{ "objects" : [ { "embark_ID" : 986, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/986", "Disp_Access_No" : "13-MM-18", "_AccNumSort1" : "", "Disp_Create_DT" : "2013", "_Disp_Start_Dat" : "2013", "_Disp_End_Date" : "2013", "Disp_Title" : "Our True History", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ernesto Yerena", "Sort_Artist" : "Yerena, Ernesto", "Disp_Dimen" : "44 x 30 in. (111.8 x 76.2 cm)", "Disp_Height" : "44 in.", "Disp_Width" : "30 in.", "Dimen_Extent" : "Sheet", "Medium" : "Spray paint, stencil, and collage", "Support" : "paper", "Disp_Medium" : "Spray paint, stencil, and collage on paper", "Info_Page_Comm" : "<SPAN><BR/><SPAN STYLE="font-size:10pt">Label from </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Border Crossings: Immigration in Contemporary Prints</SPAN><SPAN STYLE="font-size:10pt">, La Salle University Art Museum, March 16 - June 9, 2016:</SPAN><BR/><BR/>Cheyenne is a strong young woman with a strong sense of identity with an unruly hunger to learn about her ancestors. Cheyenne feels that it is very important for her to honor her ancestors by educating the younger generations. She has strong beliefs that in this consumer driven society if you do not have a strong identity, society will give you a blind consumer identity which will be to the advantage and serve greedy corporations. Her mentor is the very wise Ofelia Esparza who never holds any knowledge from Cheyenne and does anything in her power to help her grow as a human. Cheyenne herself is a mentor to 11 year old Oscar who is beginning to understand that “Knowledge is Power.”<BR/><BR/>I created this image… in 2010 for my Ganas 2020 solo show in San Francisco. Originally it was a canvas. Recently I started releasing more and more prints and due to the energy of the world and the journey of DECOLONIZATION that millions of people across world of all colors have recently embarked on. This image was inspired by the American history books in American public schools which never teach us the true history of this country let alone teach people with indigenous ancestry to the continent the true history of their ancestor. This image is in honor of our ancestors. This print’s purpose is to hopefully get people to question borders / colonizations / nation states built over our ancestral nation / our indigenous diet / our connection with nature / women and men dynamics / medicine / and many types of KNOWLEDGE.<BR/><BR/>– Ernesto Yerena Montejano<BR/> Hechoconganas.com<BR/> Hechoconganas.bigcartel.com<SPAN STYLE="font-family:'Times New Roman';font-size:12pt"><BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © Ernesto Yerena Montejano", "Disp_Obj_Type" : "MIXED MEDIA", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13-MM-18.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-MM-18.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-MM-18.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-MM-18.jpg", "IsPrimary" : "1", "_SurrogateID" : "3341", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 957, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/957", "Disp_Access_No" : "13-G-3571", "_AccNumSort1" : "", "Disp_Create_DT" : "1986", "_Disp_Start_Dat" : "1986", "_Disp_End_Date" : "1986", "Disp_Title" : "Cowboys and Indians (Annie Oakley)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Andy Warhol", "Sort_Artist" : "Warhol, Andy", "Disp_Dimen" : "36 x 36 in. (91.4 x 91.4 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "36 in.", "Dimen_Extent" : "bleed", "Medium" : "Screenprint", "Support" : "Lenox Museum Board", "Disp_Medium" : "Screenprint on Lenox Museum Board", "Info_Page_Comm" : "Andy Warhol established his career on Americana subjects, including the Wild West. This print is of Annie Oakley, a popular sharpshooter performer in the Buffalo Bill’s Wild West Show. Despite being from Pennsylvania, the traveling show’s sensationalized version of the Wild West allowed Oakley to become a symbol of the Wild West’s mythology. Her most famous trick was shooting a gun backwards and never missing her target, one of which included a cigarette in the Kaiser of Germany’s mouth. As part of her legacy and mythos, Oakley allegedly asked to shoot a second shot after the Kaiser’s role in WWI. She would later retire due to an injury and advocated for women’s rights, even teaching sharpshooting as self defense. The print colorfully outlines Oakley’s medals, highlighting her accomplishments as a historical and cultural icon. Today we can criticize the inaccurate portrayals of the Western genre and Warhol’s use of the screenprints-- creating flat, vivid, and stylized images- highlights the artifice of the Wild West and Oakley created by pop culture. Liana Rose D. Salazar Curatorial Intern Class of 2022", "Dedication" : "Gift of The Andy Warhol Foundation for the Visual Arts", "Copyright_Type" : "© 2016 The Andy Warhol Foundation for the Visual Arts, Inc. / 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/13-G-3571.