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7 10 91 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/e0c075f0cfe5ef9839d4ad9f5e5c5ee8.jpg 52b5548df545f98ebb7bd0effd021aec 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 Martyrdom of St. Agatha Description An account of the resource A knife in the lower left corner draws attention to the artist's inscription, a curiously cruel association with the torture taking place. Agatha, subjected to a series of gender-specific tests and torments, emerged virtuous and victorious. In a work that his contemporaries considered his best, Sebastiano displayed the virgin saint's unmarred, uncringing, and Michelangelesque body. Creator An entity primarily responsible for making the resource Sebastiano del Piombo Italian, 1485-1547 Source A related resource from which the described resource is derived <a href="https://www.wga.hu/html_m/s/sebastia/martyrdo.html">Web Gallery of Art</a> Date A point or period of time associated with an event in the lifecycle of the resource 1520 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 wood, 127 x 178 cm Type The nature or genre of the resource Painting https://physiology.oberlincollegelibrary.org/files/original/2ede4d3cbd522c044bbfbd1d9ea17628.jpg dff33647e7c2f925dec9e7708003e3b3 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 Rape of Persephone Description An account of the resource This painting, together with Rothko's "The Syrian Bull," was exhibited in 1943 at the Third Annual Exhibition of Modern Painters and Sculptors at Wildenstein Gallery in New York City, where they attracted the attention of Edward Alden Jewell of the New York Times. Jewell singled them out as incomprehensible in a review in that paper, writing, "You will have to make of Marcus Rothko's 'The Syrian Bull' what you can; nor is this department prepared to shed the slightest enlightenment when it comes to Adolph Gottlieb's 'Rape of Persephone.' " Both paintings show the influence of European surrealism, the dominant aesthetic of the day. Rothko's work prefigures his later Color Field paintings, in its glowing colors, rectilinear organization, and ambiguous forms, while Gottlieb's is clearly part of his use of what he called "pictographs": flat forms, often floating on an undefined background, and influenced by tribal and archaic art. Gottlieb and Rothko asked their friend Barnett Newman to assist them in responding to Jewell's review; their letter was published on June 13, 1943. It is a compendium of the principles under which the artists would work for much of the decade, and effectively laid out a first manifesto relating to the painting of the nascent New York School, which developed into Abstract Expressionism. They declared that abstract forms are the "simple expression of the complex thought," their commitment to "subject matter which is tragic and timeless," their "spiritual kinship with primitive and archaic art," and that the meaning of a painting must come about through a "consummated experience between picture and onlooker." For his assistance in crafting the response, Gottlieb and Rothko gave their paintings to Newman, whose wife Annalee Newman subsequently donated them to the AMAM in honor of Professor Ellen Johnson. Johnson's relationships with many New York artists, particularly in the 1960s and '70s, were fundamental for the enlargement and quality of the AMAM's late twentieth century art collection. Creator An entity primarily responsible for making the resource Adolph Gottlieb American, 1903–1974 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/11918">Allen Memorial Art Museum</a>, Gift of Annalee Newman in honor of Ellen H. Johnson Date A point or period of time associated with an event in the lifecycle of the resource 1943 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: 34 3/16 × 26 1/8 in. (86.8 × 66.4 cm) Frame: 41 1/4 × 33 1/4 × 1 5/8 in. (104.8 × 84.5 × 4.1 cm) Type The nature or genre of the resource Painting Rights Information about rights held in and over the resource Adolph and Esther Gottlieb Foundation / Visual Artists and Galleries Association (VAGA), New York, NY Identifier An unambiguous reference to the resource within a given context 1991.41.2 https://physiology.oberlincollegelibrary.org/files/original/43765862028405a0cadae242641d87cc.jpg a742e0d46f03836878a66123aaa90bac 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 Macarena Esperanza Description An account of the resource Audrey Flack depicts a celebrated statue of the Virgin Mary made by the Spanish Baroque sculptor Luisa Roldán (1652–1706), venerated to this day in Seville. Borne by penitents and accompanied by hymns of sorrow, the statue Macarena Esperanza (Our Lady of Hope of Macarena) is paraded as part of Holy Week celebrations. Devotees believe the statue is the Virgin Mary herself and attribute miraculous