1
100
145
-
http://art-collections.museum.ucsb.edu/files/original/11765ad9907d1f9a824fb28fe1d83ac9.jpg
cdb1dba42bf2270d5b2f528de25ce0d0
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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
<p><strong>BENTON</strong>, Thomas Hart</p>
<h2></h2>
<p><em>Cradling Wheat</em> </p>
<p>1939</p>
Description
An account of the resource
<h3>Lithograph</h3>
<h3>16 x 19" <br /><br /><br /></h3>
<h3>Matted lithograph of a group of men cradling wheat. In the background are rolling hills at upper right under a group of billowing clouds.</h3>
Creator
An entity primarily responsible for making the resource
<h3><strong>BENTON</strong>, Thomas Hart</h3>
<h3></h3>
<h3>b. United States, 1889 - 1975</h3>
Identifier
An unambiguous reference to the resource within a given context
<p><strong>1992.63</strong></p>
Source
A related resource from which the described resource is derived
<p>Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
1939
Farmers
landscape
Lithograph
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/29179073b97ec11b57d09979863254e1.jpg
3459141cb6905a64d5d29c731197955f
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.47
Title
A name given to the resource
<strong>AVERY</strong>, Milton
Description
An account of the resource
<em>Child Cutting</em>
Drypoint, 70/100
14 1/4 x 16 1/8" MATTED
Drypoint etching of a young girl at right cutting paper; signed at lower right below image and at lower right of image; edition statement at lower left below image.
Creator
An entity primarily responsible for making the resource
<strong>AVERY</strong>, Milton
b. United States, 1893 - 1965
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1936
Child
drypoint
portrait
Seated
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/48011a7f110968258ab002d2f8480aab.jpg
d22bcbc34846279f893eaa690d3030b4
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.48
Title
A name given to the resource
<strong>BACON</strong>, Peggy
Description
An account of the resource
<em>Teasing the Cat</em>
Drypoint
12 x 13" MATTED
Drypoint print of a group of children gathered around the base of a tree taunting a black cat perched on a limb; title, date and signated below image.
Creator
An entity primarily responsible for making the resource
<strong>BACON</strong>, Peggy
b. United States, 1895 - 1987
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1919
Cat
children
landscape
portrait
Tree
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/d7af691afb71f26e2b5a11946ec30765.jpg
3e79e3f2f9dccfe963a52d9c0ec2d8ba
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.49
Title
A name given to the resource
<strong>BACON</strong>, Peggy
Description
An account of the resource
<em>The Bellow's Class</em>
Drypoint
13 x 15" MATTED
Artist Peggy Bacon recalls her instructor realist painter George Bellows, "Everyone liked him but I was an exception…he was such a boastful man. It was always big I, little you...But he was forceful and he did sort of jolt a lot of people into doing a little bit better than they might have done…I remember I did a drypoint of the Bellows class with Bellows in the middle and I made prints of it. He said, 'Who did this? That's wonderful. That's really fine. That's the best thing that's been done in this class all year.’" Drypoint involves pressing a drawn line into a metal plate. The incised mark holds the ink which is then transferred to the paper. Bacon achieved a particularly crisp line by reducing the ridge, or burr, along the mark. "I love drypoint…that wonderful feeling that you have for the material and the real strength that you have to employ to get the line the right depth and richness and to do the cross-hatching so that the metal doesn't break down but still you get a rich black. I trained myself to hold the needle upright so…that you don't raise a big burr on one side and none on the other, then the plate doesn't wear down, you see. And I have had enormous editions considering." Oral history interview with Peggy Bacon, 1973 May 8, Archives of American Art, Smithsonian Institution
Creator
An entity primarily responsible for making the resource
<strong>BACON</strong>, Peggy
b. United States, 1895 - 1987
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1919
artist
drypoint
Painter
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/96089f336c3815fb26afd9e38cd3b9c8.jpg
a9ecdb2424731a91912cb36c5ff8d29e
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.5
Title
A name given to the resource
<strong>BACON</strong>, Peggy
Description
An account of the resource
<em>Close Quarters</em>
Drypoint
11 5/8 x 14 5/8" MATTED
Black and white drypoint of a group ofscantily clad young women in a cramped bedroom quarters with a bunk bed. Signed at lower right below image with title at lower left.
Creator
An entity primarily responsible for making the resource
<strong>BACON</strong>, Peggy
b. United States, 1895 - 1987
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1932
Bedroom
drypoint
portrait
women
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/75e0bca2587ee08972edbbc48c32859f.jpg
5dc472bb1909c9509372d47338577bb4
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.51
Title
A name given to the resource
<strong>BACON</strong>, Peggy
Description
An account of the resource
<em>Pleading for the Oppressed</em>
Etching
13 x 22" MATTED
Etching of a group of seated men wearing suits positioned around a large table; lone figure standing at upper center and appears to be making a plea.
Creator
An entity primarily responsible for making the resource
<strong>BACON</strong>, Peggy
b. b. United States, 1895 - 1987
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1936
etching
men
portrait
table
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/9ae202672c530a57829946ebebbe1607.jpg
7e47d9e4044a96f9ee78bc1780b8c97c
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.52
Title
A name given to the resource
<strong>BACON</strong>, Peggy
Description
An account of the resource
<em>The Spirit of Rain</em>
1936
Drypoint
11 5/8 x 8 1/2" MATTED
Drypoint print of a man, seated and staring out the window as rain appears against the backdrop of other buildings. Signed and titled below image.
