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7 10 91 https://physiology.oberlincollegelibrary.org/files/original/c7d24ce285c05cb6a1763efbb1a08d33.jpg baf1f193a010c89d07c62273867b4bd5 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 Rickshaw Drivers in Singapore Pulling Two English Tourists Date A point or period of time associated with an event in the lifecycle of the resource 1938 Creator An entity primarily responsible for making the resource Unknown Source A related resource from which the described resource is derived <a href="http://www.the-inncrowd.com/mypaternalgramma02.htm">The InnCrowd</a> (through Pinterest - <a href="https://www.pinterest.co.uk/pin/3870349655388656/">https://www.pinterest.co.uk/pin/3870349655388656/</a>) Format The file format, physical medium, or dimensions of the resource Image Type The nature or genre of the resource Photograph 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 Ryff Paper Format The file format, physical medium, or dimensions of the resource <a href="https://learn-us-east-1-prod-fleet01-xythos.s3.us-east-1.amazonaws.com/5b34479533d2b/980908?response-content-disposition=inline%3B%20filename%2A%3DUTF-8%27%27Ryff2018.pdf&amp;response-content-type=application%2Fpdf&amp;X-Amz-Algorithm=AWS4-HMAC-SHA256&amp;X-Amz-Date=20191219T112403Z&amp;X-Amz-SignedHeaders=host&amp;X-Amz-Expires=21599&amp;X-Amz-Credential=AKIAZH6WM4PLTYPZRQMY%2F20191219%2Fus-east-1%2Fs3%2Faws4_request&amp;X-Amz-Signature=5fed4bf3b26b1b60f9c44911f5e7061ca76305744a56383693c849a95b0484f9">Link</a> https://physiology.oberlincollegelibrary.org/files/original/b340a3376274044ab7b710924e7f105d.m4a dd9e045103bb4d973e2e2fa2eea9a9f8 Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewer The person(s) performing the interview Nour Tobgy Interviewee The person(s) being interviewed Salem Tobgy 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.) 11:30 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 Salem Tobgy Creator An entity primarily responsible for making the resource Jack Lesniak 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/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/2eeed3f3de420932c0356cb6b26dadf1.jpg fc52238503a8b170c75cb0ae81f0cdc9 https://physiology.oberlincollegelibrary.org/files/original/1e071763a3d6b58f7b8bc9b3b3e359cc.jpg f815cf9c016e34f28ce95e355080cb0c https://physiology.oberlincollegelibrary.org/files/original/47e068aa22e9436a7c1e03e4cbc0b4fc.jpg 547185ab06e8c4ad6a20a32752b1afd5 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 Skylar the Dog Description An account of the resource Black Mouth Cur and Boxer mix Creator An entity primarily responsible for making the resource Edd Franz Date A point or period of time associated with an event in the lifecycle of the resource 2018 Format The file format, physical medium, or dimensions of the resource Image Contributor An entity responsible for making contributions to the resource Meg Franz Type The nature or genre of the resource Photograph https://physiology.oberlincollegelibrary.org/files/original/b1b223d361e3e1f83393327936ff6a04.jpg 63c52a1d965f5e119a6c77a8dbef6bea 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 St. Sebastian Description An account of the resource Lifelike-and nearly life-size-statues such as this arresting Saint Sebastian were prevalent in churches in Renaissance Italy. It is carved in inexpensive wood, which was more easily worked than marble or bronze, and allowed for an easy naturalism. The unknown sculptor was concerned with verisimilitude, carving small white teeth between gently parted lips, and accentuating the saint's realistic ribcage, as well as depicting subtly bluish veins with red blood dripping from wounds-all of which contribute to the statue's striking realism. The arms were separately carved and joined to the torso, and there are numerous joins of the wood on the back and rear thighs. The work was likely once attached to a column or fictive tree trunk, but has been fully finished in the round. Consistent with other known similar wooden statues of the saint, the now-filled holes that once held arrows are only present on the front of the work. The saint's crossed legs impart both a sense of reality, as well as one of nonchalance, in defiance of his would-be assassins. Because of his many wounds, Saint Sebastian was seen as an important intercessor for victims of the plague, and was certainly one of the most popular saints of the age. The AMAM possesses two other