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3 10 91 https://physiology.oberlincollegelibrary.org/files/original/be02cb06598638b9f7189120a8c602b0.jpg 4a9157521a010ffd54d8d435201569e6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Stigmatization of St. Francis Description An account of the resource An exceptional colorist and the most sensitive of draftsmen, Barocci executed only a few prints. Not surprisingly, his approach to printmaking was quite painterly. Here he creates an atmospheric representation of Saint Francis receiving the stigmata while praying in the hills above Assisi. Through a judicious application of both etching and engraving—an innovative combination at the time—Barocci translates the saint’s ecstasy into a physical haze of natural forms in the background that fade away from Francis’s more strongly delineated figure. Through masterful handling of the medium, Barocci conveys the intensity and wonder of the saint’s experience. Creator An entity primarily responsible for making the resource Federico Barocci Italian, ca. 1535–1612 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/1881">Allen Memorial Art Museum</a>, <span>Gift of Parks and Christie Campbell</span> Date A point or period of time associated with an event in the lifecycle of the resource ca. 1581 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Etching and engraving Overall: 9 × 5 13/16 in. (22.9 × 14.8 cm) Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context 1983.32 https://physiology.oberlincollegelibrary.org/files/original/4a047305c51861a3aa63fa29bc43fcfb.jpg 8f16af4f23b429de4e0b525f7ce13641 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Oil on Canvas Physical Dimensions The actual physical size of the original image 31 1/2 x 42 1/8 inches Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Woman in Recline: The Siege of Leningrad, Leningrad, 1964 Creator An entity primarily responsible for making the resource Felix Lembersky Description An account of the resource Portrayal of life under the Siege of Leningrad by Russian born artist who completed his art degree during the siege. Source A related resource from which the described resource is derived <a href="http://www.lembersky.org/en/artwork/p013" target="_blank" rel="noopener">Lembersky.org</a> Date A point or period of time associated with an event in the lifecycle of the resource 1964 Contributor An entity responsible for making contributions to the resource Kira Nathan Format The file format, physical medium, or dimensions of the resource still image Rights Information about rights held in and over the resource Yelena Lembersky Identifier An unambiguous reference to the resource within a given context Catalog Number P013 https://physiology.oberlincollegelibrary.org/files/original/3c259bf73320189fb1c1b16c08e82b99.jpg 500239110fe82691cc63b097a053e848 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource L'Alerte Creator An entity primarily responsible for making the resource Felix Vallotton (Swiss, 1865–1925) Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/5740">Allen Memorial Art Museum</a> Date A point or period of time associated with an event in the lifecycle of the resource 1895 Format The file format, physical medium, or dimensions of the resource Woodcut https://physiology.oberlincollegelibrary.org/files/original/1f044b61cd3a4d1f00f3364c1608b25f.jpg c6cf785bbf35312ca510776a91fb0540 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lamentation of Christ at the Tomb Description An account of the resource In this masterful drawing by Filippino Lippi, Christ's body is supported on the edge of his tomb by a man (either Joseph of Arimathea or Nicodemus) while angels bearing the three nails and crown of thorns reverently support Christ's arms. The drawing has been pricked for transfer, and is the only surviving pricked drawing by the artist. It is also one of the few known pricked Renaissance drawings for which the corresponding panel painting, part of the predella to an altarpiece (National Gallery of Art, Washington, DC) survives. Pricking consists of making small pinprick holes along the outlines of a preparatory drawing. The drawing was then overlaid on a surface such as a panel, wall, or canvas, and a powder-often pulverized charcoal- was dusted over it, penetrating the holes. The traces of charcoal left on the surface of the panel or other support supplied the outlines used in painting the final version of the work. The influence of Leonardo da Vinci in this work is strongly felt, particularly in the psychological intensity, exquisite modeling, and dramatic chiaroscuro. Evidence of reworking can be seen in the angels' wings and Christ's hands; the artist once intended to show the spear that pierced Christ's side more prominently. Christ's frontal position and the symmetrically placed angels give the drawing a monumental character far removed from its actual size. Creator An entity primarily responsible for making the resource Filippino Lippi Italian, 1457–1504 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/6590">The Allen Memorial Art Museum</a>, <span>R. T. Miller Jr. Fund</span> Date A point or period of time associated with an event in the lifecycle of the resource ca. 1500 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Pen and brush and brown ink and washes, heightened with white opaque paint on paper; contours pricked for transfer. Overall: 7 1/16 × 10 3/8 in. (18 × 26.3 cm) Type The nature or genre of the resource Drawing Identifier An unambiguous reference to the resource within a given context 1954.64 https://physiology.oberlincollegelibrary.org/files/original/bf8c8360f6d889415884b8260c87e255.jpg fa5a7580490d202f203de84d574bcf67 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Prodigal Son Description An account of the resource Auguste Rodin is arguably