1
10
244
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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
Our Treasures
Contributor
An entity responsible for making contributions to the resource
The Minnesota Museum of American Art
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.
Credit Line
Write as follows: purchase/gift, entity that provided the money/artworks (example: 'Purchase, Acquisition Fund'
Purchase, Acquisition Fund
Physical Dimensions
The actual physical size of the original image
42 x 54 inches
Framed Dimensions
Remove
50 1/4 x 65 5/16 inches
Creator Birth City
The city the artist was born in
Erie, PA
Exhibition Label
Copy the most recent text made for a exhibition didactic label
<em>The Tillers</em> shows Czech-American farmers in Hopkins, MN (a suburb of Minneapolis), preparing a plot of land for growing raspberries. It is a major early work of Cameron Booth, who played a significant role in the history of art in Minnesota during the 20th century. A committed modernist, Booth was enthralled by the formal aspects of art—the way the composition meanders through space, line, and color, and the punctuating rhythm of natural and human elements. The applications of paint give the sky and land an almost pulsating quality, while the figures have a weight and solidity all their own. Booth became an important force in Minnesota, first as a teacher and then as director at the Saint Paul Gallery and School of Art (now the Minnesota Museum of American Art) from 1929 to 1942.
Artist
Cameron Booth
1892-1980
Born in Erie, PA
Died in Minneapolis, MN
Medium
Oil on canvas
Object ID
2001.08
Rights Statement
In Copyright
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Painting
Publications
Silberman, Robert. "Cameron Booth." In <em>Our Treasures: Highlights from the Minnesota Museum of American Art</em>, edited by Kristin Makholm, 26-27. St. Paul, MN: Minnesota Museum of American Art, 2011.
Inscriptions
Inscribe any words, names or phrases that have been written, engraved or etched onto the object. Indicate where on the object the inscription is located using one of the following abbreviations: l.l. (lower left), l.r. (lower right), l.c. (lower center), u.l. (upper left), u.r. (upper right), u.c. (upper center). If the inscription appears in the middle of the object write out 'middle left/center/right.' Begin with the location then the inscription exactly as it appears on the object. Be sure to follow the location with a colon. For example 'l.r.: Patrick DesJarlait 1961.' If the inscription appears on the back of the work, write verso then the location colon inscription.
l.l.: Cameron Booth
Title
<em>The Tillers</em>
Date
1924
Description
describe the object
In this painting of rural Minnesota, Cameron Booth depicts three Czech-American farmers. The two women and singular male figure look to be taking a brief respite from preparing a plot of land to grow berries. Two harnessed horses stand behind the man. In the background there is a tall hill, a river, and two domestic buildings sitting at the bottom of the hill. The sky is blue and grey.
Dimension
The size of the object. For a still image, record the height and width in inches and in the following order: height, followed by an x, then width followed by "inches" (i.e. height x width inches). All dimensions should be listed as fractions!
For a physical object, record the height, width, and depth in inches and in the following order: height, followed by an x, then width, followed by an x, then depth followed by "inches" (i.e. height x width x depth inches). All dimensions should be listed as fractions!
42 x 54 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
<em>The Tillers</em>
Date Created
Date of creation of the resource.
1924
Rights
Information about rights held in and over the resource
In Copyright
Rights Holder
A person or organization owning or managing rights over the resource.
Unknown
License
A legal document giving official permission to do something with the resource.
No license
Date Copyrighted
Date of copyright.
1924
Type
The nature or genre of the resource
Painting
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
Minnesota Museum of American Art; Purchased from Kramer Gallery; Collection of John and Colles Larkin; The artist
Creator
An entity primarily responsible for making the resource
Cameron Booth
Contributor
An entity responsible for making contributions to the resource
Minnesota Museum of American Art
Medium
The material or physical carrier of the resource.
Oil on canvas
Source
A related resource from which the described resource is derived
Purchase, Acquisition Fund
2001.08
American landscape
Brown
Cameron Booth
Czech-American
Farm
Farming
Green
Minnesota artist
Minnesota landscape
Modernist
People at work
Post-Impressionist
Rural landscape
Saint Paul Gallery and School of Art
Twentieth Century
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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
Our Treasures
Contributor
An entity responsible for making contributions to the resource
The Minnesota Museum of American Art
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.
Credit Line
Write as follows: purchase/gift, entity that provided the money/artworks (example: 'Purchase, Acquisition Fund'
Purchase, Katharine G. Ordway Fund
Physical Dimensions
The actual physical size of the original image
14 x 18 inches
Exhibition Label
Copy the most recent text made for a exhibition didactic label
Patrick DesJarlait is one of Minnesota’s most original artists/illustrators. Between 1942 and 1972, he created a small but powerful body of tightly designed images that focus on the people, seasonal activities, and traditions of the Ojibwe people in his home of Red Lake, Minnesota. <em>Red Lake Fishermen</em> depicts two men in a boat, surrounded by the stylized waves of the lake. Exhibited in one of the artist’s first solo shows in 1946 at the Saint Paul Gallery and School of Art (now the Minnesota Museum of American Art), <em>Red Lake Fisherman</em> established DesJarlait as an important artist who could address both modernist visual styles and the traditional world of his people. He re-dated this drawing in 1961 upon entering it in a competitive exhibition in Scottsdale, AZ, where it was awarded first prize.