capacities to it. Through devotion to wooden statues like Roldàn’s, believers hope to bring about positive change in their lives. Flack highlights the precious jewels, lace, and gold that have been added to the sculpture over time, representing them as if they are apart from the figure, suggesting that the Macarena’s power emanates from within. Flack’s work, though large, resembles the qualities of a postcard (the way in which Flack was first introduced to the sculpture). Through its mode of reproduction, Flack effectively demonstrates a widely held Catholic belief: that replication enhances, rather than detracts from, the power of miraculous objects. Creator An entity primarily responsible for making the resource Audrey Flack American, b. 1931 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/14656">Allen Memorial Art Museum</a>, Fund for Contemporary Art Date A point or period of time associated with an event in the lifecycle of the resource 1972 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Color lithograph and gold leaf Image/Sheet: 33 1/16 × 23 11/16 in. (84 × 60.2 cm) Type The nature or genre of the resource Lithograph Rights Information about rights held in and over the resource Audrey Flack Identifier An unambiguous reference to the resource within a given context 1973.39 https://physiology.oberlincollegelibrary.org/files/original/2419027b79a8218ed62b5228749f17f1.jpg 1e5969230885407af714cbb1837cc4d5 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 Madonna of the Pomegranate Description An account of the resource The picture's title is explained by the pomegranate in Mary's hand: this should be understood as symbolizing Christ's Passion, the wealth of seeds conveying the fullness of Christ's suffering. A comparison of this painting with Botticelli's earlier tondo Madonna del Magnificat reveals that the artist has now arranged the angels symmetrically, thereby avoiding the compositional difficulties of the older depiction. The Christ Child, whose hand is raised in blessing, is lying securely in the arms of Mary, but the sad, melancholy expression on the faces of mother and child are intended to remind the observer of the torments the Son of God will suffer in the future. The angels are worshipping Mary with lilies and garlands of roses. The Rosary is a prayer that was created in its present form in the 15th century, and rapidly became widespread. The beginning of this prayer is embroidered on the left angel s stola: AVE GRAZIA PLENA (Hail Mary, full of grace). Creator An entity primarily responsible for making the resource Botticelli, Sandro Italian, 1445-1510 Source A related resource from which the described resource is derived <a href="https://www.wga.hu/html_m/b/botticel/22/40pomegr.html">Web Gallery of Art</a> Date A point or period of time associated with an event in the lifecycle of the resource c. 1487 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Tempera on panel diameter 143,5 cm Type The nature or genre of the resource Painting 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>, R. T. Miller Jr. Fund 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/cfbec1ae132c5d19aac6c304d1d39e88.jpg d8a01deb91733f871978fbe18505b205 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 Nan One Month After Being Battered Description An account of the resource Nan Goldin is an artist whose work cannot be separated from her personal experiences. She often photographed her close friends and acquaintances, and in several instances, turned the camera on herself. Her obsession with depicting the events of her subcultural lifestyle gives Goldin's work a raw intensity and an unsettling hint towards their narratives. Her style contains an element of intimacy, coupled with the use of lush color to amplify the emotional tone of the work. In this dramatic self-portrait, the viewer is confronted with Goldin's injuries, her expression a mixture of vulnerability and brazen presentation. Creator An entity primarily responsible for making the resource Nan Goldin American, b. 1953 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/12824">The Allen Memorial Art Museum</a>, Horace W. Goldsmith Foundation Photography Fund Date A point or period of time associated with an event in the lifecycle of the resource 1984 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Cibachrome print Type The nature or genre of the resource Photograph Rights Information about rights held in and over the resource Nan Goldin Identifier An unambiguous reference to the resource within a given context 1993.4.1 https://physiology.oberlincollegelibrary.org/files/original/028985fbd29e502693b1a14cc48cdb93.jpg ebdac4e1cde54f42fd263e570c2705a2 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 "Saint James the Mutilated" from The Golden Legend: Selections Description An account of the resource