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3571.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3571.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3571.jpg", "IsPrimary" : "1", "_SurrogateID" : "3345", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 959, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/959", "Disp_Access_No" : "13-G-3573", "_AccNumSort1" : "", "Disp_Create_DT" : "1986", "_Disp_Start_Dat" : "1986", "_Disp_End_Date" : "1986", "Disp_Title" : "Cowboys and Indians (Sitting Bull)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Andy Warhol", "Sort_Artist" : "Warhol, Andy", "Disp_Dimen" : "36 x 36 in. (91.4 x 91.4 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "36 in.", "Dimen_Extent" : "bleed", "Medium" : "Screenprint", "Support" : "Lenox Museum Board", "Disp_Medium" : "Screenprint on Lenox Museum Board", "Info_Page_Comm" : " See the interpretive label written by Mey-Yen Moriuchi, Ph.D. <i>Assistant Professor of Art History, Department of Art</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_2018/12/">HERE</a>. ", "Dedication" : "Gift of The Andy Warhol Foundation for the Visual Arts", "Copyright_Type" : "© 2016 The Andy Warhol Foundation for the Visual Arts, Inc. / 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/13-G-3573.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3573.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3573.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3573.jpg", "IsPrimary" : "1", "_SurrogateID" : "3346", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5094, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5094", "Disp_Access_No" : "15-G-3735", "_AccNumSort1" : "", "Disp_Create_DT" : "1986", "_Disp_Start_Dat" : "1986", "_Disp_End_Date" : "1986", "Disp_Title" : "Liberty", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Kenneth Tisa", "Sort_Artist" : "Tisa, Kenneth", "Disp_Dimen" : "33 1/2 x 24 in. (85.1 x 61 cm)", "Disp_Height" : "33 1/2 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "Image", "Medium" : "Silkscreen", "Support" : "", "Disp_Medium" : "Silkscreen", "Info_Page_Comm" : "<SPAN><BR/><SPAN STYLE="font-size:10pt">Label from </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Border Crossings: Immigration in Contemporary Prints</SPAN><SPAN STYLE="font-size:10pt">, La Salle University Art Museum, March 16 - June 9, 2016:</SPAN><BR/><BR/>In this painting the statue represents a figure lighting the way, not only for the future but illuminating the spirits of the past immigrants. The crown and the torch are the pinnacles of the Statue, and around those points spiral the mystic spirits of the immigrants who have been freed from oppression and tyranny.<BR/><BR/>- Kenneth Tisa<BR/>RoGallery.com<BR/></SPAN>", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © Kenneth Tisa", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-G-3735.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-G-3735.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-G-3735.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-G-3735.jpg", "IsPrimary" : "1", "_SurrogateID" : "5225", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2068, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2068", "Disp_Access_No" : "79-G-1065", "_AccNumSort1" : "", "Disp_Create_DT" : "1974", "_Disp_Start_Dat" : "1974", "_Disp_End_Date" : "1974", "Disp_Title" : "Builders No. 3", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jacob Lawrence", "Sort_Artist" : "Lawrence, Jacob", "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 Serigraph", "Support" : "", "Disp_Medium" : "Color Serigraph", "Info_Page_Comm" : " Lawrence was one of the most successful and influential African American artists of the 20th century. Born in Atlantic City, NJ, he grew up in the Philadelphia area then moved to New York City as a teenager. He dropped out of high school at age 16 but took classes at the Harlem Art Workshop with Charles Alston. In 1941, when he was 23 years old, he completed his best known works, the Migration Series, a sequence of 60 paintings about the Great Migration of American Americans from rural South to the urban North, which were purchased by the