Creator
An entity primarily responsible for making the resource
<em>BACON</em>, Peggy
b. b. United States, 1895 - 1987
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1936
drypoint
man
portrait
Seated
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/33146fcf6314839f145f3907126d1bf5.jpg
0b2721dea088bd10bb48adefdb8d0f1e
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.53
Title
A name given to the resource
<strong>BARLOW</strong>, Lou
Description
An account of the resource
<em>Cutting Ice</em>
woodcut
16 x 13" MATTED
Woodcut of a large male figure at foreground on an ice sheet; he is cutting ice with a large serated bladed tool; background includes rolling hills with houses. Signed and titled at lower center and right.
Creator
An entity primarily responsible for making the resource
<strong>BARLOW</strong>, Lou
b. United States, 1908 - 2011
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1936
ice
landscape
portrait
woodcut
workers
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/11844ac5893c0558c9231363efebf0df.jpg
d2872a382afe26e7f555ada742aaeeb6
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.54
Title
A name given to the resource
<strong>BARLOW</strong>, Lou
Description
An account of the resource
Gourmet Shop
Wood engraving, 14/50
15 1/2 x 11" MATTED
Wood engraving of a crowded delicatessan; figures are positioned at an angle while a single female indentifies a selection. Signed, titled with edition statement written below image.
Creator
An entity primarily responsible for making the resource
BARLOW, Lou
b. b. United States, 1908-2011
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1980s
Crowd
engraving
Market
portrait
Wood
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/df4b6896f09691918a179d8cda82f1c0.jpg
caf6b49eb59a013fc883359806b8e756
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.55
Title
A name given to the resource
<strong>BEAL</strong>, Gifford
Description
An account of the resource
<em>Bareback Act, Old Hippodrome</em>
Lithograph
14 x 18" MATTED
Lithograph of circus performers; lone female perched on the shoulders of a male straddling while stearing two horses; circus maestro at left wearing a formal black jacket and hat. Signed at lower right below image and in plate of image.
Creator
An entity primarily responsible for making the resource
<strong>BEAL</strong>, Gifford
b. b. United States, 1879 - 1956
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1950
animals
circus
horses
Lithograph
performance
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/9cfed338eb7142b5d7928acc6b11c22f.jpg
a4d6824f3a34269bf0b4d6aea9526de0
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.56
Title
A name given to the resource
<strong>BELL</strong>, Cecil C.
Description
An account of the resource
<em>East River Swimming</em>
LIthograph
20 1/4 x 24" MATTED
Lithograph of multiple figures trying to swim in the East River getting off and on various boats. On the background is a large tugboat with multiple passengers.
Creator
An entity primarily responsible for making the resource
<strong>BELL</strong>, Cecil C.
b. United States, 1906 - 1970
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1937
Boat
cityscape
landscape
Lithograph
river
swim
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/793e0d9c1a17abcf0adee5b613894c5c.jpg
7192b19cea31d1e84ad73a83e7164f9a
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.57
Title
A name given to the resource
<strong>BELLOWS</strong>, George
Description
An account of the resource
<em>Benediction in Georgia</em>
Lithograph
24 x 28" MATTED
Lithograph of seated prisoners listening to a benedicton from a lone male figure at center left.
Creator
An entity primarily responsible for making the resource
<strong>BELLOWS</strong>, George
b. United States, 1882 - 1925
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1916
Lithograph
portrait
prisoners
Seated
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/2b3bd9a2d656a129df083d8eec1fb692.jpg
c618499d3426bed42448ecb39d359272
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.58
Title
A name given to the resource
<strong>BELLOWS</strong>, George
Description
An account of the resource
<em>Business Men's Baths</em>
Lithograph
22 x 26" MATTED
In Business Men’s Baths (1923) George Bellows depicts a group of men in an athletic club splashing around a pool and toweling themselves off. In a tradition that went back to Thomas Eakins, such scenes were the only acceptable way artists could depict the naked male body, an object otherwise unexposed in polite American society. Eakins had glorified that body as a modern incarnation of ancient Greek ideals. Bellows, instead, satirically exposes the modern reality of men’s bodies. Some are skinny, some are fat, some are old and bald; only a very few are beautiful. Businessmen were the new warriors of American society in the 1920s, responsible for American world-wide economic domination and the wealth which made life so pleasant; Bellows shows us what businessmen looked like stripped of this spurious glamour. Bruce Robertson, Representing America p. 47
Creator
An entity primarily responsible for making the resource
<strong>BELLOWS</strong>, George
b. United States, 1882 - 1925
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1923
bath
Lithograph
men
nude
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/c3cd0c5c36b43e14fbb4b44030308a77.jpg
051ce616e601290f9dbc6cdbeaa2f556
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.59
Title
A name given to the resource
<strong>BELLOWS</strong>, George
Description
An account of the resource
<em>The Law is Too Slow</em>
Lithograph
26 x 21 1/2" MATTED
Lithograph of a shirtless African American being put on fire by a group of men positoned around the centralized figure.
Creator
An entity primarily responsible for making the resource
<strong>BELLOWS</strong>, George
b. United States, 1882 - 1925
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1923
Fire
Lithograph
portrait
racism
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/adf45ac4185b9bd3440300fe039ccdcb.jpg
0c94f7a73ea624156c1ca96cfbe74088
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.60
Title
A name given to the resource
<strong>BELLOWS</strong>, George
Description
An account of the resource
<em>Wedding</em>
Lithograph
18 x 17" MATTED
Lithograph of a wedding scene with bride and groom walking down the aisle flanked by guests; groom is wearing a top hat and tuxedo while the bride is carrying a large bouquet. Image is signed at lower right and below image.
