR/>Like many American Modern artists of his generation, Spruance aspired to create work that was intrinsically American in response to the dominance of European Modernism.3 Spruance’s style evolved throughout his career. In the 1930s, he worked in a then-contemporary Social Realist vein and his series, </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">The People Work</SPAN><SPAN STYLE="font-size:10pt">, shows his clear affinity for the work of Ashcan artist George Bellows, Regionalist Thomas Hart Benton, and Mexican muralists. <BR/><BR/>The People Work (1937) was Spruance’s first major se­ries. In the four compositions, the city’s workers move through the urban environment at different times of the day—Morning, Noon, </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Evening</SPAN><SPAN STYLE="font-size:10pt">, and Night—going about their daily business. The series attracted national media attention and won the Pennsylvania Academy of the Fine Arts Pennell Medal.<BR/><BR/>Carmen Vendelin<BR/>Curator of Art, La Salle University Art Museum</SPAN></SPAN>", "Dedication" : "Gift of William J. 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He instead learned the technique in the Paris shop of Edmond and Jacques Desjobert while on a Cresson grant study trip.1 Spruance especially liked that lithographs could be economically mass-produced and acquired by people who could not otherwise afford to buy art.<BR/><BR/>Like many American Modern artists of his generation, Spruance aspired to create work that was intrinsically American in response to the dominance of European Modernism.3 Spruance’s style evolved throughout his career. In the 1930s, he worked in a then-contemporary Social Realist vein and his series, </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">The People Work</SPAN><SPAN STYLE="font-size:10pt">, shows his clear affinity for the work of Ashcan artist George Bellows, Regionalist Thomas Hart Benton, and Mexican muralists. <BR/><BR/>The People Work (1937) was Spruance’s first major se­ries. In the four compositions, the city’s workers move through the urban environment at different times of the day—Morning, Noon, </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Evening</SPAN><SPAN STYLE="font-size:10pt">, and Night—going about their daily business. The series attracted national media attention and won the Pennsylvania Academy of the Fine Arts Pennell Medal.<BR/><BR/>Carmen Vendelin<BR/>Curator of Art, La Salle University Art Museum</SPAN></SPAN>", "Dedication" : "Gift of William J. Henrich, Jr.", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/07-G-3415.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/07-G-3415.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/07-G-3415.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/07-G-3415.jpg", "IsPrimary" : "1", "_SurrogateID" : "2144", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 318, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/318", "Disp_Access_No" : "07-G-3416", "_AccNumSort1" : "", "Disp_Create_DT" : "1937", "_Disp_Start_Dat" : "1937", "_Disp_End_Date" : "1937", "Disp_Title" : "The People Work- Noon", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Benton Murdoch Spruance", "Sort_Artist" : "Spruance, Benton Murdoch", "Disp_Dimen" : "22 3/4 x 15 3/4 in. (57.8 x 40 cm)", "Disp_Height" : "22 3/4 in.", "Disp_Width" : "15 3/4 in.", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>Benton Spruance was a Pennsylvania Academy of the Fine Arts-trained Philadelphia artist. Lithography was not taught at the Academy during Spruance’s student days in the 1920s. He instead learned the technique in the Paris shop of Edmond and Jacques Desjobert while on a Cresson grant study trip.1 Spruance especially liked that lithographs could be economically mass-produced and acquired by people who could not otherwise afford to buy art.<BR/><BR/>Like many American Modern artists of his generation, Spruance aspired to create work that was intrinsically American in response to the dominance of European Modernism.3 Spruance’s style evolved throughout his career. In the 1930s, he worked in a then-contemporary Social Realist vein and his series, </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">The People Work</SPAN><SPAN STYLE="font-size:10pt">, shows his clear affinity for the work of Ashcan artist George Bellows, Regionalist Thomas Hart Benton, and Mexican muralists. <BR/><BR/>The People Work (1937) was Spruance’s first major se­ries. In the four compositions, the city’s workers move through the urban environment at different times of the day—Morning, Noon, </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Evening</SPAN><SPAN STYLE="font-size:10pt">, and Night—going about their daily business. The series attracted national media attention and won the Pennsylvania Academy of the Fine Arts Pennell Medal.<BR/><BR/>Carmen Vendelin<BR/>Curator of Art, La Salle University Art Museum</SPAN></SPAN>", "Dedication" : "Gift of William J. Henrich, Jr.", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/07-G-3416.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/07-G-3416.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/07-G-3416.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/07-G-3416.jpg", "IsPrimary" : "1", "_SurrogateID" : "2145", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 962, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/962", "Disp_Access_No" : "13-G-3576", "_AccNumSort1" : "", "Disp_Create_DT" : "1937", "_Disp_Start_Dat" : "1937", "_Disp_End_Date" : "1937", "Disp_Title" : "Blast Furnace", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Harry Sternberg", "Sort_Artist" : "Sternberg, Harry", "Disp_Dimen" : "11 3/4 x 8 3/8 in. (29.8 x 21.3 cm)", "Disp_Height" : "11 3/4 in.", "Disp_Width" : "8 3/8 in.", "Dimen_Extent" : "Image", "Medium" : "Etching and aquatint", "Support" : "", "Disp_Medium" : "Etching and aquatint", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>Sternberg’s dramatic depiction of Blast Furnace con­jures the heat and power associated with industrial steel mills. Two workers guide the pouring of molten iron ore into large vats, while the smoke rises from the top of the plant like a halo. The smelting of iron ore into a thick liquid is accentuated in this lithograph by the suggestion of numerous droplet shapes – a granulated effect which the artist achieved using the aquatint medium.<BR/><BR/>Sternberg was an accomplished artist and a first-gener­ation American, born in New York City of Orthodox Jewish parents who immigrated from Russia and Hun­gary. He trained at the Art Students League in NYC from 1922-26, became an instructor there in 1933, and was appointed technical advisor to the NYC WPA/ FAP Graphics Division in 1935. He was active in po­litical and social causes, a friend of Diego Rivera and Frida Kahlo, and a contributor to the Communist paper New Masses. In 1936-1937 he spent a year studying coal mines and steel mills of industrial America as a Guggen­heim Fellow.1 Blast Furnace was based on sketches made in Pittsburgh during this period of study.<BR/><BR/>Klare Scarborough<BR/></SPAN><SPAN STYLE="font-size:10pt">Director and Chief Curator, La Salle University Art Museum</SPAN><SPAN STYLE="font-size:10pt"><BR/> <BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3576.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3576.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3576.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3576.jpg", "IsPrimary" : "1", "_SurrogateID" : "2397", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1010, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1010", "Disp_Access_No" : "14-G-3610", "_AccNumSort1" : "", "Disp_Create_DT" : "1937", "_Disp_Start_Dat" : "1937", "_Disp_End_Date" : "1937", "Disp_Title" : "Anna Karenina in Hollywood", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Warren Newcombe", "Sort_Artist" : "Newcombe, Warren", "Disp_Dimen" : "10 1/2 x 15 in. (26.7 x 38.1 cm)", "Disp_Height" : "10 1/2 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/14-G-3610.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14-G-3610.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14-G-3610.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14-G-3610.jpg", "IsPrimary" : "1", "_SurrogateID" : "2411", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2617, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2617", "Disp_Access_No" : "84-G-1291", "_AccNumSort1" : "", "Disp_Create_DT" : "1937", "_Disp_Start_Dat" : "1937", "_Disp_End_Date" : "1937", "Disp_Title" : "Portrait Study of an Old Woman", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Arthur William Heintzelman", "Sort_Artist" : "Heintzelman, Arthur William", "Disp_Dimen" : "11 3/4 x 8 3/4 in. (29.8 x 22.2 cm)", "Disp_Height" : "11 3/4 in.", "Disp_Width" : "8 3/4 in.", "Dimen_Extent" : "Image", "Medium" : "Drypoint", "Support" : "", "Disp_Medium" : "Drypoint", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds provided by the La Salle College Guild 1984", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/84-G-1291.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/84-G-1291.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/84-G-1291.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/84-G-1291.jpg", "IsPrimary" : "1", "_SurrogateID" : "1729", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2875, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2875", "Disp_Access_No" : "88-G-2990", "_AccNumSort1" : "", "Disp_Create_DT" : "1937", "_Disp_Start_Dat" : "1937", "_Disp_End_Date" : "1937", "Disp_Title" : "Le Square Vintimille", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edouard Vuillard", "Sort_Artist" : "Vuillard, Edouard", "Disp_Dimen" : "13 x 9 3/4 in. (33 x 24.8 cm)", "Disp_Height" : "13 in.", "Disp_Width" : "9 3/4 in.", "Dimen_Extent" : "Image", "Medium" : "Drypoint", "Support" : "", "Disp_Medium" : "Drypoint", "Info_Page_Comm" : "", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/88-G-2990.