Museum of Modern Art in New York and the Phillips Collection in Washington, D.C. Many of Lawrence’s artworks illustrate stories from African American history, as well as scenes from contemporary black culture. In the late 1940s, he began to explore the theme of Builders, which became the focus of another well-known series. He wrote, "The Builders came from my own observations of the human condition. If you look at a work closely, you see that it incorporates things other than the builders, like a street scene, or a family." With Builders No. 3, Lawrence depicts three male carpenters handling various construction tools. He employs a dynamic Modernist style, with flat planes of bold colors, formal rhythms, and an up-tilted picture plane. Beyond the workmen, the presence of pedestrians indicates the urban setting and suggests the vibrancy of city life. ", "Dedication" : "Gift of Edward I. Bernstein", "Copyright_Type" : "© 2016 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / 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/79-G-1065.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/79-G-1065.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/79-G-1065.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/79-G-1065.jpg", "IsPrimary" : "1", "_SurrogateID" : "2644", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8114, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8114", "Disp_Access_No" : "17-G-4992", "_AccNumSort1" : "", "Disp_Create_DT" : "2008", "_Disp_Start_Dat" : "2008", "_Disp_End_Date" : "2008", "Disp_Title" : "200 Yrs", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Allan L. Edmunds", "Sort_Artist" : "Edmunds, Allan L.", "Disp_Dimen" : "30 x 22 in. (76 x 56 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "22 in.", "Dimen_Extent" : "Sheet", "Medium" : "Offset Lithograph", "Support" : "", "Disp_Medium" : "Offset Lithograph", "Info_Page_Comm" : " Edmunds was born in Philadelphia and studied at Temple University’s Tyler School of Art. He founded the Brandywine Workshop and Archives in 1972, which continues the great tradition of printmaking and artistic experimentation that has distinguished the Philadelphia arts community. Brandywine is a major source of opportunity for artists of all ages and backgrounds, especially artists of color, and is recognized internationally for its high standards of excellence and innovation. Edmunds’ lithograph, 200 Yrs, celebrates the progression of African Americans in America. The outline of a slave ship in the lower left alludes to the Slave Act of 1808, which marked early efforts to abolish the slave trade in the U.S. On the lower right a portrait of Martin Luther King Jr. represents the fight towards civil equality for African Americans. Edmunds’ print is dated 2008, the 200th anniversary of the Slave Act, and celebrates a new era in American history, with the election of Barack Obama as the first black president of the U.S. The print also features the names of African American heroes, slaves, soldiers, abolitionists, civil rights leaders, politicians, and educators, including Harriet Tubman, Booker T. Washington and Fredrick Douglass. -Tricia Sackor, Class 2017 Curatorial Intern ", "Dedication" : "Purchased with funds provided by the Art Angels", "Copyright_Type" : "Artwork © Allan L. Edmunds", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "United States", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/17-G-4992.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/17-G-4992.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/17-G-4992.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/17-G-4992.jpg", "IsPrimary" : "1", "_SurrogateID" : "9395", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1129, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1129", "Disp_Access_No" : "66-G-42", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Martin Luther King", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ben Shahn", "Sort_Artist" : "Shahn, Ben", "Disp_Dimen" : "19 1/2 x 16 in. (49.5 x 40.6 cm)", "Disp_Height" : "19 1/2 in.", "Disp_Width" : "16 in.", "Dimen_Extent" : "Image", "Medium" : "Wood engraving", "Support" : "", "Disp_Medium" : "Wood engraving", "Info_Page_Comm" : " See the interpretive label written by Brother Ernest J. Miller, FSC, D. Min., <i>Vice President for Mission</i> and <i>Adjunct Instructor, Department of Religion and Theology</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_2018/7/">HERE</a>. Description from the International Graphic Arts Society bulletin, series no. 69, May 1966: "IGAS feels privileged