Creator Birth City
The city the artist was born in
Red Lake, MN
Artist
Patrick DesJarlait
1921-1972
Born in Red Lake, MN
Date
1946
Medium
Watercolor on paper
Object ID
95.01
Rights Statement
In Copyright
Publications
<p>Rushing III, W. Jackson, and Makholm, Kristin, <em>Modern Spirit: The Art of George Morrison</em>, 60. University of Oklahoma Press: Norman, 2013.</p>
<p>Spooner, Peter. "Patrick DesJarlait." In <em>Our Treasures: Highlights from the Minnesota Museum of American Art</em>, edited by Kristin Makholm, 36-37. St. Paul, MN: Minnesota Museum of American Art, 2011.</p>
<p>Williams, Neva. <em>Patrick DesJarlait: The Story of an Indian Artist, </em>28 and 53-54. Minneapolis, MN: Lerner Publications, 1975.</p>
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Drawing
Inscriptions
Inscribe any words, names or phrases that have been written, engraved or etched onto the object. Indicate where on the object the inscription is located using one of the following abbreviations: l.l. (lower left), l.r. (lower right), l.c. (lower center), u.l. (upper left), u.r. (upper right), u.c. (upper center). If the inscription appears in the middle of the object write out 'middle left/center/right.' Begin with the location then the inscription exactly as it appears on the object. Be sure to follow the location with a colon. For example 'l.r.: Patrick DesJarlait 1961.' If the inscription appears on the back of the work, write verso then the location colon inscription.
l.r.: P.R. DesJarlait 1/31/61
Notes
Include any additional information pertaining to the object.
According to Patrick DesJarlait the painting was completed in 1946. However, he signed and dated the painting in 1961 upon entering the work in an exhibition in Scottsdale, Arizona.
Title
<em>Red Lake Fishermen</em>
Description
describe the object
Patrick DesJarlait's drawing of two Native American fishermen depicts a popular seasonal activity practiced by the Ojibwe people. The fishermen, placed in the center of the watercolor, are the main focus of the work. They are geometrically configured, both wearing fedoras, button down shirts, working gloves, aprons, and rubber boots. Behind the figures and their boat are wavy blue shapes representing water. In the forefront, the man on the left has caught several fish in his nets while his companion on the right steers the boat with a paddle in his right hand. Behind this man in the blue shirt is a white flag.
Dimension
The size of the object. For a still image, record the height and width in inches and in the following order: height, followed by an x, then width followed by "inches" (i.e. height x width inches). All dimensions should be listed as fractions!
For a physical object, record the height, width, and depth in inches and in the following order: height, followed by an x, then width, followed by an x, then depth followed by "inches" (i.e. height x width x depth inches). All dimensions should be listed as fractions!
14 x 18 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
<em>Red Lake Fishermen</em>
Date Created
Date of creation of the resource.
1946
Rights
Information about rights held in and over the resource
In Copyright
Rights Holder
A person or organization owning or managing rights over the resource.
Patrick DesJarlait Estate
Robert DesJarlait
5901 Rhode Island Avenue North
Crystal, MN 55428
License
A legal document giving official permission to do something with the resource.
No license
Date Copyrighted
Date of copyright.
1946
Type
The nature or genre of the resource
Drawing
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
Minnesota Museum of American Art; Purchased from the artist's son Robert DesJarlait
Creator
An entity primarily responsible for making the resource
Patrick DesJarlait
Contributor
An entity responsible for making contributions to the resource
Minnesota Museum of American Art
Medium
The material or physical carrier of the resource.
Watercolor on paper
Source
A related resource from which the described resource is derived
Purchase, Katharine G. Ordway Fund
95.01
Blue
Boat
Drawing
Fish
Fishermen
Fishing
Green
Marine landscape
Minnesota artist
Native American
Ojibwe
Orange
Patrick DesJarlait
People at work
Red Lake, MN
Saint Paul Gallery and School of Art
Twentieth Century
Water
Watercolor
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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
Our Treasures
Contributor
An entity responsible for making contributions to the resource
The Minnesota Museum of American Art
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.
Artist
Wing Young Huie
b. 1955
Born in Duluth, MN
Medium
Chromogenic color print
Physical Dimensions
The actual physical size of the original image
40 x 57 1/2 inches
Framed Dimensions
Remove
41 1/2 x 58 inches
Credit Line
Write as follows: purchase/gift, entity that provided the money/artworks (example: 'Purchase, Acquisition Fund'
Purchase, Acquisition Fund
Object ID
2004.03.55
Exhibition Label
Copy the most recent text made for a exhibition didactic label
This photograph, made during a long road trip across North America, offers more questions than answers. To understand it properly, the Duluth-born artist Wing Young Huie insists that viewers recognize the “filters” they are looking through when encountering such an image. What does this landscape mean to you, what strikes you about this girl, where were you born, how old are you, what color is your skin—these questions establish what for Huie is a critical element in making and looking at photographs, the “ethnocentric filter” through which we see the world and its images.