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/88-G-2990.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/88-G-2990.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/88-G-2990.jpg", "IsPrimary" : "1", "_SurrogateID" : "1690", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2944, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2944", "Disp_Access_No" : "89-G-3052", "_AccNumSort1" : "", "Disp_Create_DT" : "1937", "_Disp_Start_Dat" : "1937", "_Disp_End_Date" : "1937", "Disp_Title" : "Petites E'tudes Dans le Square", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edouard Vuillard", "Sort_Artist" : "Vuillard, Edouard", "Disp_Dimen" : "5 3/4 x 3 7/8 in. (14.6 x 9.8 cm)", "Disp_Height" : "5 3/4 in.", "Disp_Width" : "3 7/8 in.", "Dimen_Extent" : "Image", "Medium" : "Drypoint", "Support" : "", "Disp_Medium" : "Drypoint", "Info_Page_Comm" : "", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/89-G-3052.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/89-G-3052.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/89-G-3052.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/89-G-3052.jpg", "IsPrimary" : "1", "_SurrogateID" : "2239", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 980, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/980", "Disp_Access_No" : "13-G-3594", "_AccNumSort1" : "", "Disp_Create_DT" : "1938", "_Disp_Start_Dat" : "1938", "_Disp_End_Date" : "1938", "Disp_Title" : "Old Doc", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Nicholas Panesis", "Sort_Artist" : "Panesis, Nicholas", "Disp_Dimen" : "8 3/4 x 12 3/4 in. (22.2 x 32.4 cm)", "Disp_Height" : "8 3/4 in.", "Disp_Width" : "12 3/4 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "<SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>Originally from Massachusetts, Panesis studied at Syr­acuse University then taught ceramics at Alfred Uni­versity in New York. In the early 1930s he moved to California, living in San Francisco and finally settling in Los Angeles where he worked as an illustrator and as a layout designer for various animation studios.1 He was a versatile artist who employed a variety of styles, ranging from figural abstraction to more realistic works. Made for the California WPA/FAP, this lithograph depicts an elderly bearded man sitting in a rocky landscape, intent on whittling a piece of wood. The image has a Regional­ist flavor and evokes folk legends of poor country doctors during the Great Depression.<BR/><BR/>Klare Scarborough <BR/>Director and Chief Curator, La Salle University Art Museum<BR/></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3594.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3594.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3594.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3594.jpg", "IsPrimary" : "1", "_SurrogateID" : "2404", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 981, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/981", "Disp_Access_No" : "13-G-3595", "_AccNumSort1" : "", "Disp_Create_DT" : "1938", "_Disp_Start_Dat" : "1938", "_Disp_End_Date" : "1938", "Disp_Title" : "Henry's Acrobats", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Claire (Mahl) Moore", "Sort_Artist" : "Moore, Claire (Mahl)", "Disp_Dimen" : "15 3/4 x 12 1/4 in. (40 x 31.1 cm)", "Disp_Height" : "15 3/4 in.", "Disp_Width" : "12 1/4 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3595.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3595.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3595.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3595.jpg", "IsPrimary" : "1", "_SurrogateID" : "2626", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1007, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1007", "Disp_Access_No" : "14-G-3607", "_AccNumSort1" : "", "Disp_Create_DT" : "1938", "_Disp_Start_Dat" : "1938", "_Disp_End_Date" : "1938", "Disp_Title" : "Edge of Town", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas Hart Benton", "Sort_Artist" : "Benton, Thomas Hart", "Disp_Dimen" : "8 3/4 x 10 5/8 in. (22.2 x 27 cm)", "Disp_Height" : "8 3/4 in.", "Disp_Width" : "10 5/8 in.", "Dimen_Extent" : "Image", "Medium" : "Lithorgraph", "Support" : "", "Disp_Medium" : "Lithorgraph", "Info_Page_Comm" : "", "Dedication" : "Gift of Samuel S. Fels Fund", "Copyright_Type" : "Art © T.H. Benton and R.P. Benton Testamentary Trusts/UMB Bank Trustee/Licensed by VAGA, New York, NY", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/14-G-3607.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14-G-3607.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14-G-3607.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14-G-3607.jpg", "IsPrimary" : "1", "_SurrogateID" : "2409", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1171, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1171", "Disp_Access_No" : "66-G-RS-96", "_AccNumSort1" : "", "Disp_Create_DT" : "1938", "_Disp_Start_Dat" : "1938", "_Disp_End_Date" : "1938", "Disp_Title" : "Self-Portrait", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Käthe Kollwitz", "Sort_Artist" : "Kollwitz, Käthe", "Disp_Dimen" : "19 x 12 in. (48.3 x 30.5 cm)", "Disp_Height" : "19 in.", "Disp_Width" : "12 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph, restrike", "Support" : "", "Disp_Medium" : "Lithograph, restrike", "Info_Page_Comm" : "", "Dedication" : "", "Copyright_Type" : "© 2016 Artists Rights Society (ARS), New York", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/66-G-RS-96.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/66-G-RS-96.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/66-G-RS-96.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/66-G-RS-96.jpg", "IsPrimary" : "1", "_SurrogateID" : "3186", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1561, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1561", "Disp_Access_No" : "74-G-508", "_AccNumSort1" : "", "Disp_Create_DT" : "1936-1938", "_Disp_Start_Dat" : "1936", "_Disp_End_Date" : "1938", "Disp_Title" : "[Three Crosses], Plate 11, Les Fleurs du Mal (Flowers of Evil)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Georges Rouault", "Sort_Artist" : "Rouault, Georges", "Disp_Dimen" : "12 x 8 7/8 in. (30.5 x 22.5 cm)", "Disp_Height" : "12 in.", "Disp_Width" : "8 7/8 in.", "Dimen_Extent" : "Image", "Medium" : "Color Etching and Aquatint", "Support" : "", "Disp_Medium" : "Color Etching and Aquatint", "Info_Page_Comm" : "Label for "Beyond Cubism: European Modern Prints, 1920s-1960s", La Salle University Art Museum, March 7 – June 15, 2018: Georges Rouault grew up drawing pictures at his grandfather’s house in Paris. At the age of 14, he began training as a stained glass painter. This experience had a large influence on his future art in his use of bold colors and dark outlines. In 1891 Rouault attended the École des Beaux-Arts in Paris, where he studied under the Symbolist artist Gustave Moreau. Rouault became heavily associated with Fauvism and Expressionism. Rouault is known for his treatment of religious themes as well as circus life. This rendition of Golgotha, Les Trois Croix was published in 1936-1938 as part of Les Fleurs Du Mal (The Flowers of Evil), a collection of prints inspired by a famous book of Symbolist poetry by Charles Baudelaire first published in 1857. The collection was initially planned to include 30 color etchings, but only 12 were produced due to the death of the publisher, Ambroise Vollard (1866-1939). The print is a good example of Rouault’s style which combines thick black lines with the mix of primary colors. -Ben Brookes Curatorial Intern, Class of 2018", "Dedication" : "", "Copyright_Type" : "© 2016 Artists Rights Society (ARS), New York / ADAGP, Paris", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74-G-508.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74-G-508.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74-G-508.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74-G-508.jpg", "IsPrimary" : "1", "_SurrogateID" : "2845", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1976, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1976", "Disp_Access_No" : "78-G-796", "_AccNumSort1" : "", "Disp_Create_DT" : "1938", "_Disp_Start_Dat" : "1938", "_Disp_End_Date" : "1938", "Disp_Title" : "Sommeil d'Hiver (Winter Sleep)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Paul Klee", "Sort_Artist" : "Klee, Paul", "Disp_Dimen" : "9 x 13 7/8 in. 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Bernstein", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/79-G-885.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/79-G-885.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/79-G-885.