in releasing to its members a wood-engraving done cooperatively by Ben Shahn and Stefan Martin. This is a venture rare in the history of American graphics. Wood-engravings are cut with burins on the highly polished end-grain of a very dense and refractory wood - in this case, South American boxwood. Shahn has provided the image - Martin has engraved the block and supervised the printing. Both artists have signed the prints. Until the invention of photo-mechanical engraving, all illustrations in newspapers and books were created and printed in this way. In recent times this practice has been almost wholly abandoned. Apart from its artistic value, this print is interesting as a technical experiment and as the revival of an old tradition. Foreseeing the great demand for this print, the edition is drawn in 300. It is available only to members who joined prior to April 1, 1966." The original drawing by Shahn was commissioned by <i>Time</i> magazine, and appeared on the cover of the March 19, 1965 edition.", "Dedication" : "", "Copyright_Type" : "Art © Estate of Ben Shahn/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/66-G-42.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/66-G-42.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/66-G-42.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/66-G-42.jpg", "IsPrimary" : "1", "_SurrogateID" : "2629", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1269, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1269", "Disp_Access_No" : "68-G-212", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Baseball", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ben Shahn", "Sort_Artist" : "Shahn, Ben", "Disp_Dimen" : "16 3/4 x 25 in. (42.5 x 63.5 cm)", "Disp_Height" : "16 3/4 in.", "Disp_Width" : "25 in.", "Dimen_Extent" : "Image", "Medium" : "Woodcut", "Support" : "", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "", "Dedication" : "", "Copyright_Type" : "Art © Estate of Ben Shahn/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/68-G-212.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/68-G-212.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/68-G-212.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/68-G-212.jpg", "IsPrimary" : "1", "_SurrogateID" : "2888", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2800, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2800", "Disp_Access_No" : "86-G-1397", "_AccNumSort1" : "", "Disp_Create_DT" : "1796", "_Disp_Start_Dat" : "1796", "_Disp_End_Date" : "1796", "Disp_Title" : "George Washington (Battle of Trenton)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas Cheesman", "Sort_Artist" : "Cheesman, Thomas", "Disp_Dimen" : "25 1/4 x 17 1/4 in. (64.1 x 43.8 cm)", "Disp_Height" : "25 1/4 in.", "Disp_Width" : "17 1/4 in.", "Dimen_Extent" : "Image", "Medium" : "Etching, engraving, hand-colored", "Support" : "", "Disp_Medium" : "Etching, engraving, hand-colored", "Info_Page_Comm" : "Published by A.C. de Poggi, New Bond Street, London, 1 August 1796", "Dedication" : "Gift of Everett Frank, Jr. From the collections of Everett Frank, Sr.", "Copyright_Type" : "", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86-G-1397.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86-G-1397.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86-G-1397.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86-G-1397.jpg", "IsPrimary" : "1", "_SurrogateID" : "2342", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2801, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2801", "Disp_Access_No" : "86-G-1398", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1853", "_Disp_Start_Dat" : "1848", "_Disp_End_Date" : "1858", "Disp_Title" : "Life of George Washington The Farmer", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Junius Brutus Stearns", "Sort_Artist" : "Stearns, Junius Brutus", "Disp_Dimen" : "17 3/4 x 23 3/4 in. (45.1 x 60.3 cm)", "Disp_Height" : "17 3/4 in.", "Disp_Width" : "23 3/4 in.", "Dimen_Extent" : "Image", "Medium" : "Lithograph, hand-colored", "Support" : "", "Disp_Medium" : "Lithograph, hand-colored", "Info_Page_Comm" : "", "Dedication" : "Gift of Everett Frank, Jr. From the collections of Everett Frank, Sr.", "Copyright_Type" : "", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "France", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86-G-1398.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86-G-1398.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86-G-1398.