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The re-strike is pulled from the original plate, but someone other than the artist or original printer was responsible for making the impression. 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(23.5 x 29.2 cm)", "Disp_Height" : "9 1/4 in.", "Disp_Width" : "11 1/2 in.", "Dimen_Extent" : "Image", "Medium" : "Etching, restrike", "Support" : "", "Disp_Medium" : "Etching, restrike", "Info_Page_Comm" : "[Ende, Weberaufstand] Gerhart Hauptmann's play, <i>The Weavers</i>, inspired this series of prints. First performed in Berlin in 1893, the play dealt with the desperate conditions and revolt of Silesian weavers in the winter of 1840. The disturbances were part of the industrial revolution that swept Europe in the Nineteenth Century. Kollwitz worked on the series from 1894-1898. The episodes follow a dramatic pattern of provocation, angry reaction and tragic end. This image marks the end of the rebellion, with the bodies of the dead being returned to the weaver's dwelling. A figure appears crouched in the left hand corner next to two bodies, which are laid on the ground. Two further figures are carrying in yet another body while a female figure looks on. The iconic loom, which appears at the left, bears testimony to the outcome of the workers' suppression. This print is a "re-strike", an impression printed after the original edition was no longer available. The re-strike is pulled from the original plate, but someone other than the artist or original printer was responsible for making the impression. ", "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/72-G-RS-418.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72-G-RS-418.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72-G-RS-418.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72-G-RS-418.jpg", "IsPrimary" : "1", "_SurrogateID" : "2844", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2994, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2994", "Disp_Access_No" : "90-G-3067", "_AccNumSort1" : "", "Disp_Create_DT" : "1880", "_Disp_Start_Dat" : "1880", "_Disp_End_Date" : "1880", "Disp_Title" : "Ophelia", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Anna Lea Merritt", "Sort_Artist" : "Merritt, Anna Lea", "Disp_Dimen" : "8 x 5 5/8 in. (20.3 x 14.3 cm)", "Disp_Height" : "8 in.", "Disp_Width" : "5 5/8 in.", "Dimen_Extent" : "Image", "Medium" : "Etching", "Support" : "", "Disp_Medium" : "Etching", "Info_Page_Comm" : " Anna Lea Merritt was born in Philadelphia, but spent most of her professional life in England, settling there in 1871. She soon befriended members of the Pre-Raphaelite Brotherhood, art critic John Ruskin, and Victorian artist George Frederic Watts. This portrait was executed after an oil painting exhibited at the Royal Academy of London in 1880. Merritt studied inmates at a British a mental facility as well, to try to capture what she viewed as the essence of Shakespeare's Ophelia as performed by the great British actress Ellen Terry, and one-time wife of George Frederick Watts.", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/90-G-3067.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/90-G-3067.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/90-G-3067.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/90-G-3067.jpg", "IsPrimary" : "1", "_SurrogateID" : "1209", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 992, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/992", "Disp_Access_No" : "13-P-558", "_AccNumSort1" : "", "Disp_Create_DT" : "19th Century", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1899", "Disp_Title" : "Father's Return", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Harriet Cany Peale", "Sort_Artist" : "Peale, Harriet Cany", "Disp_Dimen" : "24 x 19 3/4 in. (61 x 50.2 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "19 3/4 in.", "Dimen_Extent" : "Canvas", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "<SPAN>Gallery Label:<BR/><BR/>Harriet Cany Peale was the second wife of Rembrandt Peale. In 1840 he and Harriet married, and she also became his student and assistant. In that same year she began exhibiting her work in Philadelphia at the Pennsylvania Academy of the Fine Arts and the Artists’ Fund Society, and continued to exhibit regularly throughout the rest of her life. She has been associated with the Hudson River School of painting, and is primarily known for landscapes, portraits, and still-life, as well as copies of her husband’s and other artist’s works. She frequently collaborated with Rembrandt Peale on copies of his famous “Porthole” painting of George Washington (Patriae Pater).<BR/><BR/><SPAN STYLE="font-style:italic">Father’s Retur</SPAN>n depicts a pleasant and sentimental genre scene of 19th-century domestic life.<BR/></SPAN>", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-P-558.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-P-558.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-P-558.