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/79-G-885.jpg", "IsPrimary" : "1", "_SurrogateID" : "946", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2140, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2140", "Disp_Access_No" : "80-G-1073", "_AccNumSort1" : "", "Disp_Create_DT" : "1939", "_Disp_Start_Dat" : "1939", "_Disp_End_Date" : "1939", "Disp_Title" : "Illustration from Francis Thompson’s "Poemes" (Cailler 170)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Maurice Denis", "Sort_Artist" : "Denis, Maurice", "Disp_Dimen" : "9 3/8 x 7 in. (23.8 x 17.8 cm)", "Disp_Height" : "9 3/8 in.", "Disp_Width" : "7 in.", "Dimen_Extent" : "Image", "Medium" : "Color Lithograph w/ remarques", "Support" : "China paper", "Disp_Medium" : "Color Lithograph w/ remarques on China paper", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label for </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Strategic Ambiguity: The Obscure Nebulous and Vague in Symbolist Prints</SPAN><SPAN STYLE="font-size:10pt">, La Salle University Art Museum, December 6, 2012- March 1, 2013:<BR/><BR/>A new approach to painting united the artists who would become known as the Nabis. Denis, a founding member of the Nabis and the author of the manifesto of the brotherhood, “Neo-Traditionnisme” (1890), explained their belief in the autonomous nature of visual expression when he wrote, “a painting before being a warhorse, a nude woman, or some anecdote—is essentially a flat surface covered with colors assembled in a certain order.” Denis was considered to be the primary theoretician of the Nabis. He was a devout Catholic and a religious artist from very early in his career, decorating stained glass windows, tapestries and frescos for churches throughout Europe. This print was an illustration for a collection of verses by the English poet Francis Thompson titled, Poèmes. Elizabeth, Denis’s wife, translated Thompson’s work into French. Poèmes contained 54 original lithographs, including 13 full color illustrations by Denis. Thompson, like Denis, was a conservative Roman Catholic. Thompson’s most famous poem, The Hound of Heaven (1893), recounts the spiritual struggle of man. This print, though, is not explicitly Christian and illustrates the ascent of Aurora into heaven, leaving behind the Brittany Sea where bathers lavishly recline.<BR/><BR/>Rachel McCay</SPAN><SPAN STYLE="font-size:10pt">, '10<BR/>Curatorial Intern<BR/></SPAN><SPAN STYLE="font-size:10pt"><BR/><BR/></SPAN></SPAN>", "Dedication" : "", "Copyright_Type" : "© 2016 Artists Rights Society (ARS), New York", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/80-G-1073.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/80-G-1073.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/80-G-1073.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/80-G-1073.jpg", "IsPrimary" : "1", "_SurrogateID" : "1722", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2141, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2141", "Disp_Access_No" : "80-G-1074", "_AccNumSort1" : "", "Disp_Create_DT" : "1939", "_Disp_Start_Dat" : "1939", "_Disp_End_Date" : "1939", "Disp_Title" : "Illustration from Francis Thompson’s "Poemes" (Cailler 168)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Maurice Denis", "Sort_Artist" : "Denis, Maurice", "Disp_Dimen" : "9 1/2 x 7 in. (24.1 x 17.8 cm)", "Disp_Height" : "9 1/2 in.", "Disp_Width" : "7 in.", "Dimen_Extent" : "Image", "Medium" : "Color Lithograph w/ remarques", "Support" : "China paper", "Disp_Medium" : "Color Lithograph w/ remarques on China paper", "Info_Page_Comm" : "", "Dedication" : "", "Copyright_Type" : "© 2016 Artists Rights Society (ARS), New York", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/80-G-1074.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/80-G-1074.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/80-G-1074.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/80-G-1074.jpg", "IsPrimary" : "1", "_SurrogateID" : "1723", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2738, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2738", "Disp_Access_No" : "85-G-1338", "_AccNumSort1" : "", "Disp_Create_DT" : "1939", "_Disp_Start_Dat" : "1939", "_Disp_End_Date" : "1939", "Disp_Title" : "Cement Finishers", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Leon Gilmour", "Sort_Artist" : "Gilmour, Leon", "Disp_Dimen" : "10 x 8 in. (25.4 x 20.3 cm)", "Disp_Height" : "10 in.", "Disp_Width" : "8 in.", "Dimen_Extent" : "Image", "Medium" : "Woodcut", "Support" : "", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "<SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>Gilmour immigrated to the United States in 1916 at the age of nine. Born in Riga, Russia, Gilmour pursued artistic training during his brief stay in Boston at the School of Practical Art. To support himself, he worked in a variety of capacities, including as a truck driver, construction worker and field hand. Upon moving to the west coast, Gilmour studied at the Otis Art Institute under Paul Landacre, who is often credited with elevat­ing wood engraving to an art form. As a result of his own experience with menial labor, Gilmour produced numerous prints glorifying the strength and resilience of workers. During this period of rampant unemployment in the 1930s, images of productivity were intended to be received as symbols of optimism. Moreover, under the WPA/FAP, artists themselves were considered skilled labor, therefore allying them with the monumental ve­hicles of industry pictured here.<BR/><BR/>Miranda Clark-Binder<BR/>Curator of Education and Public Programs, La Salle University Art Museum</SPAN>", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/85-G-1338.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/85-G-1338.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/85-G-1338.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/85-G-1338.jpg", "IsPrimary" : "1", "_SurrogateID" : "2217", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 950, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/950", "Disp_Access_No" : "13-G-3564", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1945", "_Disp_Start_Dat" : "1940", "_Disp_End_Date" : "1950", "Disp_Title" : "The Title Bout", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Diana Thorne", "Sort_Artist" : "Thorne, Diana", "Disp_Dimen" : "9 3/4 x 13 3/4 in. (24.8 x 34.9 cm)", "Disp_Height" : "9 3/4 in.", "Disp_Width" : "13 3/4 in.", "Dimen_Extent" : "Image", "Medium" : "Etching and Drypoint", "Support" : "", "Disp_Medium" : "Etching and Drypoint", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3564.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3564.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3564.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3564.jpg", "IsPrimary" : "1", "_SurrogateID" : "2392", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1183, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1183", "Disp_Access_No" : "67-G-124", "_AccNumSort1" : "", "Disp_Create_DT" : "1940", "_Disp_Start_Dat" : "1940", "_Disp_End_Date" : "1940", "Disp_Title" : "The Refugee", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Julius Bloch", "Sort_Artist" : "Bloch, Julius", "Disp_Dimen" : "9 x 7 1/4 in. (22.9 x 18.4 cm)", "Disp_Height" : "9 in.", "Disp_Width" : "7 1/4 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Gift of the Artist's Estate", "Copyright_Type" : "", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/67-G-124.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/67-G-124.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/67-G-124.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/67-G-124.jpg", "IsPrimary" : "1", "_SurrogateID" : "2179", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1974, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1974", "Disp_Access_No" : "78-G-794", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1945", "_Disp_Start_Dat" : "1940", "_Disp_End_Date" : "1950", "Disp_Title" : "Heads, Figures, and Ideas", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Henry Moore", "Sort_Artist" : "Moore, Henry", "Disp_Dimen" : "11 1/2 x 9 7/8 in. (29.2 x 25.1 cm)", "Disp_Height" : "11 1/2 in.", "Disp_Width" : "9 7/8 in.", "Dimen_Extent" : "Image", "Medium" : "Color Lithograph", "Support" : "", "Disp_Medium" : "Color Lithograph", "Info_Page_Comm" : "", "Dedication" : "", "Copyright_Type" : "© The Henry Moore Foundation. All Rights Reserved, DACS 2016 / www.henry-moore.org", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78-G-794.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78-G-794.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78-G-794.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78-G-794.jpg", "IsPrimary" : "1", "_SurrogateID" : "2779", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 921, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/921", "Disp_Access_No" : "13-G-3549A", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Mexican People portfolio - Cover", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Various Artists", "Sort_Artist" : "Various Artists", "Disp_Dimen" : "16 x 15 1/4 in. (40.6 x 38.7 cm)", "Disp_Height" : "16 in.", "Disp_Width" : "15 1/4 in.", "Dimen_Extent" : "", "Medium" : "lihograph", "Support" : "", "Disp_Medium" : "lihograph", "Info_Page_Comm" : " This is a portfolio of 12 prints titled, <i>Mexican People: Lithographs of the Taller de Gráfica Popular</i>, published in 1946 in an edition of 250 by the Associated American Artists in New York. The portfolio aimed to showcase the labor that went into products that were exported from Mexico into the United States. The TGP artists received funds to travel to the provinces in Mexico to witness people at work in the rural areas of the country. The location of the scenes depicted in the prints is indicated on the illustrated map of Mexico. Each print is accompanied by text written by the artists in 1946. Taller de Gráfica Popular (People’s Graphic Workshop, commonly known as the TGP), was a graphic art collective founded in Mexico City in 1937. TGP artists shared liberal, leftist politics and advocated the use of art to advance social and political causes. Aiming to reach a broad audience, TGP artists utilized inexpensive wood and linoleum block prints to communicate their views on social and political issues, such as the exploitation of the poor, land ownership, U.S. imperialism, and racial discrimination. From the introductory pages: “We believe that the plastic development of these themes offers the possibility of giving expression both to the landscape of the different regions of Mexico as well as to the character of the men who inhabit these different regions; the physical aspects and the habits and customs of these people; also the process of work in the manufacture of the different products; and finally the social drama which surrounds the work of the Mexican in these occupations.” – Leopoldo Mendez ", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549A.