striking representations of the saint, Hendrick ter Brugghen's Saint Sebastian Tended by Irene of 1625 and Giovanni Boccati's altarpiece fragment showing Saint John the Baptist and Saint Sebastian of around 1460 Creator An entity primarily responsible for making the resource Unknown Artist Italian Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/14427">Allen Memorial Art Museum</a>, <span>R. T. Miller Jr. Fund and Mrs. F. F. Prentiss 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 Polychromed poplar and spruce wood Overall (with base): 75 1/2 × 20 × 19 in. (191.8 × 50.8 × 48.3 cm) Type The nature or genre of the resource Statue Identifier An unambiguous reference to the resource within a given context 1961.77 https://physiology.oberlincollegelibrary.org/files/original/434af434e3e97fecd46c6c4df9f77c8e.jpg 5cb0825861f43ddb67725e5a6448ce9d 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 St. Sebastian Tended by Irene Description An account of the resource This work-one of the most important Northern Baroque paintings in the United States-is a strikingly sensitive vision of physical suffering. The third-century Saint Sebastian, shot with arrows by his fellow guardsmen for having converted to Christianity, was tended by the Roman widow Irene and her maidservant; none of the arrows had pierced a vital organ and they were able to bring him back to health. Here, left for dead, with his now gray, bloodless arm tied by a leather strap to a tree, he slumps forward as the women, fully absorbed in their work, tenderly begin to nurse him. Saint Sebastian was invoked against the plague; one that struck Utrecht, Amsterdam, and Rotterdam in 1624 may have helped to occasion the present work. For the upright composition, Ter Brugghen was likely inspired by Caravaggio's Deposition, as well as by a lost work by his compatriot, Baburen. Ter Brugghen was the only one of the Utrecht Caravaggisti-Dutch artists from Utrecht active in Rome, influenced by the works of Italian artist Caravaggio- to live in Rome in the early years of the seventeenth century, during Caravaggio's activity there. In Oberlin's work, the three figures are tightly massed in a monumental pyramidal composition whose strong diagonals, shallow space, and scale heighten its emotive power. The richness of the painting's cool chiaroscuro-the play of light and shadow over its three figures-is contrasted with the orange glow of the setting sun over the distant, desolate landscape in the background, over which black birds fly. Pierre Rosenberg, former director of the Louvre, published the painting in 2006 in his book Only in America: One Hundred Paintings in American Museums Unmatched in European Collections. Having conducted a survey of curators and art historians, Oberlin's painting was found to be cited more often than any other as meeting that extremely high standard-and, as a result, it is the book's front cover image. The AMAM owes its purchase to the connoisseurship of the museum's former director Charles Parkhurst, who first saw the work at a dealer in New York in the spring of 1953. After discussion with Oberlin art professor Wolfgang Stechow, he agreed to move forward on the purchase. The dealer was then in touch with Samuel Kress, for whom it had been reserved, to gain his approval. The painting might equally have gone when it was earlier in the hands of another dealer to the Rijksmuseum in Amsterdam or to the museum in Utrecht. The Rijksmuseum, however, did not have available dollar funds while the Utrecht museum did not act quickly enough, due in part to a misdirected letter. Ter Brugghen first studied with the artist Abraham Bloemaert before leaving the Netherlands for Italy. Upon his return to Utrecht he painted both religious and genre subjects, such as flute and lute players, and allegories, and was praised above all other Utrecht artists by the great painter Rubens on the latter's trip to that city in 1627. Creator An entity primarily responsible for making the resource Hendrick ter Brugghen Dutch, ca. 1588–1629 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/9232">Allen Memorial Art Museum</a>, R. T. Miller Jr. Fund Date A point or period of time associated with an event in the lifecycle of the resource 1625 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 canvas Overall: 58 11/16 × 47 in. (149.1 × 119.4 cm) Frame: 66 7/16 × 54 11/16 × 3 13/16 in. (168.8 × 138.9 × 9.7 cm) Type The nature or genre of the resource Painting Identifier