one of the most influential artists of the modern age, and produced a vast array of sculptures in plaster, marble, and bronze, as well as many drawings. His works are known for championing the ruggedness, strength, and materiality of the human body and the powerful emotions to which it is subject. Rodin was awarded numerous public commissions in France in the late nineteenth century, and took up subjects ranging from portraits of notable men, such as the writer Honoré de Balzac, to those inspired from biblical or classical events. This powerfully emotional work displays the vulnerability of its protagonist, a young man who kneels on a massive rock, torso uncomfortably angled, head thrown back and arms outstretched. His face, with open mouth, is similar to that in numerous other works by the artist that express sorrow, longing, or fear. The prodigal son, from a biblical parable, leaves his family and returns destitute, pleading for mercy and forgiveness. His despair, energy, and pentup feelings are fully expressed in Rodin's work. The figure was created by Rodin for inclusion in the late 1880s in his monumental Gates of Hell; he appears twice in the right panel, both vertically and horizontally as part of a group with a female body, later reworked by the artist as the Fugit Amor group, and symbolic of the disillusionment and pain of dying love. Neither group is present in an April 1887 photograph of the plaster model for the Gates, but a freestanding Fugit Amor was exhibited in plaster in Paris in 1887; therefore, the initial conception for the group, and Oberlin's male figure, probably dates to that year. As he did with other figures from the Gates, Rodin enlarged, modified, and reused a single figure from his initial idea to create a monumental work, as is the case for The Prodigal Son. Creator An entity primarily responsible for making the resource François-Auguste-René Rodin French, 1840–1917 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/6928">Allen Memorial Art Museum</a>, <span>R. T. Miller Jr. Fund</span> Date A point or period of time associated with an event in the lifecycle of the resource c. 1905 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Bronze with dark green patina Overall: 54 1/4 × 26 × 27 in. (137.8 × 66 × 68.6 cm) Type The nature or genre of the resource Sculpture Identifier An unambiguous reference to the resource within a given context 1955.32 https://physiology.oberlincollegelibrary.org/files/original/356e26560c76d1169061bac20d3b6287.jpg 4a82879e0936ecddabc0c9532a215500 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Self Portrait Dedicated to Dr Eloesser Description An account of the resource Christian imagery, especially the theatrically bloody martyrdoms that hang in Mexican churches, pervades Frida's iconography. Her house in Coyoacan displays a particularly gruesome Road to Calvary, in which the overemphasis on Christ's wounds seizes the spectator on the most primitive physical level. This bloodiness and self-mortification hark back to preconquest times, when the Aztecs tore out human hearts and punctured their own skins to ensure life's continuance. But it was Spanish Catholicism that brought to Mexico the depiction of pain in veristic and human terms, creating images so real and so frightening that the Indians could not help but be awestruck and, of course, converted. Borrowing the rhetoric of Catholicism, Frida used the same combination of pain and realism to attract devotees to her cause. In another 1940 Self Portrait, Dedicated to Dr Eloesser Frida's necklace of thorns is just a single strand, but it draws even more blood. In the background, leafless broken-off twigs profiled against an opalescent sky look like the dead twigs woven into Frida's necklace in the self-portrait with the hummingbird. No doubt the dry white buds that mingle with the twigs (and that droop from Frida's headdress as well) likewise refer to her desolation. Although Frida has flowers in her hair and wears the earrings in the shape of hands that Picasso gave her when she was in Paris, she looks like someone dressed for a ball for which she has no escort. Frida's work from the year in which she and Diego Rivera were separated demonstrates a heightened awareness of color's capacity to drive home emotional truths. As a self-taught artist, she began with a highly personal and unorthodox feeling for color. Her palette came out of her love for the startling combinations of bougainvillea pinks, purples, and yellows seen in the decorative arts of Mexico. She chose colors the way she chose her clothes - with exquisite aesthetic calculation. In such early works as Henry Ford Hospital, pastels create an ironic disjunction with the painful subject matter. In later paintings the choice of colors is just as odd and often even more dissonant and complex. The soft, pearly sky and the bright flowers in the Eloesser Self-Portrait, for example, only accentuate the chill of Frida's predicament. Their richness recalls the way statues of the scourged Christ in Mexican churches are often surrounded by flowers, lace, velvet, and gold. Creator An entity primarily responsible for making the resource Frida Kahlo Date A point or period of time associated with an event in the lifecycle of the resource 1940 Type The nature or genre of the resource Painting Source A related resource from which the described resource is derived <a href="https://www.fridakahlo.org/self-portrait-dedicated-to-dr-eloesser.jsp#prettyPhoto">fridakahlo.org</a> Format The file format, physical medium, or dimensions of the resource Oil Painting https://physiology.oberlincollegelibrary.org/files/original/fa0c4299ae865bdf5949155127e2c456.jpg 1d7a57f9285637a5d58205d7eb8f56eb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cleopatra Creator An entity primarily responsible for making the resource