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549A.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549A.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549A.jpg", "IsPrimary" : "1", "_SurrogateID" : "5989", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 922, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/922", "Disp_Access_No" : "13-G-3549B", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Mexican People portfolio - Map", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "", "Sort_Artist" : "", "Disp_Dimen" : "17 1/2 x 15 in. (44.5 x 38.1 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "See comment for 13-G-3549A", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549B.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549B.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549B.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549B.jpg", "IsPrimary" : "1", "_SurrogateID" : "5990", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 923, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/923", "Disp_Access_No" : "13-G-3549C", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Mexican People portfolio - Artists", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "", "Sort_Artist" : "", "Disp_Dimen" : "17 1/2 x 15 in. (44.5 x 38.1 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "See comment for 13-G-3549A", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549C.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549C.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549C.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549C.jpg", "IsPrimary" : "1", "_SurrogateID" : "5991", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 924, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/924", "Disp_Access_No" : "13-G-3549D", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "The Market, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Pablo O'Higgins", "Sort_Artist" : "O'Higgins, Pablo", "Disp_Dimen" : "17 1/2 x 15 in. (44.5 x 38.1 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "See comment for 13-G-3549A "The forms, in character and color, of the Cuautla market are a vital presentation in movement and light, of indigenous life. The native women sit among the crowds of people and present their wares. They are generally selling the products which they themselves have cultivated, and sometimes they have walked to market from faraway, carrying their children with them." <i>"Las formas, en carácter y color, del mercado de Cuaulta, son una presentación vital en movimientos y luz de la vida indígena. Las mujeres, la mayor parte de ellas indígenas, sentadas entre la muchedumbre de gentes, que presenta sus mercancías, generalmente vendiendo productas que ellas mismas han cultividado, y que de veces han caminado de muy lejos cargando sus hijos."</i> ", "Dedication" : "", "Copyright_Type" : "© 2016 Artists Rights Society (ARS), New York / SOMAAP, Mexico City", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549D.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549D.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549D.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549D.jpg", "IsPrimary" : "1", "_SurrogateID" : "5992", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 925, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/925", "Disp_Access_No" : "13-G-3549E", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Henequen Plant, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Alfredo Zalce", "Sort_Artist" : "Zalce, Alfredo", "Disp_Dimen" : "17 1/2 x 15 in. (44.5 x 38.1 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "See comment for 13-G-3549A "To visit the “training schools” as these plants are called with their mechanical installations for extracting the fiber of the maguey is to witness one of the most interesting aspects of this work. The pressing machines are located near the platforms which are loaded with leaves. These mountains of leaves, each cut by hand, and chosen carefully leaf by leaf, already represent tremendous labor. These prickly leaves are immediately put through a complicated process. They are pressed, washed, bleached, sun dried, and then the fibers are combed. Once the fibers are separated by types, they are sent in packages to the rope and cord factories in Merida, capital of Yucatan, from where the finished product is sent to the markets of the world. Fiber and fiber making is the main product and source of income of this state." <i>"Visitar el “plantel” como se lo llama en el lugar, con sus instalaciones mecánicas para la extracción de la fibra de henequen, es probablemente, asistir a uno de los aspectos más interesantes de este trabajo. Al lugar donde se encuentran las máquinas exprimidoras, llegan plataformas cargadas de hojas de henequen, cuyo corte a mano, escogiendo cada hoja ya significa un trabajo tremendo. Estas pencas son sometidas immediatamente a un proceso complicao—exprimir, lavar, blanquear, y secar el sol, pienar las fibras, etc., etc. Separada la fibra por clases se manda en pacas a las fábricas de cordelería de Mérida, capital de Yucatán, de donde sale a surtir los mercados mundiales. Como es sabido, el henequen es el único cultivo de importancia en el Estado y su principal riqueza."</i> ", "Dedication" : "", "Copyright_Type" : "© Artists Rights Society (ARS), New York", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549E.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549E.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549E.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549E.jpg", "IsPrimary" : "1", "_SurrogateID" : "5993", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 926, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/926", "Disp_Access_No" : "13-G-3549F", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Grinding Sugar Cane, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Alberto Beltrán", "Sort_Artist" : "Beltrán, Alberto", "Disp_Dimen" : "17 1/2 x 15 in. (44.5 x 38.1 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "See comment for 13-G-3549A "The farmers of the northern sierra of the state of Puebla construct for themselves a primitive sugar-grinding machine they call a “trapiche”. To make a “trapiche” only wood is used—there is not even one inch of metal. This primitive machine originated, to the best of our knowledge, during the colonial era. In the process of refining sugar, beginning with cutting the cane, the entire family works. Frequently, during the cutting, families help each other. The low income possibilities of this crop, during the feudal-colonial era and even today has caused the farmers to produce no more than necessary for their own needs. For this reason these native farmers still use the antiquated sugar mill shown in the lithograph." <i>"Los campisinos nahuatl de la sierra norte del estado de Puebla, contruyen por si mismos la máquina llmada Trapiche, que sirve para moler la caña de azucar. En la construcción de este tipo de trapiche se emplea exclusivamente madera y ni una sola pulgada metal. Esta rudimentaria máquina según se sabe proviene de la época colonial. En el proceso de elaboración del azucar comenzado por el corte de la caña, trabaja toda la familia, pero frecuemente, en la época del corte de la caña, las familias se ayudan unas a las otras. El cerco de desprecio feudal-colonialista que ha existido y existe frente a estos campesinos, ha originado, entre otras muchas cosas, su resistencia a producir más de lo que sus propias necesidades de consumo requieren, influyendo en gran parte, esta actituden el persistente empleo del tipo de trapiche que se ve en la litografía."</i> ", "Dedication" : "", "Copyright_Type" : "© 2016 Artists Rights Society (ARS), New York / SOMAAP, Mexico City", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549F.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549F.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549F.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549F.jpg", "IsPrimary" : "1", "_SurrogateID" : "5994", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 927, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/927", "Disp_Access_No" : "13-G-3549G", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Ritual of the Huichol Indian Tribe, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Angel Bracho", "Sort_Artist" : "Bracho, Angel", "Disp_Dimen" : "17 1/2 x 15 in. (44.5 x 38.1 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "See comment for 13-G-3549A "Among the “huichola” families of the region of Ixcatan, Nayarit—basin of the San Pedro River persists the “Coamitl” a primitive form of land rotation (not rotation crops). This rotation consists of cutting declivities or landing places in the most intricate craggy rocks. Frequently upon the completion of this work the grass or weeds are burned to enrich the land chosen for sowing. Since these spots appear inaccessible and are far from the ranches and towns, the natives move there with their wives and children, dogs, tools, and household goods which usually consists of “petate” (mat), a basket, a bule or water cask made from a fruit, a lamp and some provisions. All of this is loaded on their shoulders. The fathers go ahead of the mothers who carry the smaller children on their shoulders. Thus they walk, heavily burdened, over high mountains wading ancestral brooks between banks which show the formidable effects of erosion by water. In many cases, the sands have formed blockades similar to the one in the background of the lithograph to which the old tree clings with the talons of its roots. Thus the elements in this lithograph are the semi-nomadic agriculture of the huicholes, the uncivilized land, and the life of