Rights Statement
In Copyright
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Photograph
Publications
Slade, George. "Wing Young Huie." In <em>Our Treasures: Highlights from the Minnesota Museum of American Art</em>, edited by Kristin Makholm, 46-47. St. Paul, MN: Minnesota Museum of American Art, 2011.
Title
<em>Death Valley, Nevada</em>
From series <em>Looking for Asian America: An Ethnocentric Tour by Wing Young Huie</em>
Date
2001-2002
Description
describe the object
This photograph by Wing Young Huie depicts a young woman in a blue shirt sitting on a man-made stone fence in Death Valley, NV. In the background are the sprawling hills of the valley. Published in <em>Looking for Asian America: An Ethnocentric Tour by Wing Young Huie</em>, this image documents one of several encounters he had with Chinese Americans during his road trip across the United States.
Dimension
The size of the object. For a still image, record the height and width in inches and in the following order: height, followed by an x, then width followed by "inches" (i.e. height x width inches). All dimensions should be listed as fractions!
For a physical object, record the height, width, and depth in inches and in the following order: height, followed by an x, then width, followed by an x, then depth followed by "inches" (i.e. height x width x depth inches). All dimensions should be listed as fractions!
40 x 57 1/2 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
<em>Death Valley, Nevada</em>
From series <em>Looking for Asian America: An Ethnocentric Tour by Wing Young Huie</em>.
Date Created
Date of creation of the resource.
2001-02
Rights
Information about rights held in and over the resource
In Copyright
Rights Holder
A person or organization owning or managing rights over the resource.
Wing Young Huie
2525 Franklin Avenue South Suite 100 Minneapolis, MN 55406
612-375-0191
License
A legal document giving official permission to do something with the resource.
Non Exclusive Perpetual Woldwide License; © Wing Young Huie
Date Copyrighted
Date of copyright.
2001
Type
The nature or genre of the resource
Photograph
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
Minnesota Museum of American Art; Purchased from the artist
Creator
An entity primarily responsible for making the resource
Wing Young Huie
Contributor
An entity responsible for making contributions to the resource
Minnesota Museum of American Art
Medium
The material or physical carrier of the resource.
Chromogenic color print
Source
A related resource from which the described resource is derived
Purchase, Acquisition Fund
2004.03.55
Blue
Brown
Grey
Landscape
Minnesota artist
North America
Photography
Scenic overlook
Twenty-First Century
Wing Young Huie
Woman
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7840d676f3ff5c6842d0074e3af39832
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
Our Treasures
Contributor
An entity responsible for making contributions to the resource
The Minnesota Museum of American Art
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Artist
Paul Manship
1885-1966
Born in St. Paul, MN
Died in New York City, NY
Medium
Bronze with marble base
Physical Dimensions
The actual physical size of the original image
23 x 23 1/2 x 9 inches
Credit Line
Write as follows: purchase/gift, entity that provided the money/artworks (example: 'Purchase, Acquisition Fund'
Gift of Mrs. Arthur Savage
Object ID
65.04.01
Exhibition Label
Copy the most recent text made for a exhibition didactic label
Saint Paul born sculptor Paul Manship is one of Minnesota’s greatest artists, with an international reputation that made him one of the most sought after artists in the first half of the 20th century. His elegant, small-scale figurative sculptures and large public art commissions were designed in a classical or archaic Greek style that idealized the human form. Virtually all cast in bronze, they were admired for their technical mastery, finally crafted surfaces, and brilliant patinas. <em>Indian Hunter and His Dog</em> is a small version of a sculpture commissioned in 1926 for Cochran Park on Summit Avenue in Saint Paul. It depicts an idealized, muscular youth running full stride, carrying arrows in his right hand and a bow in his left. Cast at the prominent Alexis Rudier foundry in Paris, it bears a modern streamlined elegance characteristic of international art deco despite its clear American theme.
Rights Statement
In Copyright
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Sculpture
Physical Dimension
List the dimensions of the object in inches in the following order: height x width x depth inches. If the object is spherical, list the height x diameter inches.
23 x 23 1/2 x 9 inches
Inscriptions
Inscribe any words, names or phrases that have been written, engraved or etched onto the object. Indicate where on the object the inscription is located using one of the following abbreviations: l.l. (lower left), l.r. (lower right), l.c. (lower center), u.l. (upper left), u.r. (upper right), u.c. (upper center). If the inscription appears in the middle of the object write out 'middle left/center/right.' Begin with the location then the inscription exactly as it appears on the object. Be sure to follow the location with a colon. For example 'l.r.: Patrick DesJarlait 1961.' If the inscription appears on the back of the work, write verso then the location colon inscription.
Base u.c.: 1926 Paul Manship
Notes
Include any additional information pertaining to the object.
Two life size casts were made of the <em>Indian Hunter and His Dog</em>. One is in Saint Paul, the other in Vaucresson, France. The public sculpture was commissioned by Thomas Cochran, Jr. in memory of his father and placed in Cochran Memorial Park in Saint Paul. There exist at least six small versions of <em>Indian Hunter and His Dog</em> in private collections.
Publications
Riddle, Mason. "Paul Manship." In <em>Our Treasures: Highlights from the Minnesota Museum of American Art</em>, edited by Kristin Makholm, 56-59. St. Paul, MN: Minnesota Museum of American Art, 2011.