An unambiguous reference to the resource within a given context 1953.256 https://physiology.oberlincollegelibrary.org/files/original/d93a1a916f615e3fc6107c52f0edc440.jpg 610f5cd3e73e1509c62c4ab59aeebd7c 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 Ste. Sebastienne Description An account of the resource Drawing upon the European visual tradition of the idealized male nude St. Sebastian, Louise Bourgeois issued prints of her composition in several editions. Here she represents a voluptuous female form, without arms; arrows threaten to puncture her body between her breasts, at the back of her thigh and calves, at her navel, and between her legs. In several interviews, Bourgeois described the figure either as a self-portrait or a woman “under attack.” The figure, evidently unwittingly, “antagonized people,” who then shot at her, leaving her confused, anxious, fearful. This process transformed her, making her “ugly,” or “mean,” and then “self-destroying, self-mutilating, masochistic.” The arrows directed at the figure’s breasts and between her legs suggest that the essence of femininity is under attack. The antagonism, Bourgeois clarified, is “external, not internal,” though it sets in motion a self-destructive dynamic against which no easily identified protection lies at hand. Creator An entity primarily responsible for making the resource Louise Bourgeois American, born in France, 1911–2010 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/13263">Allen Memorial Art Museum</a>, Art Museum Gift Fund Date A point or period of time associated with an event in the lifecycle of the resource 1992 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Drypoint Overall: 41 1/2 × 33 1/2 in. (105.4 × 85.1 cm) Frame: 51 1/8 × 41 1/8 × 1 1/2 in. (129.9 × 104.5 × 3.8 cm) Type The nature or genre of the resource Print Rights Information about rights held in and over the resource Estate of Louise Bourgeois / Visual Artists and Galleries Association (VAGA), New York, NY Identifier An unambiguous reference to the resource within a given context 1994.63 https://physiology.oberlincollegelibrary.org/files/original/efa4bcdade90459a78321c41f2e385a1.jpg deaad895ff64a91779684edc701dfc50 https://physiology.oberlincollegelibrary.org/files/original/235191b39b82e51df0df82053b0bc913.jpg 2229f7868baa2b45b4b59a139876ed50 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 SueZie, 51, and Cheryl, 55, Valrico, FL, 2015, from the portfolio To Survive on this Shore: Photographs and Interviews with Transgender and Gender Nonconforming Older Adults Creator An entity primarily responsible for making the resource Jess T. Dugan American, b. 1986 Vanessa Fabbre American, b. 1978 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/38781">Allen Memorial Art Museum</a> Date A point or period of time associated with an event in the lifecycle of the resource 2018 Format The file format, physical medium, or dimensions of the resource Archival pigment print with text (interview) Image: 18 × 13 1/2 in. (45.7 × 34.3 cm) Sheet: 20 × 16 in. (50.8 × 40.6 cm) Type The nature or genre of the resource Print and Text Subject The topic of the resource Transgender and Gender Nonconforming Older Adults https://physiology.oberlincollegelibrary.org/files/original/5f865e1a3d3b12d600149d76e3fc7338.JPG bf87d32b5b9dd4156ac383958e6b7d34 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 Archival pigment print with text (interview) Physical Dimensions The actual physical size of the original image Image: 18 × 13 1/2 in. (457 × 343 mm) Sheet: 20 × 16 in. (508 × 406 mm) 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 SueZie, 51, and Cheryl, 55, Valrico, FL, 2015, from the portfolio To Survive on this Shore: Photographs and Interviews with Transgender and Gender Nonconforming Older Adults // DOUBLE WITH ITEM #83 Subject The topic of the resource Transgender and Gender Nonconforming Older Adults Creator An entity primarily responsible for making the resource Jess T. Dugan and Vanessa Fabbre Source A related resource from which the described resource is derived Allen Memorial Art Museum Date A point or period of time associated with an event in the lifecycle of the resource 2018 Format The file format, physical medium, or dimensions of the resource Archival pigment print with text (interview) Description An account of the resource Photograph and interview with SueZie, 51, and Cheryl, 55, Valrico, a transgender woman who transitioned later in life, and her wife.