Creator
An entity primarily responsible for making the resource
<strong>BELLOWS</strong>, George
b. United States, 1882 - 1925
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1923-24
Couple
Lithograph
portrait
Wedding
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/2de28d01b3a4e8ca11b1a054a610685e.jpg
4626c908c583f34e4e14594998c037ff
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1995.43
Title
A name given to the resource
<strong>BELLOWS</strong>, George
Description
An account of the resource
<em>The Barricade</em>
Lithograph
28 1/2 x 17" SHEET
Horizontal image of multiple nude males and females posed in an upright position with their arms raised. They appear to be stopped by a barrier of non-descript figures and a structure of posts.
Creator
An entity primarily responsible for making the resource
<strong>BELLOWS</strong>, George
b. United States, 1882 - 1925
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1918
Lithograph
men
nude
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/f6af5338b79dee87ba55a2d6230a069a.jpg
8fe9990336f2844f1032f6edc19917c4
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1995.44
Title
A name given to the resource
<strong>BELLOWS</strong>, George
Description
An account of the resource
<em>Irish Grandmother</em>
Lithograph
17 3/16 x 14 11/16 x 1 1/8" FRAMED
Lithograph of an elderly woman; she is seated with her left hand on a book, possibly a bible.
Creator
An entity primarily responsible for making the resource
<strong>BELLOWS</strong>, George
b. United States, 1882 - 1925
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1923
book
Lithograph
portrait
woman
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/83a2d8146cf7458995dcaffe7dd5bd7f.jpg
15f71cbb27d16382013e0d07ecfbc995
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1995.45
Title
A name given to the resource
<strong>BELLOWS</strong>, George
Description
An account of the resource
<em>Appeal to the People</em>
Lithograph
18 x 13 3/4" FRAMED
Lithograph of a small crowd gathered around a male figure positioned at center. He is standing behind a fence with a brick building at left and appears to be talking "to the people."
Creator
An entity primarily responsible for making the resource
<strong>BELLOWS,</strong> George
b. United States, 1882 - 1925
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1923-1924
American
Crowd
Lithograph
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/298c83e5b6745d33b9e51e0454f51118.jpg
f5480184d99e9b927eb9168e58b9bd6f
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.61
Title
A name given to the resource
<strong>BENTON</strong>, Thomas Hart
Description
An account of the resource
<em>Strike (Mine Strike)</em>
Lithograph
15 x 16 1/2" MATTED
Lithograph of striking miners; at left is law enforcement with one figure positioning a rifle at the miners.
Creator
An entity primarily responsible for making the resource
<strong>BENTON</strong>, Thomas Hart
b. United States, 1889 - 1975
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1933
landscape
Lithograph
men
miner
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/94e3d517f08454bcc7f8aa979d8a7bce.jpg
b26029e507c0dba23a64aa54788376e5
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.62
Title
A name given to the resource
<strong>BENTON</strong>, Thomas Hart
Description
An account of the resource
<em>The Poet</em>
Lithograph
16 3/4 x 20 1/4" MATTED
Lithograph of a single male figure seated on a bed holding a book in his hands while his feet are propped up on a chair. He has been identified as a Poet.
Creator
An entity primarily responsible for making the resource
<strong>BENTON</strong>, Thomas Hart
b. United States, 1889 - 1975
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1938
bed
Lithograph
man
poet
portrait
room
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/e8d1d549980a14718afdf7aabd2256e3.jpg
cdb1dba42bf2270d5b2f528de25ce0d0
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.63
Title
A name given to the resource
<strong>BENTON</strong>, Thomas Hart
Description
An account of the resource
<em>Cradling Wheat</em>
Lithograph
16 x 19" MATTED
Lithograph of a group of men cradling wheat. In the background are rolling hills at upper right under a group of billowing clouds.
Creator
An entity primarily responsible for making the resource
<strong>BENTON</strong>, Thomas Hart
b. United States, 1889 - 1975
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1939
farm
Farmers
landscape
Lithograph
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/54cfa59f393bac32f4a61f2b851cf96f.jpg
3ffd0b9e0587cdc406aa0030981c7d44
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.64
Title
A name given to the resource
<strong>BENTON</strong>, Thomas Hart
Description
An account of the resource
<em>Down the River</em>
Lithograph
20 x 16" MATTED
River scene with two men seated in a boat while navigating a river; one is steering with a single oar, the second with a long pole with his back towards the viewer. Another boat is positioned at the center background and appears to be drifting. The river is flanked by a large tree at upper left.
Creator
An entity primarily responsible for making the resource
<strong>BENTON</strong>, Thomas Hart
b. United States, 1889 - 1975
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1939
Boat
landscape
Lithograph
men
river
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/c9468a3da6cde4e30e86a9ed657fc6de.jpg
2ea5ddc9f64150e0e3ba2bfb7619ce61
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.65
Title
A name given to the resource
<strong>BENTON</strong>, Thomas Hart
Description
An account of the resource
<em>Self Portrait</em>
Lithograph
25 x 19 1/4" MATTED
Lithograpic selft portrait of Thomas Hart Benton standing at an easel. The image includes a three quarter view of the artist wearing a jacket with brushes in this hand.