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-P-558.jpg", "IsPrimary" : "1", "_SurrogateID" : "79", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3363, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3363", "Disp_Access_No" : "97-D-394", "_AccNumSort1" : "", "Disp_Create_DT" : "Late 19th Century", "_Disp_Start_Dat" : "1867", "_Disp_End_Date" : "1899", "Disp_Title" : "Composition with Apples, Pears, and Grapes", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Mary Jane Peale", "Sort_Artist" : "Peale, Mary Jane", "Disp_Dimen" : "11 x 8 1/2 in. (27.9 x 21.6 cm)", "Disp_Height" : "11 in.", "Disp_Width" : "8 1/2 in.", "Dimen_Extent" : "Sheet", "Medium" : "Graphite", "Support" : "paper", "Disp_Medium" : "Graphite on paper", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:<BR/><BR/></SPAN><SPAN STYLE="font-size:10pt">Mary Jane Peale was the daughter of Rubens Peale and the granddaughter of Charles Willson Peale, part of the important Peale family of painters active in Philadelphia and along the East Coast. Her parents settled in Pottstown in 1841. She studied with Thomas Sully, and her uncle Rembrandt Peale, then became a portrait painter in New York. When she returned to Philadelphia to care for her ailing father, she shifted her focus to still life paintings. Later, she took life drawing classes with Thomas Eakins at the Pennsylvania Academy of the Fine Arts. She is known for her portraits and still life paintings, which were inspired by those of her great uncle, James Peale. Her drawings of three clusters of fruit in Apples, Pears and Grapes were likely made as studies for her still life paintings. </SPAN><SPAN STYLE="font-family:'Book Antiqua';font-size:14pt"><BR/></SPAN></SPAN>", "Dedication" : "Gift of Ann Chahbandour and Jay Robert Stiefel", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97-D-394.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97-D-394.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97-D-394.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97-D-394.jpg", "IsPrimary" : "1", "_SurrogateID" : "1339", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5093, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5093", "Disp_Access_No" : "15-P-585", "_AccNumSort1" : "", "Disp_Create_DT" : "19th Century", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1899", "Disp_Title" : "Portrait of Helena Lawrence Holmes Penington (1769-1852)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sarah Miriam Peale", "Sort_Artist" : "Peale, Sarah Miriam", "Disp_Dimen" : "24 x 17 1/2 in. (61 x 44.5 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "17 1/2 in.", "Dimen_Extent" : "window opening", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "<SPAN>Gallery Label:<BR/><BR/>Born in Philadelphia, Sarah Miriam Peale along with her sisters, Margaretta Angelica and Anna Claypoole Peale trained as artists under the tutelage of their father, James Peale, serving as his apprentices. Sarah was known for her portraiture and still-life paintings. She moved to Baltimore for instruction in oil painting and glazing techniques and remained there for 20 years before moving to St. Louis where she was commissioned by various families. She is regarded by many as the first woman in the United States to achieve professional recognition as an artist. In 1824, Sarah and Anna became the first two female members of the Pennsylvania Academy of the Fine Arts. <BR/><BR/>This portrait was probably painted by Sarah at a young age, and was possibly painted together with Anna and instruction from their father.<SPAN STYLE="font-family:'Book Antiqua';font-size:16pt"><BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "", "Disp_Obj_Type" : "PAINTINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-P-585.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-P-585.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-P-585.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-P-585.jpg", "IsPrimary" : "1", "_SurrogateID" : "5217", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5449, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5449", "Disp_Access_No" : "16-P-589", "_AccNumSort1" : "", "Disp_Create_DT" : "Late 19th Century", "_Disp_Start_Dat" : "1867", "_Disp_End_Date" : "1899", "Disp_Title" : "Belfield Farm, Germantown, PA", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Anna Peale Sellers", "Sort_Artist" : "Sellers, Anna Peale", "Disp_Dimen" : "20 3/4 x 28 1/4 in. (52.7 x 71.8 cm)", "Disp_Height" : "20 3/4 in.", "Disp_Width" : "28 1/4 in.", "Dimen_Extent" : "Frame", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "<SPAN>Gallery Label:<BR/><BR/>Anna Peale Sellers was the granddaughter of Charles Willson Peale through his daughter Sophonisba. She studied in Rome during the 1860s and at the Pennsylvania Academy of the Fine Arts in the late 1870s and early 1880s.<BR/><BR/>As noted on the reverse of the work, this scene is copied from a work by Sellers' grandfather, Charles Willson Peale. In an 1818 letter to his son Rembrandt about the view depicted here, Charles wrote: "I have chosen two views which I wish to paint. One is at the beginning of the rise of the high hill leading to Germantown. It takes in my obelisk, Barn and mansion House and both the Summer Houses--The Gate &amp; willow tree on the left, the hill back of the Garden; the road, the water in the road &amp; mill race, and a piece of Mr. Wister's wood for a finish on the right of the picture."<BR/><BR/><SPAN STYLE="color:#221E1F">Peale resided at Belfield, his “retirement” home, from 1810 to 1821, and his house still stands on La Salle University campus. In 1826, Belfield was sold to neighbor William Logan Fisher. That same year, Fisher gifted the house to his daughter, Sarah Logan Fisher upon her marriage to William Wister. 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Melster, 29th year, Wilmington, Delaware", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sarah Miriam Peale", "Sort_Artist" : "Peale, Sarah Miriam", "Disp_Dimen" : "5 x 3 7/8 in. 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