Title
<em>Indian Hunter and His Dog</em>
Date
1926
Description
describe the object
The sculpture depicts a Native American youth and his hunting dog running full stride. The hunter is clad in a breechcloth, wears a single feather in his tied-back hair, carries arrows in his right hand, and holds a bow in his left.
Dimension
The size of the object. For a still image, record the height and width in inches and in the following order: height, followed by an x, then width followed by "inches" (i.e. height x width inches). All dimensions should be listed as fractions!
For a physical object, record the height, width, and depth in inches and in the following order: height, followed by an x, then width, followed by an x, then depth followed by "inches" (i.e. height x width x depth inches). All dimensions should be listed as fractions!
23 x 23 1/2 x 9 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
<em>Indian Hunter and His Dog</em>
Date Created
Date of creation of the resource.
1926
Rights
Information about rights held in and over the resource
In Copyright
Rights Holder
A person or organization owning or managing rights over the resource.
Margaret C. Manship
Fiduciary Trust Company
175 Federal Street
Boston, MN 02110
617-482-5270
License
A legal document giving official permission to do something with the resource.
Non Exclusive Perpetual Woldwide License; © Estate of Paul Howard Manship
Date Copyrighted
Date of copyright.
1926
Type
The nature or genre of the resource
Sculpture
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
Minnesota Museum of American Art; Gift from Mrs. Arthur Savage; The artist
Creator
An entity primarily responsible for making the resource
Paul H. Manship
Contributor
An entity responsible for making contributions to the resource
Minnesota Museum of American Art
Medium
The material or physical carrier of the resource.
Bronze with marble base
Source
A related resource from which the described resource is derived
Gift of Mrs. Arthur Savage
65.04.01
Bow and arrows
Bronze
Classical
Classical Greek style
Dog
Fountain
Hunter
Hunting
Minnesota artist
Native American
Paul Manship
Public sculpture
Running
Sculpture
St. Paul
St. Paul public sculpture
Twentieth Century
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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
Our Treasures
Contributor
An entity responsible for making contributions to the resource
The Minnesota Museum of American Art
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.
Artist
Paul Manship
1885-1966
Born in St. Paul, MN
Died in New York City, NY
Medium
Crayon and graphite on paper
Physical Dimensions
The actual physical size of the original image
21 x 23 1/4 inches
Framed Dimensions
Remove
24 1/2 x 25 3/8 inches
Credit Line
Write as follows: purchase/gift, entity that provided the money/artworks (example: 'Purchase, Acquisition Fund'
Bequest of Paul H. Manship
Object ID
66.14.200
Rights Statement
In Copyright
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Study
Inscriptions
Inscribe any words, names or phrases that have been written, engraved or etched onto the object. Indicate where on the object the inscription is located using one of the following abbreviations: l.l. (lower left), l.r. (lower right), l.c. (lower center), u.l. (upper left), u.r. (upper right), u.c. (upper center). If the inscription appears in the middle of the object write out 'middle left/center/right.' Begin with the location then the inscription exactly as it appears on the object. Be sure to follow the location with a colon. For example 'l.r.: Patrick DesJarlait 1961.' If the inscription appears on the back of the work, write verso then the location colon inscription.
l.r.: Paul Manship
Notes
Include any additional information pertaining to the object.
In a letter to his brother Luther in 1925, Manship described his plan for <em>Indian Hunter and His Dog</em>: "I have decided to make an Indian hunter, with his dog, running—in bronze, life size. This will be the central motif in the basin, 22 feet in diameter, with four bronze geese set between the central group and the rim of the basin, which will spout water into the air; something like this." He then included this sketch of the sculpture in his letter.
Publications
Riddle, Mason. "Paul Manship" In <em>Our Treasures: Highlights from the Minnesota Museum of American Art</em>, edited by Kristin Makholm, 56-59. St. Paul, MN: Minnesota Museum of American Art, 2011.
Title
<em>Study for Indian Hunter and His Dog</em>
Date
ca. 1926
Description
describe the object
This preliminary sketch of Paul Manship's <em>Indian Hunter and His Dog</em> depicts a Native American youth running alongside his dog. The hunter is clad in a breechcloth, wears a single feather in his tied-back hair, and holds a bow in his hand.
Dimension
The size of the object. For a still image, record the height and width in inches and in the following order: height, followed by an x, then width followed by "inches" (i.e. height x width inches). All dimensions should be listed as fractions!
For a physical object, record the height, width, and depth in inches and in the following order: height, followed by an x, then width, followed by an x, then depth followed by "inches" (i.e. height x width x depth inches). All dimensions should be listed as fractions!
24 1/2 x 25 3/8 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
<em>Study for Indian Hunter and His Dog</em>
Date Created
Date of creation of the resource.
ca. 1926
Relation
A related resource
Paul H. Manship, 'Indian Hunter and His Dog' (1926), 65.04.01
Rights
Information about rights held in and over the resource
In Copyright
Rights Holder
A person or organization owning or managing rights over the resource.
Margaret C. Manship
Fiduciary Trust Company,
175 Federal Street
Boston, MN 02110
617-482-5270
Date Copyrighted
Date of copyright.