Creator
An entity primarily responsible for making the resource
<strong>BENTON</strong>, Thomas Hart
b. United States, 1889 - 1975
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1972
Lithograph
man
Painter
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/d931cd993821d60877c8c3071713592b.jpg
50161957e33bb2d1ccd535f4187218b3
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.66
Title
A name given to the resource
<strong>BISHOP</strong>, Isabel
Description
An account of the resource
<em>Entrance to Union Square</em>
Mezzotint, 19/75
14 3/4 x 14" MATTED
Companion mezzotint of 1992.67 of students on their way to and from a building. Stairway positioned throughout center of image includes long shadows which are also evident on the individuals walking up and down the stairs suggesting a particular time of day. Edition statement at lower left with signature at lower right.
Creator
An entity primarily responsible for making the resource
<strong>BISHOP</strong>, Isabel
b. United States, 1902 - 1989
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1981
mezzotint
portrait
stairs
Students
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/6db12a1ef06f680619fc517975ce6645.jpg
3d04e75716159b209c0692dfdc19ec70
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.67
Title
A name given to the resource
<strong>BISHOP</strong>, Isabel
Description
An account of the resource
<em>Students on the Steps</em>
Mezzotint
14 3/4 x 14" MATTED
Companion print of 1992.66 of students walking up and down stairs to the entrance of a building. This mezzotint casts elongated shadows throught the image suggesting a later time of day such as dusk.
Creator
An entity primarily responsible for making the resource
<strong>BISHOP</strong>, Isabel
b. United States, 1902 - 1989
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1981
mezzotint
portrait
stairs
Students
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/6e84debeb80301cc825e4d2e7663887e.jpg
e4debd16479f476d437f25201e73d778
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.68
Title
A name given to the resource
<strong>BISHOP</strong>, Isabel
Description
An account of the resource
<em>Interlude</em>
Etching
14 1/4 x 11 1/4" MATTED
Etching of two standing females loosely drawn suggesting a casual interaction. Both women appear to be conversing while figure at right is yawning.
Creator
An entity primarily responsible for making the resource
<strong>BISHOP</strong>, Isabel
b. United States, 1902 - 1989
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1952
American
etching
portrait
women
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/d6b763a4be000c7eaf44c296a20fae29.jpg
57bba25f54f05f774a7a3790b94da203
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.69
Title
A name given to the resource
<strong>BISHOP</strong>, Isabel
Description
An account of the resource
<em>Snack Bar</em>
Etching, 34/50
14 x 11" MATTED
Etching of two women seated at a snack bar eating. Woman at foreground is darkened to make it appear she is closer to the viewer. Signed at lower right with edition statement at lower left.
Creator
An entity primarily responsible for making the resource
<strong>BISHOP</strong>, Isabel
b. United States, 1902 - 1989
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1959
bar
etching
portrait
women
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/c141e22c8b7f3fa2c02f778df05e91be.jpg
bdc3a951d13e636bac59af289e95bc95
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.7
Title
A name given to the resource
<strong>BRODSKY</strong>, Harry
Description
An account of the resource
<em>The Bar</em>
Lithograph
15 3/4 x 12" MATTED
Lithograph with a centralized image of a male standing at a bar and accepting a drink from a bartender; at lower foreground is a man crouching ove rthe counter while a non descript male is positioned at upper left.
Creator
An entity primarily responsible for making the resource
<strong>BRODSKY</strong>, Harry
b. United States, 1908 - 1977
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1936
bar
Lithograph
men
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/9869e5812e15b37d1eaf767a4f08ac4a.jpg
c0bd59eb150b5678821543729d59ce3f
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.71
Title
A name given to the resource
<strong>BRUSSEL-SMITH</strong>, Bernard
Description
An account of the resource
<em>Meditation</em>
LIthograph
13 x 10 1/2" MATTED
Lithograph of a centralized male figure seated at a food counter drinking a cup of coffee; his reflection appears in the window with a sign bearing the name SALMON SANDWICH.
Creator
An entity primarily responsible for making the resource
<strong>BRUSSEL-SMITH</strong>, Bernard
b. United States, 1914 - 1989
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1940
Lithograph
man
portrait
Restaurant
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/350d6c1f1317fcfed174633b54def8ac.jpg
54926e380b3a05f8ba321791bf0db535
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.72
Title
A name given to the resource
<strong>BRUSSEL-SMITH</strong>, Bernard
Description
An account of the resource
<em>Shore Leave</em>
Wood engraving
11 1/4 x 10" MATTED
Wood engraving of a sailor hugging a buxom female who appears to be enjoying herself; signed at lower right with edition statement and title at lower left.
Creator
An entity primarily responsible for making the resource
<strong>BRUSSEL-SMITH,</strong> Bernard
b. United States, 1914 - 1989
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1941
Couple
engraving
portrait
Wood
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/129f1ec813562e819bc7e014292f45aa.jpg
eeb19e63befbbff3a02c5b5fba2d82d7
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.73
Title
A name given to the resource
<strong>BRUSSEL-SMITH</strong>, Bernard
Description
An account of the resource
<em>Sailor and His Girl</em>
Wood engraving
15 1/2 x 11" MATTED
Wood engraving of a sailor groping a feale; both are seated at a round table with a lone sailor positioned at upper right.
Creator
An entity primarily responsible for making the resource
<strong>BRUSSEL-SMITH</strong>, Bernard
b. United States, 1914 - 1989
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1941
Couple
engraving
portrait
Wood
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/ec3f8186fdb085797145d9dcaf476976.jpg
3a1bd559d3bde69f4927541b9610997c
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.74
Title
A name given to the resource
<strong>CADMUS</strong>, Paul
Description
An account of the resource
<em>YMCA Locker Room</em>
Etching
15 1/2 x 19" MATTED
Horizontal etching of a men's locker room with multiple nude males seated and standing.