man fighting desperately and quietly for his existence." <i>"Entra las familias huicholas de la region Ixcatán, Nayarit, cuenca del Rio San Pedro, asiento de pueblos y rancherías de caras y mestizos, persiste el Coamitl, forma primitiva de rotación de tierras, (ya que no rotación de cultivos) que consiste en talar laderas o mesetas en las partes más intricadas de la sierra, el complement de ésta labor consiste frecuentemente en quemar el pasto o maleza para enriquecer con sus cenizas el terreno escogido para el sombrado. Como estos lugares al parecer inaccesibles están alejados de los ranchos y pueblos, los indígenas principalmente, se transladan con mujer, hijos, perro, herranientas, mobiliario que se reduce a un patate (estera), una cobija, un canasto, un bule (ánfora hecha de fruto) y un quinqué y unas pocas de proviciones. Con este cargamento sobre las espaldas, va al padre delante de la madre que lleva al crío también a la espalda. Así van en pasadas jornadas sobre empinadas cuestas, vadean las ancetrales arroyos que entre acatilados, que muestra el poder que tiene por estos lugares el agua en su formidable eroción, mostrando tambien como las arenas de su cause han formado bloques como el que serió el fondo de ésta litografía, y al que el árbol viejo se aferra con sus raíces aprisinándolo. Así, los elementos de estas litografías son la agricultura seminómada de los huicholes, el paisaje grandioso no domesticado y la vida del hombre luchando desesperada y cayadamente."</i> ", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549G.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549G.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549G.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549G.jpg", "IsPrimary" : "1", "_SurrogateID" : "5995", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 928, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/928", "Disp_Access_No" : "13-G-3549H", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Pottery Maker, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Isadoro Ocampo", "Sort_Artist" : "Ocampo, Isadoro", "Disp_Dimen" : "17 1/2 x 15 in. (44.5 x 38.1 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "See comment for 13-G-3549A "Entire families work as pottery makers in the suburb of Chanenetla in the city of Puebla. The men carry the clay for making the pottery and knead it, and the women and children together mold jars, flour pots, crocks and many other different kinds of pieces. The artistic ability and skill of these people has been handed down for generations. The workshop of these pottery makers is also their home, for the family hearth is under the same roof as the wheel and the space where the women and children decorate the turned pieces. This lithograph depicts the workers who for many hours without rest kneads with his feet the white clay which will later be turned into many pottery objects." <i>"En el barrio de Chanenetla de la ciudad de Puebla, hay familias enteras que trabajan en Ia alfarería. Los hombres adultos adarrean y amasan el barro; éstos, así como las mujeres y niños, colectivamente moldean jarros, cazuelas, macetas y otras diversas piezas. La habilidad evidente de estas familias artesanas proviene de generaciones. El taller de estos alfareros es al mismo tiempo su habitación. Al lado del torno o del sitio donde mujeres y niños decoran las piezas fabricadas, está Ia cama o bien el fogón. La litografía, muestra al hombre que por horas enteras, sin descansar amasa con sus pies Ia arcilla que ha de servir para Ia fabricación de múltiples objetos de alfarería."</i> ", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549H.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549H.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549H.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549H.jpg", "IsPrimary" : "1", "_SurrogateID" : "5996", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 929, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/929", "Disp_Access_No" : "13-G-3549I", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Lime Kilns, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Raúl Anguiano", "Sort_Artist" : "Anguiano, Raúl", "Disp_Dimen" : "17 1/2 x 15 in. (44.5 x 38.1 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "See comment for 13-G-3549A "Lime is indispensable to the Mexican people. It is not only used for construction but also for food; since maize is cooked with lime to make the “masa” for “tortillas”. The pueblos near the lime kilns in the region of Tula in the state of Hidalgo derive their income from the small commerce of lime. The lime which is extremely pure and clean is carefully selected from the ovens by the workers and used in making “tortillas”. The quarries from which come the stones that produce the lime; the stones with which the ovens are constructed; and the land itself are all blindingly white. The workers, principally those who attend the fires or those who work nearby, frequently become blind because of the lack of protection from this whiteness. This blindness is incurable. The paltry salaries these workers earn keep them in despairing misery." <i>"La cal es indispensable a todo el pueblo mexicano y no únicamente para la construcción, sino para la alimentación, con ella se cuece el maíz para hacer la masa de las tortillas. Hay pueblos cercanos a los hornos de cal de la región de Tula del Estado de Hidalgo cuyos habitantes viven del pequeño comercio de la cal, de la cal más pura y limpia que personalmente estas gentes escogen en los hornos mismos y que es usada para usar el nixtamal (maíz cocido) con el cual se hace la masa de las tradicionales tortillas. Las canteras cercanas a estos hornos donde se extrae la piedra para producir la cal, la piedra con que están construidos esos hornos y la tierra misma son de un blanco deslumbrante. Los trabajadores, pricipalmente aquellos que atienden los quemadores o están más cerca de ellos, frecuentemente por la falta de protección se quedan ciegos sin remedio. Los reducidos slarios de que disfrutan las trabajadores de estos primitivos hornos los tienen en una miseria desesperante."</i> ", "Dedication" : "", "Copyright_Type" : "© 2016 Artists Rights Society (ARS), New York / SOMAAP, Mexico City", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549I.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549I.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549I.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549I.jpg", "IsPrimary" : "1", "_SurrogateID" : "5997", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 930, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/930", "Disp_Access_No" : "13-G-3549J", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Lumber Workers, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Alfredo Zalce", "Sort_Artist" : "Zalce, Alfredo", "Disp_Dimen" : "17 1/2 x 15 in. (44.5 x 38.1 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "See comment for 13-G-3549A "The large logs of mahogany that arrive at Ciudad del Carmen are brought from the jungles of Chiapas. To transport them there, they are put into the river and towed to the sea, a trip that lasts several weeks. When they are near the beach, the ends are sawed off to make the logs all the same size. Then they are picked up by the boats that carry them to foreign countries such as the United States and Europe. This lithograph depicts the moment when the workers cut the ends of the logs. This work is very wearing because of the primitive conditions under which it must be done, standing in the sea up to the waist, under an exhausting tropical sun." <i>"A ciudad del Carmen llegan los grandes troncos de caoba, que son traidos de las selvas de Chiapas. Para transportarlos, se ponen en los ríos y son remolcados hasta el mar, viaje que dura algunas semanas. Cuando están cercade la playa son cortados de sus extremos hasta tener todos una misma medida. Entonces han cuedado listos para ser recogidas por barcos que los llevan al extrenjero—E.U. y Europa. La litografía representa el momento en que los trabajadores cortan los extremos del tronco, trabajo sumamente penoso, por las condiciones primitivas en que tiene que hacerse, sumidos en el mar hasta la cintura, y bajo um clima tropical extenuante."</i> ", "Dedication" : "", "Copyright_Type" : "© Artists Rights Society (ARS), New York", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549J.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549J.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549J.