1926
Type
The nature or genre of the resource
Drawing
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
Minnesota Museum of American; Bequest of the artist
Creator
An entity primarily responsible for making the resource
Paul H. Manship
License
A legal document giving official permission to do something with the resource.
No license
Contributor
An entity responsible for making contributions to the resource
Minnesota Museum of American Art
Medium
The material or physical carrier of the resource.
Crayon and graphite on paper
Source
A related resource from which the described resource is derived
Bequest of Paul H. Manship
66.14.200
Bow and arrows
Dog
Fountain
Hunter
Hunting
Minnesota artist
Native American
Paul Manship
Preparatory sketch
Public sculpture
Running
St. Paul
St. Paul public sculpture
Study
Twentieth Century
-
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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
Our Treasures
Contributor
An entity responsible for making contributions to the resource
The Minnesota Museum of American Art
Physical Object
An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.
Artist
George Morrison
1919-2000
Born in Chippewa City, MN
Died in Grand Marais, MN
Medium
Wood collage
Physical Dimensions
The actual physical size of the original image
48 x 120 inches
Credit Line
Write as follows: purchase/gift, entity that provided the money/artworks (example: 'Purchase, Acquisition Fund'
Gift of Honeywell, Inc.
Object ID
2000.01
Exhibition Label
Copy the most recent text made for a exhibition didactic label
<em>Cumulated Landscape</em> belongs to a series of large, impressive woodworks that George Morrison created from the late 1960s to the early 1980s. While teaching at the Rhode Island School of Design in the ‘60s, Morrison began making collages with driftwood found on the Atlantic shore, an act reminiscent of the work of his friend, the sculptor Louise Nevelson. Created after he returned to Minnesota in 1970, <em>Cumulated Landscape</em> uses weathered wood from Lake Superior to create a composition that is both abstract and deeply embedded in the natural world. Its individual parts neatly join together in a tight composition, and its earthy palette suggests the land from which it springs. Stressing order and clarity, but tolerating quirky anomalies of form and design, <em>Cumulated Landscape</em> is characteristic of Morrison’s landscapes, in which the horizon line is clearly articulated in the composition.
Rights Statement
In Copyright
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Collage
Physical Dimension
List the dimensions of the object in inches in the following order: height x width x depth inches. If the object is spherical, list the height x diameter inches.
48 x 120 x 3 inches
Publications
<p>Rushing III, W. Jackson, and Makholm, Kristin. <em>Modern Spirit: The Art of George Morrison, </em>106. University of Oklahoma Press: Norman, 2013.</p>
<p>Rushing III, W. Jackson. "George Morrison" In <em>Our Treasures: Highlights from the Minnesota Museum of American Art,</em> edited by Kristin Makholm, 64-67. St. Paul, MN: Minnesota Museum of American Art, 2011.</p>
Title
<em>Cumulated Landscape</em>
Date
1976
Description
describe the object
George Morrison's collage is composed of weathered wood, found on the shores of Lake Superior, that the artist pieced together to create an abstract landscape.
Dimension
The size of the object. For a still image, record the height and width in inches and in the following order: height, followed by an x, then width followed by "inches" (i.e. height x width inches). All dimensions should be listed as fractions!
For a physical object, record the height, width, and depth in inches and in the following order: height, followed by an x, then width, followed by an x, then depth followed by "inches" (i.e. height x width x depth inches). All dimensions should be listed as fractions!
48 x 120 x 3 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
<em>Cumulated Landscape</em>
Date Created
Date of creation of the resource.
1976
Rights
Information about rights held in and over the resource
In Copyright
Rights Holder
A person or organization owning or managing rights over the resource.
Briand Morrison, the artist's son, at briand@boreal.org
License
A legal document giving official permission to do something with the resource.
No license
Date Copyrighted
Date of copyright.
1976
Type
The nature or genre of the resource
Craft
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
Minnesota Museum of American Art; Gift from Honeywell International, Inc.; Commissioned by Honeywell International, Inc.
Creator
An entity primarily responsible for making the resource
George Morrison
Contributor
An entity responsible for making contributions to the resource
Minnesota Museum of American Art
Medium
The material or physical carrier of the resource.
Wood collage
Source
A related resource from which the described resource is derived
Gift of Honeywell, Inc.
2000.01
Abstract
Blue
Brown
Found objects
George Morrison
Green
Lake
Lake Superior
Marine landscape
Minnesota artist
Ojibwe
Twentieth Century
Water
Weathered wood
White
Wood works
-
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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
Our Treasures
Contributor
An entity responsible for making contributions to the resource
The Minnesota Museum of American Art
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.
Object ID
91.11.1
Artist
Romare Bearden
1912-1988
Born in Charlotte, NC
Died in New York City, NY
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Collage
Medium
Collage on board
Credit Line
Write as follows: purchase/gift, entity that provided the money/artworks (example: 'Purchase, Acquisition Fund'
Purchase, Kurt Berger Fund, Mr. and Mrs. Theodore Koch Fund, and Renato and Giorgio Marmont Fund
Rights Statement
In Copyright
Publications
Jon, Dennis Michael. "Romare Bearden." In <em>Our Treasures: Highlights from the Minnesota Museum of American Art</em>, edited by Kristin Makholm, 22-23. St. Paul, MN: Minnesota Museum of American Art, 2011.