Creator
An entity primarily responsible for making the resource
<strong>CADMUS</strong>, Paul
b. United States, 1904 - 1999
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1934
etching
men
nude
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/943341d524b9a7477dff7b051a306a6f.jpg
c2c508791c8a16ae110af6c78b174d5e
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.75
Title
A name given to the resource
<strong>CADMUS</strong>, Paul
Description
An account of the resource
<em>Two Boys on the Beach #1</em>
Etching
12 x 13" MATTED
Etching of two young males on a beach; foreground figure is kneeling with his arms outstretched in a yawn. The second figure in background is laying proned on his stomach with his knees bent upright.
Creator
An entity primarily responsible for making the resource
<strong>CADMUS</strong>, Paul
b. United States, 1904 - 1999
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1938
beach
etching
men
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/084344136998408743d92db848c90c10.jpg
2a3da8e9dffb2374da4a8a410a7ce20f
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.76
Title
A name given to the resource
<strong>CURRY</strong>, John Steuart
Description
An account of the resource
<em>Holy Rollers</em>
LIthograph
17 3/4 x 23 1/4" MATTED
Lithograph of a crowded gathering of people of multiple age and race dancing and celebrating. They are positioned under two spotlights with a banner indicating THE GOSPEL TRAIN written over a multi car train.
Creator
An entity primarily responsible for making the resource
<strong>CURRY</strong>, John Steuart
b. United States, 1897 - 1946
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1930
dancing
Lithograph
portrait
Religion
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/5c2b1096c1c94e24465c7f89f9474496.jpg
d3dfd788bf4e893c8ccddd9d7c218357
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.77
Title
A name given to the resource
<strong>CURRY</strong>, John Steuart
Description
An account of the resource
<em>Manhunt</em>
Lithograph
15 1/4 x 18 1/4" MATTED
Lithograph of a manhunt with law enforcement holding guns and following the scent of a search dog. Additional figures are riding a horses and carrying guns.
Creator
An entity primarily responsible for making the resource
<strong>CURRY</strong>, John Steuart
b. United States, 1897 - 1946
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1934
animals
Hunting
landscape
Lithograph
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/134223d5305d770ae813eac96b59753a.jpg
87ea4ea16568d9abae9f342dcfbf3d4d
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.78
Title
A name given to the resource
<strong>CURRY</strong>, John Steuart
Description
An account of the resource
<em>The Missed Leap</em>
Lithograph
23 x 14 3/4" MATTED
Creator
An entity primarily responsible for making the resource
<strong>CURRY</strong>, John Steuart
b. United States, 1897 - 1946
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1932
gymnast
Lithograph
portrait
sport
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/0f645fe0e5a0508388b5d28d70a44b01.jpg
1b1037639efa8c73ab8351070becb7ea
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.79
Title
A name given to the resource
<strong>CURRY</strong>, John Steuart
Description
An account of the resource
<em>Mississippi Noah</em>
Lithograph
18 x 21" MATTED
Lithograph of an African American family perched atop a house which is being submerged and swallowed by a rising tide of water. Male figure at right has his arms raised in prayer while children and female figure tries to climb to the top.
Creator
An entity primarily responsible for making the resource
CURRY, John Steuart
b. United States, 1897 - 1946
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Family
landscape
Lithograph
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/6a9cb1d3cb4367bff96f520e68396510.jpg
dfce395c75bd1e6d391b72b49c9c5c1b
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.80
Title
A name given to the resource
<strong>CURRY</strong>, John Steuart
Description
An account of the resource
<em>The Fugitive</em>
Lithograph
19 3/4 x 16" MATTED
Lithograph of a male African American standing and perched in a tree. There are multiple figures in the right background who appear to be searching for him.
Creator
An entity primarily responsible for making the resource
<strong>CURRY</strong>, John Steuart
b. United States, 1897 - 1946
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Lithograph
man
portrait
Tree
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/c6978dbea394a65720702287ec79cca5.jpg
92d539334339e72c00ad0d979e1e287a
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1995.46
Title
A name given to the resource
<strong>CURRY</strong>, John Steuart
Description
An account of the resource
<em>Coyote Stealing Pig</em>
Lithograph
10 1/4 x 15" SHEET
Animated image of coyotes trying to steal a pig who is proving to be a formidable foe.
Creator
An entity primarily responsible for making the resource
<strong>CURRY</strong>, John Steuart
b. United States, 1897 - 1946
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1927
American
animals
landscape
Lithograph
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/ac4887a1e6800768cfaedd7116c499a5.jpg
92d4f513926361749a6b3dc390db6e02
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.82
Title
A name given to the resource
<strong>DE MARTELLY,</strong> John Stockton
Description
An account of the resource
<em>Old Moon</em>
Lithograph
16 x 19 3/4" MATTED
Lithograph of two figures positioned on a river bank with a full moon positioned over their heads. The female at right is leaning against a fence while playing a guitar while a male figure reclines at her feet.
Creator
An entity primarily responsible for making the resource
<strong>DE MARTELLY</strong>, John Stockton
b. United States, 1903 - 1980
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1930s
instrument
landscape
Lithograph
portrait
river
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/3be9d000a901d517072eb0491ebd78c0.JPG
454ae6fac6c7d84a80fd261732c0ddea
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.81
Title
A name given to the resource
<strong>DE MARTELLY</strong>, John Stockton
Description
An account of the resource
<em>Looking at Sunshine</em>
Lithograph
16 1/2 x 19" MATTED
Lithograph of an African American male perched against bricks. Figure appears to be looking out over the landscape.