A selection from The Golden Legend: Selections Creator An entity primarily responsible for making the resource Jacobus de Voragine Source A related resource from which the described resource is derived <a href="https://www.nationalgallery.co.uk/products/the-golden-legend-selections/p_1014605">The National Gallery </a> Date A point or period of time associated with an event in the lifecycle of the resource Published 1998 Original work published ca. 1229-1298 Format The file format, physical medium, or dimensions of the resource Text Type The nature or genre of the resource Book Publisher An entity responsible for making the resource available Penguin Classics Rights Information about rights held in and over the resource Penguin Classics Language A language of the resource English, translated by Christopher Stace Identifier An unambiguous reference to the resource within a given context ISBN: 9780140446487 https://physiology.oberlincollegelibrary.org/files/original/68abdf4ef7d9ac5853241fb761fd76f1.jpg a7b4e1998c44ef5f13160c50a258a8b9 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 Untitled Description An account of the resource Comprising a stack of plastered white shirts speared by three black metal rebars, this work was created in response to the 1988 mass murder of male workers at a banana plantation in Colombia. Similar to the white work shirts the plantation workers would have worn, the garments stand in for the murdered men. The piercing of the shirts with rebars symbolizes the violence of their deaths. Originally shown in 1989 at the Galería Garcés Velásquez, the AMAM work was installed alongside several other stacks of plastered shirts of various heights, as well as metal bed frames wrapped in animal skins, lying on the floor or leaning up against the wall. The bed frames recall how the plantation workers were dragged out of their beds in the middle of the night and murdered in front of their families. One of Salcedo’s first projects to incorporate clothing, this installation marked a turning point in her body of work as she increasingly began to use clothing as her primary material. Creator An entity primarily responsible for making the resource Doris Salcedo Colombian, b. 1958 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/10283">The Allen Memorial Art Museum</a>, Gift of Cristina Delgado (OC 1980) and Stephen F. Olsen (OC 1979) Date A point or period of time associated with an event in the lifecycle of the resource 1989-93 Contributor An entity responsible for making contributions to the resource Alexis Reed Format The file format, physical medium, or dimensions of the resource Shirts, gesso, and steel rebars Overall: 66 3/4 × 10 1/8 × 15 1/8 in. (169.5 × 25.7 × 38.4 cm) Base: 3 1/2 × 21 × 26 7/8 in. (8.9 × 53.3 × 68.3 cm) Type The nature or genre of the resource Work Identifier An unambiguous reference to the resource within a given context 2002.21.1 https://physiology.oberlincollegelibrary.org/files/original/1a9fdb94b4e6141fedbbac98c3f4f1b4.jpg 782050fa5b6b2620a5fe68b2c05d7ee7 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 Gin Lane Description An account of the resource Many of William Hogarth’s prints call attention to social ills within 18th-century British society, thereby paving the way for healing. Here, Hogarth represents the dire effects of gin consumption, which had risen steeply in the first decades of the 18th century. The print represents February 1, 1751, a day in one of London’s poorer neighborhoods, where every group, from the elderly to infants, is addicted to the substance and devastated by the consequences. In the middle ground, a woman in a wheelbarrow—no longer able to support her own cup—is served by supposed nurses who “charitably” assist her. Penury awaits everyone as figures pawn their last possessions. Gin is the cause of suicide (at right) and civic neglect (a house falls down in the middle distance), Hogarth argues. Children are neglected, abandoned, and killed. Paired with the print Beer Street, in which Hogarth envisions a healthy society that consumes a national and nutritional beverage, Gin Lane successfully helped to raise awareness of the necessity for civic regulations in the sale of gin, which came under increasing control that same year. Creator An entity primarily responsible for making the resource William Hogarth English, 1697–1764 Source A related resource from which the described resource is derived <a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/15672">Allen Memorial Art Museum</a>, Annie A. Wager Bequest Date A point or period of time associated with an event in the lifecycle of the resource 1751 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 Image: 15 3/8 × 12 13/16 in. (39.1 × 32.5 cm) Sheet: 24 13/16 × 18 7/8 in. (63 × 48 cm) Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context 1975.228