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86-G-1398.jpg", "IsPrimary" : "1", "_SurrogateID" : "2345", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2857, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2857", "Disp_Access_No" : "88-G-2972", "_AccNumSort1" : "", "Disp_Create_DT" : "1873", "_Disp_Start_Dat" : "1873", "_Disp_End_Date" : "1873", "Disp_Title" : "Snap the Whip", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Winslow Homer", "Sort_Artist" : "Homer, Winslow", "Disp_Dimen" : "13 1/2 x 20 5/8 in. (34.3 x 52.4 cm)", "Disp_Height" : "13 1/2 in.", "Disp_Width" : "20 5/8 in.", "Dimen_Extent" : "", "Medium" : "Woodcut", "Support" : "", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "", "Dedication" : "Purchased in the memory of Paul Doran", "Copyright_Type" : "", "Disp_Obj_Type" : "PRINTS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/88-G-2972.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/88-G-2972.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/88-G-2972.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/88-G-2972.jpg", "IsPrimary" : "1", "_SurrogateID" : "2578", "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" : 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" : 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" : 960, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/960", "Disp_Access_No" : "13-G-3574", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1930", "_Disp_Start_Dat" : "1925", "_Disp_End_Date" : "1935", "Disp_Title" : "Boat Builders, Essex", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Philip Kappel", "Sort_Artist" : "Kappel, Philip", "Disp_Dimen" : "9 3/4 x 7 3/4 in. (24.8 x 19.7 cm)", "Disp_Height" : "9 3/4 in.", "Disp_Width" : "7 3/4 in.", "Dimen_Extent" : "Image", "Medium" : "Drypoint", "Support" : "", "Disp_Medium" : "Drypoint", "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/>Kappel was born in Hartford, CT, and studied art at the Pratt Institute Art School in Brooklyn. He worked for several shipping companies documenting their ships and sailors.1 This etching depicts a ship being built. The village of Essex, MA, had been a site of boat building since the 1600s. Ship building materials and techniques evolved throughout the Industrial Revolution, but this scene has an almost timeless quality. Kappel focuses on the three workers absorbed in their tasks by cropping the large vessel so that the composition frames their labor. The “x” formed by wood girders that cut through the foreground further restricts the space. <BR/><BR/>Carmen Vendelin<BR/>Curator of Art, La Salle University Art Museum<BR/><BR/><BR/><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-3574.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13-G-3574.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13-G-3574.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13-G-3574.jpg", "IsPrimary" : "1", "_SurrogateID" : "2395", "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" : 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" : 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. (17.8 x 34.3 cm)", "Disp_Height" : "7 in.", "Disp_Width" : "13 1/2 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/>Born in Baltimore, Jules attended the Maryland Institute College of Art from 1932-1934, and he later studied at the Art Students League in New York City under Regionalist artist Thomas Hart Benton. Jules was an accomplished painter and printmaker whose artwork focused on Social Realist themes, such as the plight of the poor. He often employed satire and caricature to dramatize social issues in a style reminiscent of 19th-century artist Honoré Daumier. <BR/><BR/>Dust portrays a desolate landscape of the American Dust Bowl in the early 1930s—a landscape devoid of human presence with eroded soil blown over unused farm machinery. 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" : 3024, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3024", "Disp_Access_No" : "91-G-3079", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Wreck of the Old 97", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas Hart Benton", "Sort_Artist" : "Benton, Thomas Hart", "Disp_Dimen" : "10 1/4 x 14 7/8 in. (26 x 37.8 cm)", "Disp_Height" : "10 1/4 in.", "Disp_Width" : "14 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/>Thomas Hart Benton was born in Missouri, studied in Chicago and Paris, and began his artistic career in New York City, where he lived and worked for over twenty years, though he is most famously associated with the American Midwest. In 1935 he returned to Missouri and accepted a teaching position at the Kansas City Art In­stitute. Benton is considered a pioneer in the Regional­ist art movement. 