Creator
An entity primarily responsible for making the resource
<strong>DE MARTELLY</strong>, John Stockton
b. United States, 1903 - 1980
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1930s
landscape
Lithograph
man
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/7b11d9c0f101e65b320c3b1c1fa00ded.jpg
adb9d427ec5e0d4ff2ed8996aa6253ca
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.83
Title
A name given to the resource
<strong>DE MARTELLY</strong>, John Stockton
Description
An account of the resource
Make Hay While the Sun Shines
Lithograph
16 3/8 x 10 1/2" MATTED
Lithograph of multiple figures, both men and women, reaping hay while a shitless male figure is taking a drink of water from a large basin.
Creator
An entity primarily responsible for making the resource
<strong>DE MARTELLY,</strong> John Stockton
b. United States, 1903 - 1980
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1943
farm
Farmers
landscape
Lithograph
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/77f145f9bd4aef672b796eb79dc33bda.jpg
3effbefdce781b6cd66b684e49cdb39c
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.84
Title
A name given to the resource
<strong>DIEBENKORN,</strong> Richard
Description
An account of the resource
<em>Untitled #3 from 41 Etching Drypoints</em>
Etching
18 3/4 x 15 3/8" MATTED
Single line drawing etching of a scantly clad seated female figure gazing towards the left.
Creator
An entity primarily responsible for making the resource
<strong>DIEBENKORN,</strong> Richard
b. United States, Portland 1922 - 1993 Berkeley
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1965
etching
portrait
Seated
woman
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/969b471445316f67669656a4d5af9150.jpg
307f3359515d423e7492f9e590fd20a3
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.85
Title
A name given to the resource
<strong>DOHANOS</strong>, Steven
Description
An account of the resource
<em>State Fair</em>
Wood engraving
20 x 16" MATTED
Wood engraving of a county fair. Centralized image a large steer being rated by judge at right while others look on.
Creator
An entity primarily responsible for making the resource
<strong>DOHANOS</strong>, Steven
b. United States, b.1907-1994
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1948
animal
engraving
fair
landscape
Wood
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/a5e76acd70e4401dc18f3ef6d7abef36.jpg
2cd77be6809723ade8571a76d9425372
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.86
Title
A name given to the resource
<strong>DWIGHT</strong>, Mabel
Description
An account of the resource
<em>The Brothers - Monkey House</em>
Lithograph
17 1/2 x 14 1/4" MATTED
Lithographic image of monkeys perched in a cage while onlookers populate lower foreground; single male figure wearing a black hat turns away.
Creator
An entity primarily responsible for making the resource
<strong>DWIGHT</strong>, Mabel
b. United States, 1876 - 1955
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1928
animals
Lithograph
man
monkey
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/b6e5ce813f0f11ac080fd149bd65140a.jpg
19e4a8f4fe56c449e6df1fcde06f9994
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.87
Title
A name given to the resource
<strong>DWIGHT</strong>, Mabel
Description
An account of the resource
<em>Children's Clinic</em>
Lithograph
15 1/4 x 17 1/2" MATTED
Lithograph of a crowded clinic scene; centralized image of a mother holding a crying infant while a doctor looks on from right. Upright nurse standing at right.
Creator
An entity primarily responsible for making the resource
<strong>DWIGHT</strong>, Mabel
b. United States, 1876 - 1955
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1936
Baby
children
Doctor
Lithograph
medical
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/fbb4e631a8af85a0a9743cd0343638ab.jpg
92150b66f9f4f1f5e697cdc2807809fa
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.88
Title
A name given to the resource
<strong>DWIGHT</strong>, Mabel
Description
An account of the resource
<em>Farm Yard</em>
Lithograph
17 x 18" MATTED
Lithograph of a farm yard with a single female feeding geese and other fowl populating the foreground; barnyard structures in the background.
Creator
An entity primarily responsible for making the resource
<strong>DWIGHT,</strong> Mabel
b. United States, 1876 - 1955
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1947
animals
farm
landscape
Lithograph
Works-on-Paper
-
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1995.47
Title
A name given to the resource
<strong>EDDY</strong>, Don
Description
An account of the resource
<em>Bumper Section I</em>
Acrylic on canvas
36 3/8 x 46 1/2 x 1 5/8" FRAMED
Creator
An entity primarily responsible for making the resource
<strong>EDDY</strong>, Don
American, Long Beach, CA 1944 -
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1969
-
http://art-collections.museum.ucsb.edu/files/original/bef429da6214bdc3374457769437957e.jpg
032dc248ac0b9bb1c3f19aa8fdb2961f
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.92
Title
A name given to the resource
<strong>EICHENBERG,</strong> Fritz
Description
An account of the resource
<em>The Steps</em>
Wood engraving, ed. 200
12 x 9" sheet
Wood engraving of an exterior scene of multiple figures sitting on stairs; image include a mother nursing a baby, children wrestling and a male talking to a man while holding a newspaper in his hand. Below image includes signature, title and edition statement.