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549J.jpg", "IsPrimary" : "1", "_SurrogateID" : "5998", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 931, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/931", "Disp_Access_No" : "13-G-3549K", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Grinding Maze, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Leopoldo Méndez", "Sort_Artist" : "Méndez, Leopoldo", "Disp_Dimen" : "17 1/2 x 15 in. (44.5 x 38.1 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "See comment for 13-G-3549A "In the Mayan document, known by the name of “Chilam-Balam de Chumayel” written during the first years of the Spanish conquest, is consecrated the Indian tradition of the cultivation of white maize. It says that for the Mayan people “The white maize was their maize.” Today, four centuries after “Chilam-Balam” was written the Mexican agricultural leaders and the heads of the centers of Agricultural Experimentation in Mexico find that in an effort to cultivate better crops they must fight the almost religious persistence of the natives of using only white maize for their sowing. This traditional attitude seems to be reflected in the buildings that the farmers use to store their harvests of grain. These buildings, called “Coscomates” are of two types, and the most spectacular is presented in the lithograph “Grinding Maize.” It is believed by some historians that the “Coscomate” originated in pre-Hispanic times. In the region of Cuautla, this type of “Coscomate” is common. They are at times so large they seem to dominate the entire country-side as well as man himself." <i>"En el documento maya conocido con el nombre de el libro "Chilam-Balam de Chumayel," escrito en los primeros años de Ia conquista Española, se consagra Ia tradición indígena del cultivo del maíz blanco diciendo textualmente que para el pueblo maya: "El maíz blanco era su maíz." Hoy, después de cuatro siglos de haberse escrito el “Chilam-Balam," los agrónomos mexicanos que estan al frente de los centros de experimentación agrícola de México, tienen que luchar, en sus primeros pasos de trabajo en el mejoramiento de l cultivo de maíz, con Ia persistencia, de los campesinos que podría calificarse de religiosa, en el uso casi exclusive del maíz blanco para sus siembras. Esta actitud concervadora parece reflejarse en las construcciones que nuestros campesinos emplean para almacenar sus cosechas de granos principalmente las del maíz. Estas construcciones llamadas coscomates son de dos tipos, y el más espectacular de ellos es el que se presenta en Ia litografía "EI Maíz.” Algunos historiadores consideran que este tipo de coscomate proviene de las épocas prehispánicas. En Ia región de Cuautla, este tipo de coscomate es muy común y a veces sus proporciones son de tal naturaleza, que parecen dominar al paisaje y al hombre mismo."</i> ", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549K.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549K.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549K.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549K.jpg", "IsPrimary" : "1", "_SurrogateID" : "5999", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 932, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/932", "Disp_Access_No" : "13-G-3549L", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Working with Ixtle, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Fernando Castro Pacheco", "Sort_Artist" : "Pacheco, Fernando Castro", "Disp_Dimen" : "17 1/2 x 15 in. (44.5 x 38.1 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "See comment for 13-G-3549A "In the valley of Mezquital, a large region in state of Hidalgo, exists one of the poorest indigenous groups of all Mexico. On the extremely arid ground of this valley grow plants and bushes such as “huizaches,” “magueyes” and other classes of cactus. It is possible to assert that the maguey is actually the center of existence for the entire population of this valley. From the maguey come their homes, their beds and a great portion of their food. The pulp which they extract from the maguey, when combined with maize, forms the basis of their food; but there is something more they extract from the maguey—the fiber of the tenderest prickly leaves. With these fibers, the natives weave fabrics and make rope, using the tools inherited by the community from their pre-Hispanic forebears. The entire family works at this primitive industry; even the children walk through the thickets busily spinning by turning spindles with their small hands. In this way, they do their share in helping the family earn a livelihood." <i>"En el valle de Mezquital, extensa región del estado de Hidalgo, se encuentra uno de los núcleos indígenas más pobres de México. Sobre la tremenda aridez de este valle, crecen plantas y arbustos como los mezquites, los huizaches, los magueyes y otras clases de cactus. Puede decirse que el maguey es para la población otomi de este valle el centro de toda su existencia. Del maguey sale la casa, el lecho, y en gran proporción, el alimento de estos indígenas. El pulque que extraen del maguey y el maíz, forman la base de su alimentación; pero hay algo más que sacar del maguey; la fibra fibra que producen sus pencas más tiernas. Con ellas, estos indígenas, hacen tejidos y cordeles, usando de los instrumentos que los legó tanto la colonia como so pasado prehispánico. Toda la fimilia trabaja en este primitive industria, a los niños se les encuentra caminando entre los matorrales ocupados en hilar dando vueltas sus pequeñas manos al malacate (huso). En esta forma cumplen su tarea de trabajo para ayudar a conseguir el sustento de toda la familia."</i> ", "Dedication" : "", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549L.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549L.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549L.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549L.jpg", "IsPrimary" : "1", "_SurrogateID" : "6000", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 933, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/933", "Disp_Access_No" : "13-G-3549M", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Brick Makers, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Pablo O'Higgins", "Sort_Artist" : "O'Higgins, Pablo", "Disp_Dimen" : "17 1/2 x 15 in. (44.5 x 38.1 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "See comment for 13-G-3549A "The brick-makers and their families live next to their kilns. Sometimes they even live within the kilns themselves. The entire family works together even the smallest child who helps to stack the bricks for drying. The process of making bricks is difficult and complicated and has been handed down from generation to generation for hundreds of years. There are many brick kilns in the Valley of Mexico and in spite of the primitive methods used, these kilns have been able to supply very efficiently the needs of the new modern Mexico City which is undergoing a fever of construction." <i>"El ladrillero y su familia viven junto a su horno, y a veces hacen del horno su casa. Trabajan juntos, hasta el más pequeño niño, él cual amontona los ladrillos para se que sequen. El proceso es difícil y complicado, es proceso heredado durante años. Hay, en el valle de México, muchos ornos de ladrillos y a pesar del método primitivo de hacer los lodrillos, han podido abastecir eficientamente lo necesario para la nueva moderna ciudad de México, que esta pasando una fiebre de construcción."</i> ", "Dedication" : "", "Copyright_Type" : "© 2016 Artists Rights Society (ARS), New York / SOMAAP, Mexico City", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549M.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549M.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549M.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549M.jpg", "IsPrimary" : "1", "_SurrogateID" : "6001", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 934, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/934", "Disp_Access_No" : "13-G-3549N", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Peasants of Tlahuac, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Arturo Garcia Bustos", "Sort_Artist" : "Bustos, Arturo Garcia", "Disp_Dimen" : "17 1/2 x 15 in. (44.5 x 38.1 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "See comment for 13-G-3549A "Since the last decades of the colonial period in Mexican history, in the southern part of what is now the Federal District, there have existed the floating islands on which are raised the vegetables that feed Mexico City. In this region are found the villages of Tlahuac, Xochimilco, Mixquic and Tezompa. Their inhabitants are small land-owners and their lives are bound, as were the lives of their pre-Hispanic forefathers, to these “chinampas” or floating gardens which dot the canals that are always filled with crystal clear water from the springs at the foot of the Ajusco mountain range. These islands and small lagoons held an important position in the agrarian fight of Mexico. Even today, when some rancher or simple farmer speaks of “those days,” he respectfully bares his head when the name of the leader of these struggles, Don Emiliano Zapata, is mentioned." <i>"Seguramente, ya desde las últimas décadas de la colonia, en al sur de lo que es hoy el Distrito Federal, ha estado el vivero de las legúmbras para la ciudad de México. En esta región se encuentran Tlahuac, Xochimilco, Mixquic, Tezompa. La totalidad de las habitantes de estos pablados son pequeños propietarios de la tierra y su vida esta ligada, como la estuvo la de nuestros abuelos prehispánicos, a la chinampas y a los canales que todavía se mantenien del agua cristalina de los manantiales que brotan a los pies de la serranía del ajusco. Estas tierras y pequeños lagos fueron importante sitio de operaciones de la lucha agraria de México, y a veces cuando algun ranchero o simple campesino hable de “aquellos tiempos,” al pronunciar el nombre del lider de estas luchas, Don Emiliano Zapata, se descubre respetuosamente."</i> ", "Dedication" : "", "Copyright_Type" : "© 2016 Artists Rights Society (ARS), New York / SOMAAP, Mexico City", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549N.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549N.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549N.