Exhibition Label
Copy the most recent text made for a exhibition didactic label
African-American artist Romare Bearden came of age during the Harlem Renaissance of the 1930s. Equally dedicated to social and religious subjects, he felt both themes provided a spiritual, humanistic content that was not evident in the more prevalent abstraction of the times. <em>Madonna and Child</em> recalls ancient Christian iconography and African ritual figures, but receives an updated treatment through Bearden’s signature collage style of flat, torn fragments of modern-day magazine reproductions.
Inscriptions
Inscribe any words, names or phrases that have been written, engraved or etched onto the object. Indicate where on the object the inscription is located using one of the following abbreviations: l.l. (lower left), l.r. (lower right), l.c. (lower center), u.l. (upper left), u.r. (upper right), u.c. (upper center). If the inscription appears in the middle of the object write out 'middle left/center/right.' Begin with the location then the inscription exactly as it appears on the object. Be sure to follow the location with a colon. For example 'l.r.: Patrick DesJarlait 1961.' If the inscription appears on the back of the work, write verso then the location colon inscription.
u.r.: Romare Bearden
Title
<em>Madonna and Child</em>
Date
ca. 1968-1970
Description
describe the object
Romare Bearden’s collage of magazine cut outs and painted paper depict a Black Madonna and Child.
Dimension
The size of the object. For a still image, record the height and width in inches and in the following order: height, followed by an x, then width followed by "inches" (i.e. height x width inches). All dimensions should be listed as fractions!
For a physical object, record the height, width, and depth in inches and in the following order: height, followed by an x, then width, followed by an x, then depth followed by "inches" (i.e. height x width x depth inches). All dimensions should be listed as fractions!
33 1/4 x 27 1/8 inches (sheet)
26 x 20 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
<em>Madonna and Child</em>
Date Created
Date of creation of the resource.
ca. 1968-70
Creator
An entity primarily responsible for making the resource
Romare Bearden
Type
The nature or genre of the resource
Painting
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
Minnesota Museum of American Art; Purchased from T. Edward Williams; The artist
Contributor
An entity responsible for making contributions to the resource
Minnesota Museum of American Art
Rights
Information about rights held in and over the resource
In Copyright
Rights Holder
A person or organization owning or managing rights over the resource.
<p>The Bearden Foundation <br />VAGA 350 Fifth Ave, Suite 2820 <br />New York, NY 10118<br />212.736.6666<br />info@vagarights.com</p>
Date Copyrighted
Date of copyright.
1968
License
A legal document giving official permission to do something with the resource.
No License
Medium
The material or physical carrier of the resource.
Collage on board
Source
A related resource from which the described resource is derived
Purchase, Kurt Berger Fund, Mr. and Mrs. Theodore Koch Fund, and Renato and Giorgio Marmont Fund
91.11.1
Abstract
Asante
Blue
Child
Christian
Collage
Gray
Mother
Paper
Romare Bearden
Twentieth Century
-
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488614b7a58d46d43e8cef94d1af724f
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
Our Treasures
Contributor
An entity responsible for making contributions to the resource
The Minnesota Museum of American Art
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.
Object ID
88.02.01
Artist
Thomas Hart Benton
1889-1975
Born in Neosho, MO
Died in Kansas City, MO
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Painting
Medium
Oil on canvas
Credit Line
Write as follows: purchase/gift, entity that provided the money/artworks (example: 'Purchase, Acquisition Fund'
Purchase, Katharine G. Ordway Fund
Rights Statement
In Copyright
Publications
Richert, Jodi. "Thomas Hart Benton." In <em>Our Treasures: Highlights from the Minnesota Museum of American Art</em>, edited by Kristin Makholm, 24-25. St. Paul, MN: Minnesota Museum of American Art, 2011.
Exhibition Label
Copy the most recent text made for a exhibition didactic label
Thomas Hart Benton was the leader of American Scene painting, a regionalist aesthetic that reflected a strong connection to the land during the hardships of the 1930s and 1940s. Painted at the end of World War II, <em>Shocking Corn</em> celebrates the dedicated work of American farmers as they toiled and sweated in fields of the Midwest. It depicts two men “shocking” corn, which means to form upright piles of corn stalks for drying. Through repetitive forms and integrated, painted gestures, Benton embeds the farmers within the landscape, begging the question: Are the men working the land, or is the land perfectly capable of cultivating itself?
Title
<em>Shocking Corn</em>
Date
1945
Description
describe the object
Thomas Hart Benton's painting of a rural American landscape shows two farmers working in the field forming high upright piles of corn stalks. He juxtaposes his farmers, who wear red and white shirts and blue and black pants, with the golden figural corn stalks in the foreground. The painting is made up of prominent brushstrokes that form a series of undulating curved forms, each echoing the others’ shape. For example, the hills in the background mirror the shape of the clouds.