Giampietrino (Giovanni Pietro Rizzoli) Italian, active 1495–1540 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/1697">Allen Memorial Art Museum</a>, <span>Gift of the Samuel H. Kress Foundation</span> Date A point or period of time associated with an event in the lifecycle of the resource ca. 1515 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Oil on panel, mounted on mahogany Overall: 29 7/8 × 21 1/8 in. (75.9 × 53.7 cm) Type The nature or genre of the resource Painting Identifier An unambiguous reference to the resource within a given context 1961.81 https://physiology.oberlincollegelibrary.org/files/original/5ce2cbe314d1820d6fbc4150f6fee2f2.jpg d4c971ac5b3fc8d7b73bf2d05beb9ba6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource David Description An account of the resource "David” by Bernini is a life-size marble sculpture depicting the biblical David, about to throw the stone that will bring down Goliath, whom he then beheads. Compared to earlier works on this subject such as the David of Michelangelo, the sculpture broke new ground in its sense of movement and its psychological intensity. This sculpture shows a key event from the Old Testament during the war between the Israelites and the Philistines. Goliath was the battle champion of the Philistines, and he challenged the Israelite army to settle the conflict by single combat. David is a young shepherd who has gained fame as the king’s musician but accepts the challenge when no one else steps forward to defend the Israeli cause. David refuses the king’s offer of the royal armor and faces Goliath with just a stone from his sling. “When the Philistine [Goliath] arose and came and drew near to meet David, David sprinted toward the battle line to meet the Philistine. And David put his hand in his bag and took out a stone and slung it and struck the Philistine on his forehead. The stone sank into his forehead, and he fell on his face to the ground.” Bernini shows David clothed as a typical shepherd, and at his feet lies the armor of Israel’s King, Saul, given to David for battle. The armor is shed by David, as he was unaccustomed to it, and he had faith that he can fight better without the constraint of the heavy armor. At David’s feet is also his harp. The harp was often included as an iconographic device for David, which references to his skills as a harpist. The biblical David was a favorite subject among artists and had been treated by sculptors such as Donatello (c.1440s), Verrocchio (1473-1475), and Michelangelo (1501-1504). Bernini’s David, though influenced by these works, adds to the art form in different and significant ways. This sculpture was one of many commissioned to decorate the villa of Bernini’s patron Cardinal Scipione Borghese, where it is exhibited today, as part of the Galleria Borghese. Creator An entity primarily responsible for making the resource Gian Lorenzo Bernini Italian, 1598-1680 Date A point or period of time associated with an event in the lifecycle of the resource 1623–24 Type The nature or genre of the resource Sculpture Source A related resource from which the described resource is derived <a href="https://joyofmuseums.com/museums/europe/italy-museums/rome-museums/galleria-borghese/david-by-bernini/">Joy of Museums</a> Format The file format, physical medium, or dimensions of the resource Marble 170 cm (67 in) https://physiology.oberlincollegelibrary.org/files/original/3187b2e249b4b5c131e8c5170247bd15.m4a 88e58e87b0cc67407097814c0b40c3e8 Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Hams Khamis Interviewee The person(s) being interviewed Hams Khamis's Mother Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Audio recording Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 41:00 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hams Khamis's mother Description An account of the resource Hams Khamis, a student at the American University of Cairo, interviewed her mother as part of our projects on well-being. Creator An entity primarily responsible for making the resource Hams Khamis Date A point or period of time associated with an event in the lifecycle of the resource n.d. https://physiology.oberlincollegelibrary.org/files/original/bf6724480026e6e3c8692dee1f7042ef.jpeg 9b00d44315a77719870c2e7762e770f4 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A woman and her ill child on a rickshaw in the Warsaw ghetto. Subject The topic of the resource Joest's caption reads: "Where would this rickshaw driver take this child who was obviously sick with Typhus? Was there still a hospital for Jews? No one among my German comrades could tell me." Description An account of the resource Heinrich Joest was a German Army sargeant during WWII and took picture of life behind the Warsaw Ghetto walls on his birthday in 1941. He kept the pictures he took, like this one, to himself until 1988, when he met Guenther Schwarberg, a reporter for "Der Stern" magazine, who interviewed him and facilitated the publication of some of his images. Creator An entity primarily responsible for making the resource Heinrich Joest Source A related resource from which the described resource is derived <a href="https://collections.ushmm.org/search/catalog/pa3217">United States Holocaust Memorial Museum</a> Date A point or period of time associated with an event in the lifecycle of the resource 1941, September 19 Contributor An entity responsible for making contributions to the resource Dorothy Klement Rights Information about rights held in and over the resource United States Holocaust Memorial Museum Copyright: United States Holocaust Memorial Museum Provenance: Guenther Schwarberg Source Record ID: Collections: 2004.1.59 Second Record ID: Collections: 2004.1.1 Format The file format, physical medium, or dimensions of the resource Image Type The nature or genre of the resource Photograph