Creator
An entity primarily responsible for making the resource
<strong>EICHENBERG</strong>, Fritz
b. United States, 1901 - 1990
Fritz Eichenberg was a German-American illustrator and arts educator who worked primarily in wood engraving. His best-known works were concerned with religion, social justice and nonviolence. Eichenberg was born to a Jewish family in Cologne, Germany, where the destruction of World War I helped to shape his anti-war sentiments. In 1923 he moved to Berlin to begin his career as an artist, producing illustrations for books and newspapers. In his newspaper and magazine work, Eichenberg was politically outspoken and sometimes both wrote and illustrated his own reporting. In 1933, the rise of Adolf Hitler convinced Eichenberg, a public critic of the Nazis, to emigrate with his wife and children to the United States, where he settled in New York City for most of the remainder of his life. He taught art at the New School for Social Research and at Pratt Institute and was part of the Works Progress Administration's Federal Arts Project. In his prolific career as a book illustrator, Eichenberg worked with many forms of literature but specialized in material with elements of extreme spiritual and emotional conflict, fantasy, or social satire, illustrating such authors as include Dostoyevsky, Tolstoy, Charlotte and Emily Brontë, Poe, Swift, and Grimmelshausen. He also wrote and illustrated books of folklore and children's stories. Though he remained a Quaker until his death, Eichenberg was also associated with Catholic charity work through his friendship with Dorothy Day—whom he met at a Quaker conference on religion and publishing in 1949—and frequently contributed illustrations to Day's newspaper the Catholic Worker until he died in 1990.
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1934
engraving
figures
portrait
Wood
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/cd9fdb7118852ec1110ab87fe94d48d5.jpg
11e82dcb611e157f660ea6726388b969
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.90
Title
A name given to the resource
<strong>EICHENBERG</strong>, Fritz
Description
An account of the resource
<em>City Lights</em>
Wood engraving
11 3/8 x 9" SHEET
Wood engraving of a crowded city scene.
Creator
An entity primarily responsible for making the resource
<strong>EICHENBERG</strong>, Fritz
b. United States, 1901 - 1990
Fritz Eichenberg was a German-American illustrator and arts educator who worked primarily in wood engraving. His best-known works were concerned with religion, social justice and nonviolence. Eichenberg was born to a Jewish family in Cologne, Germany, where the destruction of World War I helped to shape his anti-war sentiments. In 1923 he moved to Berlin to begin his career as an artist, producing illustrations for books and newspapers. In his newspaper and magazine work, Eichenberg was politically outspoken and sometimes both wrote and illustrated his own reporting. In 1933, the rise of Adolf Hitler convinced Eichenberg, a public critic of the Nazis, to emigrate with his wife and children to the United States, where he settled in New York City for most of the remainder of his life. He taught art at the New School for Social Research and at Pratt Institute and was part of the Works Progress Administration's Federal Arts Project. In his prolific career as a book illustrator, Eichenberg worked with many forms of literature but specialized in material with elements of extreme spiritual and emotional conflict, fantasy, or social satire, illustrating such authors as include Dostoyevsky, Tolstoy, Charlotte and Emily Brontë, Poe, Swift, and Grimmelshausen. He also wrote and illustrated books of folklore and children's stories. Though he remained a Quaker until his death, Eichenberg was also associated with Catholic charity work through his friendship with Dorothy Day—whom he met at a Quaker conference on religion and publishing in 1949—and frequently contributed illustrations to Day's newspaper the Catholic Worker until he died in 1990.
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1933
cityscape
Crowd
engraving
landscape
portrait
Wood
Works-on-Paper
-
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.91
Title
A name given to the resource
<strong>EICHENBERG</strong>, Fritz
Description
An account of the resource
<em>The Aquarium</em>
Wood engraving
13 x 10" MATTED
Creator
An entity primarily responsible for making the resource
<strong>EICHENBERG</strong>, Fritz
b. United States, 1901 - 1990
Fritz Eichenberg was a German-American illustrator and arts educator who worked primarily in wood engraving. His best-known works were concerned with religion, social justice and nonviolence. Eichenberg was born to a Jewish family in Cologne, Germany, where the destruction of World War I helped to shape his anti-war sentiments. In 1923 he moved to Berlin to begin his career as an artist, producing illustrations for books and newspapers. In his newspaper and magazine work, Eichenberg was politically outspoken and sometimes both wrote and illustrated his own reporting. In 1933, the rise of Adolf Hitler convinced Eichenberg, a public critic of the Nazis, to emigrate with his wife and children to the United States, where he settled in New York City for most of the remainder of his life. He taught art at the New School for Social Research and at Pratt Institute and was part of the Works Progress Administration's Federal Arts Project. In his prolific career as a book illustrator, Eichenberg worked with many forms of literature but specialized in material with elements of extreme spiritual and emotional conflict, fantasy, or social satire, illustrating such authors as include Dostoyevsky, Tolstoy, Charlotte and Emily Brontë, Poe, Swift, and Grimmelshausen. He also wrote and illustrated books of folklore and children's stories. Though he remained a Quaker until his death, Eichenberg was also associated with Catholic charity work through his friendship with Dorothy Day—whom he met at a Quaker conference on religion and publishing in 1949—and frequently contributed illustrations to Day's newspaper the Catholic Worker until he died in 1990.
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1933
-
http://art-collections.museum.ucsb.edu/files/original/10b1ecf5d451ea2ff187101e7c055a89.jpg
6bc6ec02c3d920914b3a605ad083aeff
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.93
Title
A name given to the resource
<strong>EICHENBERG</strong>, Fritz
Description
An account of the resource
<em>The Subway</em>
Wood engraving, ed. 200
12 x 9" SHEET
Wood engraving of the interior of a subway car; crowded passengers sit while appearing tired. Title, signed and edition written below image.