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549N.jpg", "IsPrimary" : "1", "_SurrogateID" : "6002", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 935, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/935", "Disp_Access_No" : "13-G-3549O", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1946", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1951", "Disp_Title" : "Silver Mine Worker, from "Mexican People" portfolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Francisco Mora", "Sort_Artist" : "Mora, Francisco", "Disp_Dimen" : "17 1/2 x 15 in. (44.5 x 38.1 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "Sheet", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "See comment for 13-G-3549A The cooperative that works the mine called “Dos Carlos” must make use of very mediocre facilities to do its work. The miners work on the veins traced by former owners—veins which, as can well be imagined, are now very impoverished. Under these conditions, the workers receive a salary that barely covers the necessities of life. In spite of this hard reality, however, they keep going in the hope of discovering a rich vein, and the necessary credit with which to purchase the mechanical equipment to work it. The arches of the tunnels are so low that the miners must walk hunched over and sometimes crawl on their stomachs like reptiles. When miners are asked why the tunnels are not made higher they answer frankly: 'We cannot procure wood to secure the sides of the mine so we dare not open normal sized tunnels. Even so, we are under constant danger of being crushed or buried alive by an avalanche of rocks." <i>"La cooperativa minera que explota la mina llamada “Dos Carlos”, cuenta con muy escasos medios materiales para la expoltación de ésta. Los obreros que trabajan esta mina lo estan hacienda sobre las vetas que trazó la antigua empresa propietaria, vetas, que como es de suponer han quedado muy empobrecidas. En estas condiciones, los obreros cooperativistas de este mineral, solo logran un salario que dificilmente llena sus necesidades más apremientes. Pero a pesar de esta dura realidad, lo que allí les mantiene, son las esperanzasde encontrar una veta rica y el crédito necesario para adquirir el equipo mecánico indispensable para trabajarlo. Las bóvedas de los túneles son de tan escasa altura, que obligan al minero a caminar encorvado y a veces a rastras como un reptil. A la pregunta de porqué los túneles no son más altos, los mineros contestan claramente: “Como no podemos conseguir madera para ademar, pues las empresas mineras vecinas la acaparan toda, no podemos adventurarnos a ábrir túneles normales. Sin embargo, aún así, estamos bajo la amenaza constante de ser aplastados o sepultados en vida por el desprendimento de las rocas."</i> ", "Dedication" : "", "Copyright_Type" : "Art © Catlett Mora Family Trust/Licensed by VAGA, New York, NY", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3549O.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3549O.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3549O.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3549O.jpg", "IsPrimary" : "1", "_SurrogateID" : "6003", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1000, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1000", "Disp_Access_No" : "14-G-3600", "_AccNumSort1" : "", "Disp_Create_DT" : "1941", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1941", "Disp_Title" : "The Wheatfield", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edward Robert Ferguson", "Sort_Artist" : "Ferguson, Edward Robert", "Disp_Dimen" : "11 3/4 x 15 1/8 in. (29.8 x 38.4 cm)", "Disp_Height" : "11 3/4 in.", "Disp_Width" : "15 1/8 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph, artists proof", "Support" : "", "Disp_Medium" : "Lithograph, artists proof", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>Born in Pueblo, CO, Ferguson studied at the Institute of Arts in Flint, MI.1 He produced numerous lithographs of the American Midwest for the Flint WPA/FAP. Here his depiction of a sunlit farm with freshly-harvested wheat reflects a Regionalist sentimentality about the landscape, and projects the ideal of the America Mid­-west as a place of beauty and abundance. Ferguson depicted the same Midwestern farm in other lithographs, such as After a Storm (1940), suggesting that he was inspired by an actual physical location in Michigan. This interest in local specificity was major characteristic of Regionalist art.<BR/><BR/>Klare Scarborough<BR/>Director and Chief Curator, La Salle University Art Museum</SPAN><SPAN STYLE="font-family:'Goudy Oldstyle Std';font-size:10pt"><BR/></SPAN><SPAN STYLE="font-family:'Goudy Oldstyle Std'"><BR/></SPAN></SPAN>", "Dedication" : "Gift of Dr. Klare Scarborough", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/14-G-3600.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14-G-3600.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14-G-3600.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14-G-3600.jpg", "IsPrimary" : "1", "_SurrogateID" : "2408", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1211, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1211", "Disp_Access_No" : "67-G-159", "_AccNumSort1" : "", "Disp_Create_DT" : "1942", "_Disp_Start_Dat" : "1942", "_Disp_End_Date" : "1942", "Disp_Title" : "Gandhi", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Fritz Eichenberg", "Sort_Artist" : "Eichenberg, Fritz", "Disp_Dimen" : "7 3/8 x 5 1/2 in. 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(36.8 x 44.5 cm)", "Disp_Height" : "14 1/2 in.", "Disp_Width" : "17 1/2 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Gift of Dr. & Mrs. Dennis O'Brien", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/90-G-3061.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/90-G-3061.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/90-G-3061.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/90-G-3061.jpg", "IsPrimary" : "1", "_SurrogateID" : "2663", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 822, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/822", "Disp_Access_No" : "12-G-3526", "_AccNumSort1" : "", "Disp_Create_DT" : "1946", "_Disp_Start_Dat" : "1946", "_Disp_End_Date" : "1946", "Disp_Title" : "Ploughland", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Grace Arnold Albee", "Sort_Artist" : "Albee, Grace Arnold", "Disp_Dimen" : "7 1/4 x 7 5/8 in. (18.4 x 19.4 cm)", "Disp_Height" : "7 1/4 in.", "Disp_Width" : "7 5/8 in.", "Dimen_Extent" : "Image", "Medium" : "wood engraving", "Support" : "", "Disp_Medium" : "wood engraving", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds provided by the Benjamin D. Bernstein Acquisition Fund", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/12-G-3526.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/12-G-3526.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/12-G-3526.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/12-G-3526.jpg", "IsPrimary" : "1", "_SurrogateID" : "2387", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2235, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2235", "Disp_Access_No" : "81-G-1109", "_AccNumSort1" : "", "Disp_Create_DT" : "1946", "_Disp_Start_Dat" : "1946", "_Disp_End_Date" : "1946", "Disp_Title" : "Le Pichet Noir et la Tete de Mort (The Black Pitcher and the Death’s Head)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Pablo Picasso", "Sort_Artist" : "Picasso, Pablo", "Disp_Dimen" : "12 7/8 x 17 1/4 in. (32.7 x 43.8 cm)", "Disp_Height" : "12 7/8 in.", "Disp_Width" : "17 1/4 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph", "Support" : "", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "Label for "Beyond Cubism: European Modern Prints, 1920s-1960s", La Salle University Art Museum, March 7 – June 15, 2018: Pablo Picasso was one of the most influential artists of the 20th century. Born in southern Spain, he trained with his father, an accomplished art professor, and later attended Madrid's Real Academia de Bellas Artes de San Fernando, before moving to Paris around 1901. He became one of the earliest pioneers of Cubism, and his “Proto-Cubism” experiments (1907-1909) were influenced by his study of African and Iberian sculpture. Subsequent stylistic phases include Analytic Cubism (1909-1912), Synthetic Cubism (1912-1919), and Neoclassism (1919-1929). Along with his colleague George Braque, Picasso was represented by the German art dealer Daniel-Henry Kahnweiler in Paris prior to World War I and did not exhibit with the “Salle 41” Cubists in 1911 and 1912. His later work illustrated a multiplicity of artistic styles. Some of Picasso’s work commented on the tragedies of war, such as his famous Guernica of 1937 made in connection with the Spanish Civil War. After World War II ended, while residing in Paris, he created numerous still life paintings and studies of a human skull which are often interpreted to reflect the somber and austere mood of the post-war years. The lithograph on display was produced in early spring of 1946 and follows the artistic tradition of “vanitas” images, begun in the 17th century, with objects that symbolize the transience of life and the inevitability of death. Picasso produced this print in the Paris studio of Fernand Mourlot using a lithographic crayon and ink, with a scraping tool to create highlights. -Klare Scarborough, Ph.D. Director and Chief Curator ", "Dedication" : "Gift of Mrs. Margaret Webster Plass", "Copyright_Type" : "© 2016 Estate of Pablo Picasso / Artists Rights Society (ARS), New York", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/81-G-1109.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/81-G-1109.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/81-G-1109.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/81-G-1109.jpg", "IsPrimary" : "1", "_SurrogateID" : "2848", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 942, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/942", "Disp_Access_No" : "13-G-3556", "_AccNumSort1" : "", "Disp_Create_DT" : "1947", "_Disp_Start_Dat" : "1947", "_Disp_End_Date" : "1947", "Disp_Title" : "El Petrolio", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Elizabeth Catlett", "Sort_Artist" : "Catlett, Elizabeth", "Disp_Dimen" : "6 3/8 x 8 in. (16.2 x 20.3 cm)", "Disp_Height" : "6 3/8 in.", "Disp_Width" : "8 in.", "Dimen_Extent" : "Image", "Medium" : "Linocut, Signed and Dated", "Support" : "", "Disp_Medium" : "Linocut, Signed and Dated", "Info_Page_Comm" : " Label from Elizabeth Catlett: Art for Social Justice, La Salle University Art Museum, March 11 - June 4, 2015: A politically-conscious artist, Catlett produced numerous works that responded to contemporary issues. This linocut celebrated the nationalization of the petroleum industry that occurred in 1938. It is an intriguing landscape which portrays a petroleum plant with its tall towers and tanks resting in the palm of an upstretched human hand, framed by a radiating halo of bright light. The hand rises out of a giant map of Mexico, which dominates the lower half of the composition.", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Art © Catlett Mora Family Trust/Licensed by VAGA, New York, NY ", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Mexico", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3556.