Inscriptions
Inscribe any words, names or phrases that have been written, engraved or etched onto the object. Indicate where on the object the inscription is located using one of the following abbreviations: l.l. (lower left), l.r. (lower right), l.c. (lower center), u.l. (upper left), u.r. (upper right), u.c. (upper center). If the inscription appears in the middle of the object write out 'middle left/center/right.' Begin with the location then the inscription exactly as it appears on the object. Be sure to follow the location with a colon. For example 'l.r.: Patrick DesJarlait 1961.' If the inscription appears on the back of the work, write verso then the location colon inscription.
l.l.: Benton 45
Dimension
The size of the object. For a still image, record the height and width in inches and in the following order: height, followed by an x, then width followed by "inches" (i.e. height x width inches). All dimensions should be listed as fractions!
For a physical object, record the height, width, and depth in inches and in the following order: height, followed by an x, then width, followed by an x, then depth followed by "inches" (i.e. height x width x depth inches). All dimensions should be listed as fractions!
23 1/2 x 29 3/4 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
<em>Shocking Corn</em>
Date Created
Date of creation of the resource.
1945
Creator
An entity primarily responsible for making the resource
Thomas Hart Benton
Type
The nature or genre of the resource
Painting
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
Minnesota Museum of American Art; Purchased from The Peters Corporation; Collection of Gregory Hoffel; Private Collection, New England; Collection of Theodore W. Bennet, Minneapolis, MN; Allied Artist League; The artist
Contributor
An entity responsible for making contributions to the resource
Minnesota Museum of American Art
Rights
Information about rights held in and over the resource
In Copyright
Rights Holder
A person or organization owning or managing rights over the resource.
T.H. Benton and R.P. Benton Testamentary Trusts/UMB Bank Trustee <br />VAGA 350 Fifth Ave, Suite 2820 <br />New York, NY 10118 <br />212.736.6666 <br />info@vagarights.com
Date Copyrighted
Date of copyright.
1945
License
A legal document giving official permission to do something with the resource.
No License
Medium
The material or physical carrier of the resource.
Oil on canvas
Source
A related resource from which the described resource is derived
Purchase, Katharine G. Ordway Fund
88.02.01
American landscape
Blue
Corn
Farm
Farmers
Farming
Gold
Green
Midwestern landscape
Painting
People at work
Regionalism
Rural landscape
Thomas Hart Benton
Twentieth Century
-
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e75d55bc2851a89e17bba678154f9d0f
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
Our Treasures
Contributor
An entity responsible for making contributions to the resource
The Minnesota Museum of American Art
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.
Object ID
90.1.1
Artist
Charles E. Burchfield
1893-1967
Born in Ashtabula Harbor, OH
Died in West Seneca, NY
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Painting
Medium
Watercolor and gouache on paper
Exhibition Label
Copy the most recent text made for a exhibition didactic label
Charles Burchfield created this fresh and animated work in 1917, a time he called his “golden year” when he lived as a 24-year-old in his hometown of Salem, Ohio. Working as a clerk in a local sheet metal factory, he would walk to and from work, exploring the landscape for ideas for his artwork. He captured the hazy quality of spring light in this backyard through the application of white gouache, which stands out against the buff colored paper. The darkness, or “lowering” of the day, is noted in the relatively somber palette of colors, punctuated only sparingly with flashes of yellow and blue.
Credit Line
Write as follows: purchase/gift, entity that provided the money/artworks (example: 'Purchase, Acquisition Fund'
Purchase, Kurt Berger Fund
Rights Statement
In Copyright
Inscriptions
Inscribe any words, names or phrases that have been written, engraved or etched onto the object. Indicate where on the object the inscription is located using one of the following abbreviations: l.l. (lower left), l.r. (lower right), l.c. (lower center), u.l. (upper left), u.r. (upper right), u.c. (upper center). If the inscription appears in the middle of the object write out 'middle left/center/right.' Begin with the location then the inscription exactly as it appears on the object. Be sure to follow the location with a colon. For example 'l.r.: Patrick DesJarlait 1961.' If the inscription appears on the back of the work, write verso then the location colon inscription.
l.l.: Chas Burchfield 1917; Verso: Empty Barn and Sheds May 6, 1917 A misty, hovering day in spring, in an alley/A strange white light hovers around the edges of all objects.
Publications
<p>Michaux, Lisa Dickinson. "Charles E. Burchfield." In <em>Our Treasures: Highlights from the Minnesota Museum of American Art</em>, edited by Kristin Makholm, 28-29. St. Paul, MN: Minnesota Museum of American Art, 2011.</p>
<p>Trovato, Joseph S. <em>Charles Burchfield, Catalogue of Paintings in Public and Private Collections, </em>no. 299 (1970): 60.</p>
Title
<em>Empty Barn and Sheds</em>
Date
1917
Description
describe the object
Charles Burchfield painted this scene of a backyard alley while living in his hometown of Salem, OH. He outlines the barren tree in the center, the hollowed barn on the right, and shed on the left in white gouache. Burchfield used blues and browns to paint the tree and barn. The background is filled with greys and blues while the ground and shed are painted with shades of yellow and beige.
Dimension
The size of the object. For a still image, record the height and width in inches and in the following order: height, followed by an x, then width followed by "inches" (i.e. height x width inches). All dimensions should be listed as fractions!
For a physical object, record the height, width, and depth in inches and in the following order: height, followed by an x, then width, followed by an x, then depth followed by "inches" (i.e. height x width x depth inches). All dimensions should be listed as fractions!