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. 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/91-G-3079.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91-G-3079.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91-G-3079.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91-G-3079.jpg", "IsPrimary" : "1", "_SurrogateID" : "2493", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 315, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/315", "Disp_Access_No" : "07-G-3413", "_AccNumSort1" : "", "Disp_Create_DT" : "1937", "_Disp_Start_Dat" : "1937", "_Disp_End_Date" : "1937", "Disp_Title" : "The People Work- Evening", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Benton Murdoch Spruance", "Sort_Artist" : "Spruance, Benton Murdoch", "Disp_Dimen" : "22 7/8 x 16 in. (58.1 x 40.6 cm)", "Disp_Height" : "22 7/8 in.", "Disp_Width" : "16 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-3413.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/07-G-3413.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/07-G-3413.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/07-G-3413.jpg", "IsPrimary" : "1", "_SurrogateID" : "2142", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 316, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/316", "Disp_Access_No" : "07-G-3414", "_AccNumSort1" : "", "Disp_Create_DT" : "1937", "_Disp_Start_Dat" : "1937", "_Disp_End_Date" : "1937", "Disp_Title" : "The People Work- Morning", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Benton Murdoch Spruance", "Sort_Artist" : "Spruance, Benton Murdoch", "Disp_Dimen" : "23 x 15 7/8 in. (58.4 x 40.3 cm)", "Disp_Height" : "23 in.", "Disp_Width" : "15 7/8 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-3414.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/07-G-3414.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/07-G-3414.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/07-G-3414.jpg", "IsPrimary" : "1", "_SurrogateID" : "2143", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 317, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/317", "Disp_Access_No" : "07-G-3415", "_AccNumSort1" : "", "Disp_Create_DT" : "1937", "_Disp_Start_Dat" : "1937", "_Disp_End_Date" : "1937", "Disp_Title" : "The People Work- Night", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Benton Murdoch Spruance", "Sort_Artist" : "Spruance, Benton Murdoch", "Disp_Dimen" : "22 3/4 x 16 in. (57.8 x 40.6 cm)", "Disp_Height" : "22 3/4 in.", "Disp_Width" : "16 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-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" : 1318, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1318", "Disp_Access_No" : "70-D-7", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1934", "_Disp_Start_Dat" : "1929", "_Disp_End_Date" : "1939", "Disp_Title" : "Study for "The Striker"", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Julius Bloch", "Sort_Artist" : "Bloch, Julius", "Disp_Dimen" : "24 5/8 x 18 7/8 in. 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(57.8 x 44.8 cm)", "Disp_Height" : "22 3/4 in.", "Disp_Width" : "17 5/8 in.", "Dimen_Extent" : "Sheet", "Medium" : "Brown Watercolor", "Support" : "", "Disp_Medium" : "Brown Watercolor", "Info_Page_Comm" : "", "Dedication" : "", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77-D-112.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77-D-112.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77-D-112.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77-D-112.jpg", "IsPrimary" : "1", "_SurrogateID" : "1850", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3263, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3263", "Disp_Access_No" : "95-D-370", "_AccNumSort1" : "", "Disp_Create_DT" : "1920", "_Disp_Start_Dat" : "1920", "_Disp_End_Date" : "1920", "Disp_Title" : "Serenading Cowboy", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Dean Cornwell", "Sort_Artist" : "Cornwell, Dean", "Disp_Dimen" : "17 x 24 1/2 in. (43.2 x 62.2 cm)", "Disp_Height" : "17 in.", "Disp_Width" : "24 1/2 in.", "Dimen_Extent" : "Sheet", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "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">Cornwell was an illustrator and a muralist. Born in Louisville, Kentucky, he studied at the Art Institute of Chicago and at the Art Students League of New York. Nicknamed the “Dean of Illustrators,” Cornwell’s designs appeared in newspapers such as The Louisville Herald and The Chicago Tribune; in popular journals such as </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Cosmopolitan</SPAN><SPAN STYLE="font-size:10pt">, </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Harper’s Bazaar</SPAN><SPAN STYLE="font-size:10pt">, and </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Good Housekeeping</SPAN><SPAN STYLE="font-size:10pt">; and in books by Pearl S. Buck, Ernest Hemingway, W. Somerset Maugham, Owen Wister and others. He painted over 20 public murals, including the Los Angeles Public Library in the late 1920s, Rockefeller Center in New York, and the 1939 World's Fair. He taught at the Art Students League and elsewhere, and his work has been exhibited in numerous museums, including the Whitney Museum of American Art, PAFA, and the National Academy of Design.<BR/></SPAN></SPAN>", "Dedication" : "Gift of Ann Chahbandour and Jay Robert Stiefel", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/95-D-370.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/95-D-370.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/95-D-370.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/95-D-370.jpg", "IsPrimary" : "1", "_SurrogateID" : "1871", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4222, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4222", "Disp_Access_No" : "78-D-129", "_AccNumSort1" : "", "Disp_Create_DT" : "1917", "_Disp_Start_Dat" : "1917", "_Disp_End_Date" : "1917", "Disp_Title" : "Scribner's Magazine Cover, Cavalry Soldier", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Wilfred J. 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Toner, class of '65", "Copyright_Type" : "", "Disp_Obj_Type" : "PHOTOGRAPHY", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-Ph-177.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-Ph-177.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-Ph-177.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-Ph-177.jpg", "IsPrimary" : "1", "_SurrogateID" : "1753", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-Ph-177_case.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-Ph-177_case.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-Ph-177_case.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-Ph-177_case.jpg", "IsPrimary" : "0", "_SurrogateID" : "1754", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-Ph-177_open.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-Ph-177_open.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-Ph-177_open.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-Ph-177_open.jpg", "IsPrimary" : "0", "_SurrogateID" : "1755", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4058, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4058", "Disp_Access_No" : "15-Ph-178", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1850-1899", "_Disp_Start_Dat" : "1850", "_Disp_End_Date" : "1899", "Disp_Title" : "Portrait of Young Union Soldier", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown", "Sort_Artist" : "Unknown", "Disp_Dimen" : "2 7/8 x 2 3/8 x 3/4 in. (7.3 x 6 x 1.9 cm)", "Disp_Height" : "2 7/8 in.", "Disp_Width" : "2 3/8 in.", "Dimen_Extent" : "Case Closed", "Medium" : "Ambrotype, Hand-colored", "Support" : "", "Disp_Medium" : "Ambrotype, Hand-colored", "Info_Page_Comm" : "<SPAN>Gallery Label:<BR/><BR/>With the invention of the Daguerreotype in France in 1839, an accurate likeness could be obtained for just a few dollars. The low price made it difficult for artists to compete, and many miniature painters switched to the new medium of photography, sometimes adding color tinting to black and white images. Daguerreotype portraits quickly became very popular, and photography studios proliferated in many cities. Philadelphia led the way. By 1856 there were more than one hundred photographers operating in the city, with studios clustered east of Broad Street along Chestnut and Market, and north on 2nd Street. Photographers continued to experiment with processes and chemicals to improve the quality of the images, gradually making way for the kinds of photographs with which we are familiar today.<BR/><BR/>Like small painted portraits on ivory, early photographic portraits were displayed and protected in hard decorative cases lined in velvet. The portraits were unique originals with no negatives. In the 1890s George Eastman’s introduction of flexible rolled negative film and the Kodak camera led to more widespread general interest in photography.