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3556.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3556.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3556.jpg", "IsPrimary" : "1", "_SurrogateID" : "1260", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3141, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3141", "Disp_Access_No" : "92-G-3215", "_AccNumSort1" : "", "Disp_Create_DT" : "1947", "_Disp_Start_Dat" : "1947", "_Disp_End_Date" : "1947", "Disp_Title" : "Bullfight", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Oscar Dominguez", "Sort_Artist" : "Dominguez, Oscar", "Disp_Dimen" : "20 1/4 x 13 1/2 in. (51.4 x 34.3 cm)", "Disp_Height" : "20 1/4 in.", "Disp_Width" : "13 1/2 in.", "Dimen_Extent" : "Image", "Medium" : "Color Lithograph", "Support" : "", "Disp_Medium" : "Color Lithograph", "Info_Page_Comm" : "Label for "Beyond Cubism: European Modern Prints, 1920s-1960s", La Salle University Art Museum, March 7 – June 15, 2018: Óscar Domínguez was born in the Spanish Canary Islands. Like most other artists of his time, he moved to Paris in 1927 at the age of 21 where he attended various art schools. He was influenced by artist such as Yves Tanguy and Pablo Picasso, and he became interested in Surrealist techniques of automatism. In this time Domínguez experimented with decalcomania where he would spread a thin layer of paint onto a surface and press it against a canvas to transfer the image. Throughout his life Domínguez painted many bullfight scenes. Though he remained in Paris for most of his career, he often returned to Spain and continued to be inspired by subjects and scenes of his native land. In this lithograph, the influence of Picasso is visible in the way the bull is divided into various shapes. -Ben Brookes Curatorial Intern, Class of 2018", "Dedication" : "Gift of Benjamin D. Bernstein", "Copyright_Type" : "© 2016 Artists Rights Society (ARS), New York / ADAGP, Paris", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "Spain", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/92-G-3215.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92-G-3215.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92-G-3215.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92-G-3215.jpg", "IsPrimary" : "1", "_SurrogateID" : "2863", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 954, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/954", "Disp_Access_No" : "13-G-3568", "_AccNumSort1" : "", "Disp_Create_DT" : "1948", "_Disp_Start_Dat" : "1948", "_Disp_End_Date" : "1948", "Disp_Title" : "Americana", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ralph Fabri", "Sort_Artist" : "Fabri, Ralph", "Disp_Dimen" : "7 3/4 x 9 1/2 in. (19.7 x 24.1 cm)", "Disp_Height" : "7 3/4 in.", "Disp_Width" : "9 1/2 in.", "Dimen_Extent" : "Image", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : " See the interpretive label written by Lisa Jarvinen, Ph.D., <i>Associate Dean, and Associate Professor of History</i>, for the exhibition <i>Teaching and Learning in the Art Museum: La Salle University Faculty Selections</i> in the online exhibition <a href="https://digitalcommons.lasalle.edu/faculty_selections_2018/5/">HERE</a>. <SPAN><SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>By 1943, the WPA/FAP had come to an end. U.S. involvement in WWII had helped to create jobs so the federal government’s assistance through WPA programs was not as necessary. Some artists and critics questioned the genuine artistic expression of art created through government programs, and Abstract Expressionism eventually dominated the art scene. Artist Stuart Davis criticized the art of Regionalists and Social Realists in a 1939 essay:<BR/><BR/>Domestic naturalism, the chicken yard, the pussy cat, the farmer’s wife, the artist’s model, Route 16A, natural beauties of the home town, etc., became the order of the day in painting. And on the reverse side of the popular trend toward domestic naturalism were found the more trying aspects of man’s struggle with nature and society, such as the picket line, the Dust Bowl, the home-relief office, the evicted family, etc. In mural painting it wasthe same thing—American history-in-costume,<BR/>cowboys and Indians, frontier days, picturesque industrial landscape, etc.; and on the other hand, Mexican muralism, the allegorical worker of bulging muscle and Greco-Roman profile, the fetish of fresco, etc. … What happened to the Armory Show and modern or abstract art?<BR/><BR/>Ralph Fabri’s 1948 print, Americana, has it all. The U.S. Capitol dome shines in the center of the American scene, between towering smokestacks and skyscrapers of industrial cities and factories. A boxing match, the innovation of the electric lights of the theater, the Ferris wheel, and a car advertisement sit just beyond the cowboys and Indians of the frontier, and the hardworking farmer cultivating the land. Miss America, the artist’spalette, books and music, frame the scene.<BR/><BR/>Fabri, born in Budapest, Hungary, immigrated to the U.S. in 1921, and became a naturalized citizen six years later. What do you think about the artist’s intention in </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Americana</SPAN><SPAN STYLE="font-size:10pt">? Is it a celebration of American culture and American art? Is it a criticism, or a send-up, a spoof, of the American Scene?<BR/><BR/>Rebecca Oviedo</SPAN><SPAN STYLE="font-size:10pt">, M.A. '16<BR/>Collections Manager/Registrar, La Salle University Art Museum<BR/></SPAN><SPAN STYLE="font-family:'GoudyStd';font-size:10pt"><BR/></SPAN><SPAN STYLE="font-family:'Segoe UI';font-size:10pt"><BR/></SPAN><SPAN STYLE="font-family:'GoudyStd'"><BR/><BR/></SPAN><SPAN STYLE="font-family:'GoudyStd';font-size:10pt"><BR/></SPAN></SPAN>", "Dedication" : "Purchased with The Marjorie and Irwin Nat Pincus Fund for Prints and Drawings", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3568.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3568.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3568.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3568.jpg", "IsPrimary" : "1", "_SurrogateID" : "2394", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 963, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/963", "Disp_Access_No" : "13-G-3577", "_AccNumSort1" : "", "Disp_Create_DT" : "1948", "_Disp_Start_Dat" : "1948", "_Disp_End_Date" : "1948", "Disp_Title" : "Co-operative Farm", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Grace Arnold Albee", "Sort_Artist" : "Albee, Grace Arnold", "Disp_Dimen" : "6 1/2 x 7 7/8 in. (16.5 x 20 cm)", "Disp_Height" : "6 1/2 in.", "Disp_Width" : "7 7/8 in.", "Dimen_Extent" : "Image", "Medium" : "Wood engraving", "Support" : "onion skin paper", "Disp_Medium" : "Wood engraving on onion skin paper", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label for "American Scenes: WPA-Era Prints from the 1930s and 1940s", La Salle University Art Museum, March 12- May 30, 2014:<BR/><BR/>In a long career spanning over 60 years, Albee was a pro­lific printmaker and wood engraver, producing designs for over 250 editions of fine art prints. Born in Rhode Island, Albee studied at the Rhode Island School of De­sign from 1910-1912, then in 1913 she married mural­ist Percy Albee, with whom she had five sons. In 1928 she moved with her family to Paris where she associated with other expatriate artists and developed an interest in urban and rural landscapes; then in 1933 she returned to the United States and lived in New York City. In 1937, she moved to Doylestown, PA, where she became absorbed in the rural subject matter for which she is best known. <BR/><BR/></SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Co-operative Farm</SPAN><SPAN STYLE="font-size:10pt"> illustrates Albee’s precise woodcarv­ing skills and her love for rural landscapes. The viewer is drawn into the scene by the road in the foreground, which curves upward and leads into the eye back to­wards the farm buildings and silos. Sprawling shrubs and a tall central tree add foreground interest, and viewers are offered a tantalizing glimpse between the farm build­ings into an area with a single laborer carrying a load. Albee’s use of white lines (the un-inked grooves of the wood block) to highlight the edges of foliage and farm buildings give the appearance of luminosity, suggesting a scene of abundant sunshine and prosperity.<BR/><BR/>Klare Scarborough<BR/>Director and Chief Curator, La Salle University Art Museum<BR/></SPAN><SPAN STYLE="font-family:'Segoe UI'"><BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-G-3577.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3577.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3577.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3577.jpg", "IsPrimary" : "1", "_SurrogateID" : "2170", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1037, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1037", "Disp_Access_No" : "14-G-3638", "_AccNumSort1" : "", "Disp_Create_DT" : "1948", "_Disp_Start_Dat" : "1948", "_Disp_End_Date" : "1948", "Disp_Title" : "Retour de La Jungle", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Paul Jacoulet", "Sort_Artist" : "Jacoulet, Paul", "Disp_Dimen" : "15 3/8 x 11 3/4 in. 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