20 1/4 x 18 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
<em>Empty Barn and Sheds</em>
Date Created
Date of creation of the resource.
1917
Creator
An entity primarily responsible for making the resource
Charles E. Burchfield
Type
The nature or genre of the resource
Painting
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
Minnesota Museum of American Art; Purchased from H.V. Allison Galleries, Inc.
Contributor
An entity responsible for making contributions to the resource
Minnesota Museum of American Art
Rights
Information about rights held in and over the resource
In Copyright
Rights Holder
A person or organization owning or managing rights over the resource.
Charles E. Burchfield Foundation Inc.
2645 Sheridan Dr.
Tonawanda, NY 14150
Date Copyrighted
Date of copyright.
1917
License
A legal document giving official permission to do something with the resource.
No License
Medium
The material or physical carrier of the resource.
Watercolor and gouache on paper
Source
A related resource from which the described resource is derived
Purchase, Kurt Berger Fund
90.1.1
American landscape
Barn
Blue
Change of seasons
Charles Burchfield
Dusk
Evening
Gold
Green
Spring
Tree
Twentieth Century
Watercolor
White
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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
Our Treasures
Contributor
An entity responsible for making contributions to the resource
The Minnesota Museum of American Art
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.
Object ID
79.24.01a-b
Artist
Christo
b. 1935
Born in Gabrovo, Bulgaria
Artist 2
If the artwork was made by two individuals, include the name of the secondary creator of the artwork
Jeanne-Claude Denat de Guillebon
1935-2009
Born in Casablanca, Morocco
Died in New York, NY
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
Study
Medium
Charcoal and pastel on paper and collaged map
Credit Line
Write as follows: purchase/gift, entity that provided the money/artworks (example: 'Purchase, Acquisition Fund'
Purchase, Acquisition Fund
Rights Statement
In Copyright
Publications
Mullin, Diane. "Christo." In <em>Our Treasures: Highlights from the Minnesota Museum of American Art</em>, edited by Kristin Makholm, 30-31. St. Paul, MN: Minnesota Museum of American Art, 2011.
Exhibition Label
Copy the most recent text made for a exhibition didactic label
This large two-part drawing, or diptych, is related to the monumental public project known as <em>Running Fence</em>, staged by the collaborative team of Christo and Jeanne-Claude in the summer of 1976. One of the couple’s earliest projects, <em>Running Fence</em> consisted of 24½ miles of heavy woven nylon fabric hung from steel cables that were laid out across the California landscape, eventually dropping into the Pacific Ocean. Having grown up in Bulgaria behind the Iron Curtain, Christo was suspicious of state-sponsored artworks, so he created large drawings, such as this one, that he could sell to fund his ambitious land artworks. In this work, he juxtaposes an objective trace of the fence’s path—a surveyor’s map—with a pastel drawing that hints at the spirit and sublime beauty of the undertaking.
Title
<em>Running Fence: Project for Sonoma and Marin Counties, California</em>
Date
1976
Description
describe the object
This two part drawing of Christo and Jeanne-Claude’s earth art project, <em>Running Fence</em>, includes an original charcoal and pastel drawing by Christo Javacheff and a remnant of engineering documents used to map and guide the creation of the art project. The two cut pieces of a surveyor’s map are placed above the drawing. These documents overlap slightly at the lower right diagonal edge and upper left corner. The drawing depicts the white nylon fence running along the rocky terrain of the California coast before it descends into the Pacific Ocean. This image shows part A, at the top, and part B on the bottom.
Dimension
The size of the object. For a still image, record the height and width in inches and in the following order: height, followed by an x, then width followed by "inches" (i.e. height x width inches). All dimensions should be listed as fractions!
For a physical object, record the height, width, and depth in inches and in the following order: height, followed by an x, then width, followed by an x, then depth followed by "inches" (i.e. height x width x depth inches). All dimensions should be listed as fractions!
57 x 96 inches (overall)
15 x 95 3/4 inches (79.24.01a)
42 x 96 inches (79.24.01b)
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
<em>Running Fence, Project for Sonoma and Marin Counties, CA</em>
Date Created
Date of creation of the resource.
1976
Creator
An entity primarily responsible for making the resource
Christo (Christo Javacheff)
Jeanne-Claude Denat de Guillebon
Type
The nature or genre of the resource
Drawing
Provenance
A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.
Minnesota Museum of American Art; Purchased from Jeanne-Claude Christo
Contributor
An entity responsible for making contributions to the resource
Minnesota Museum of American Art
Rights
Information about rights held in and over the resource
In Copyright
Rights Holder
A person or organization owning or managing rights over the resource.
Christo (Christo Javacheff)
Date Copyrighted
Date of copyright.
1976
License
A legal document giving official permission to do something with the resource.
No License
Medium
The material or physical carrier of the resource.
Charcoal and pastel on paper and collaged map
Source
A related resource from which the described resource is derived
Purchase, Acquisition Fund
79.24.01a-b
American landscape
Blue
Brown
Christo
Collage
Diptych
Earth Art
Jean Claude Denat de Guillebon
Maps
Pacific Ocean
Study
White