<BR/><BR/><SPAN STYLE="font-weight:bold">Ambrotypes</SPAN> were popular from the 1850s through the 1860s but continued in use through the 1890s. The image was set on glass plate, with a chemical emulsion applied to the surface. The glass was backed with a black surface, and the images appeared clearly without any reflection. <BR/></SPAN>", "Dedication" : "Purchased with funds provided by William V. Toner, class of '65", "Copyright_Type" : "", "Disp_Obj_Type" : "PHOTOGRAPHY", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-Ph-178.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-Ph-178.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-Ph-178.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-Ph-178.jpg", "IsPrimary" : "1", "_SurrogateID" : "1756", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-Ph-178_case.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-Ph-178_case.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-Ph-178_case.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-Ph-178_case.jpg", "IsPrimary" : "0", "_SurrogateID" : "1757", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-Ph-178_open.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-Ph-178_open.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-Ph-178_open.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-Ph-178_open.jpg", "IsPrimary" : "0", "_SurrogateID" : "1758", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 394, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/394", "Disp_Access_No" : "08-Ph-108", "_AccNumSort1" : "", "Disp_Create_DT" : "1981", "_Disp_Start_Dat" : "1981", "_Disp_End_Date" : "1981", "Disp_Title" : "Uncle Sam", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Andy Warhol", "Sort_Artist" : "Warhol, Andy", "Disp_Dimen" : "3 3/8 x 4 1/4 in. (8.6 x 10.8 cm)", "Disp_Height" : "3 3/8 in.", "Disp_Width" : "4 1/4 in.", "Dimen_Extent" : "", "Medium" : "Polacolor 2", "Support" : "", "Disp_Medium" : "Polacolor 2", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from "Andy Warhol: Portraiture and the Business of Art", La Salle University Art Museum, April 10 – June 28, 2012:<BR/><BR/>Warhol’s </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Myths</SPAN><SPAN STYLE="font-size:10pt"> portfolio of 1981 featured characters from American popular culture, such as Uncle Sam, Mickey Mouse, Superman and Santa Claus. Like Warhol’s Pop Art images of celebrities in the 1960s, this series also provoked ideas about the impermanence of fame. <BR/> </SPAN></SPAN>", "Dedication" : "Gift of the Andy Warhol Foundation for the Visual Arts", "Copyright_Type" : "© 2016 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York", "Disp_Obj_Type" : "PHOTOGRAPHY", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/08-Ph-108.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/08-Ph-108.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/08-Ph-108.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/08-Ph-108.jpg", "IsPrimary" : "1", "_SurrogateID" : "554", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 408, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/408", "Disp_Access_No" : "08-Ph-122", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1970-1987", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "1987", "Disp_Title" : "Stallone, Sylvester", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Andy Warhol", "Sort_Artist" : "Warhol, Andy", "Disp_Dimen" : "10 x 8 in. (25.4 x 20.3 cm)", "Disp_Height" : "10 in.", "Disp_Width" : "8 in.", "Dimen_Extent" : "", "Medium" : "Black and White Print", "Support" : "", "Disp_Medium" : "Black and White Print", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">Label from "Andy Warhol: Portraiture and the Business of Art", La Salle University Art Museum, April 10 – June 28, 2012: <BR/><BR/>Sylvester Stallone (1946- ) is a well-known American actor. In one of his most famous roles, he played the Philadelphia native Rocky Balboa in the Rocky film series. Stallone is also known for his work as a filmmaker, screenwriter, and film director. Warhol described his photo session with Stallone in his </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Diaries</SPAN><SPAN STYLE="font-size:10pt">:<BR/><BR/>It was very cold out. I went to church. Then I had to be ready at 2:30 to go to the Regency to take photographs of Sylvester Stallone…. I used ten rolls of film, because he’s really hard to photograph. From the front his neck is skinny, then from the side it looks three feet wide. From the front he has a huge chest, and from the side no chest at all. His hands are pretty, I used his hands, but sometimes they look tiny and sometimes they look huge. He’s like Rubber man. 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