Creator
An entity primarily responsible for making the resource
<strong>EICHENBERG</strong>, Fritz
b. United States, 1901 - 1990 Fritz Eichenberg was a German-American illustrator and arts educator who worked primarily in wood engraving. His best-known works were concerned with religion, social justice and nonviolence. Eichenberg was born to a Jewish family in Cologne, Germany, where the destruction of World War I helped to shape his anti-war sentiments. In 1923 he moved to Berlin to begin his career as an artist, producing illustrations for books and newspapers. In his newspaper and magazine work, Eichenberg was politically outspoken and sometimes both wrote and illustrated his own reporting. In 1933, the rise of Adolf Hitler convinced Eichenberg, a public critic of the Nazis, to emigrate with his wife and children to the United States, where he settled in New York City for most of the remainder of his life. He taught art at the New School for Social Research and at Pratt Institute and was part of the Works Progress Administration's Federal Arts Project. In his prolific career as a book illustrator, Eichenberg worked with many forms of literature but specialized in material with elements of extreme spiritual and emotional conflict, fantasy, or social satire, illustrating such authors as include Dostoyevsky, Tolstoy, Charlotte and Emily Brontë, Poe, Swift, and Grimmelshausen. He also wrote and illustrated books of folklore and children's stories. Though he remained a Quaker until his death, Eichenberg was also associated with Catholic charity work through his friendship with Dorothy Day—whom he met at a Quaker conference on religion and publishing in 1949—and frequently contributed illustrations to Day's newspaper the Catholic Worker until he died in 1990.
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1934
engraving
portrait
train
transportation
Wood
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/f0ec53ed0d178faa6647635c389fae03.jpg
e5c05c4e5996429e0cf82af9c5a7a4d0
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.89
Title
A name given to the resource
<strong>EVERGOOD</strong>, Philip
Description
An account of the resource
<em>Sorrowing Farmers</em>
Lithograph
13 1/2 x 16 3/4" MATTED
Lithograph of three figures with single female flanked by two males. Figures appear to mourning with their heads cast down in sadness.
Creator
An entity primarily responsible for making the resource
<strong>EVERGOOD</strong>, Philip
b. United States, 1901 - 1989
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1938
Farmers
Lithograph
portrait
sadness
Works-on-Paper
-
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1995.41
Title
A name given to the resource
<strong>FLACK</strong>, Audrey
Description
An account of the resource
<em>Royal Flush</em>
silk screen
60 x 74 in. framed; 48 x 66 in. image
Creator
An entity primarily responsible for making the resource
<strong>FLACK,</strong> Audrey
American, b. 1931
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1977
-
http://art-collections.museum.ucsb.edu/files/original/3aa1673b4f84da91368013944da8f8b6.jpg
025787528459362fd5ac619227684c41
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.98
Title
A name given to the resource
<strong>FREEMA</strong>N, Don
Description
An account of the resource
<em>Plights of Stardom</em>
Lithograph with light green wash
20 1/2 x 18 1/2" MATTED
Lithograph of a female figure on a chaise being attended to by multiple figures. Lights are cast on her figure highlighting the woman's figure and face.
Creator
An entity primarily responsible for making the resource
<strong>FREEMAN</strong>, Don
b. United States, 1908 - 1978
Don Freeman was born in San Diego, California, in 1908. After graduating high school and attending a summer course at San Diego School of Fine Arts, Don moved to New York, where he studied at the Art Students' League and developed a passion for theater. Don spent much of his time on Broadway and could often be found backstage, sketching actors and capturing everything that happened both on and off the stage in his sketchbook. He supported himself by playing his trumpet in a dance band, but after losing his trumpet on the subway Don decided to turn his attention to his sketches. During the 1930s and 40s, he was a brilliant illustrator of New York City life in the best traditions of Social Realism. His subjects were the actors and actresses of Broadway—from the LGBTQI+ icon Orson Welles to Alfred Lunt and Lynn Fontanne to the man in the street or the charwomen who scrubbed the stage after the actors and the audience went home. His cartoons and other illustrations appeared regularly in the New York Herald Tribune, The New York Times, The Christian Science Monitor, and Theater Magazine. Freeman also self-published Don Freeman's Newsstand, a short-lived quarterly magazine, each page of which was an original lithograph. Freeman was also a jazz musician and the brother of hotel entrepreneur Warren Freeman. As Freeman's career progressed, he lightened his palette and depicted more upbeat subjects. In 1951, he began illustrating children's books. He took his first step into children's literature when he was asked to illustrate for William Saroya. He quickly began writing and illustrating his own children's books, including Corduroy, A Pocket for Corduroy, and the Caldecott Honor Book Fly High, Fly Low. Through his writing, he was able to create his own theater. He created many beloved characters in his lifetime, perhaps the most beloved among them the stuffed, overall-wearing bear named Corduroy. He collaborated frequently with his wife, Lydia, a fellow author and artist. Don died in 1978, and his wife went on to establish The Lydia Freeman Charitable Foundation.
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
Female
film
Lithograph
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/56225a1789a9d3bcdb8511b1fd4db5e9.jpg
74af5b4a8b03c725e9d49c999c2e6e16
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.94
Title
A name given to the resource
<strong>FREEMAN</strong>, Don
Description
An account of the resource
<em>Automat Aristocrat</em>
Lithograph
13 x 14" MATTED
Lithograph of men sitting at a table eating a meal; waitress at right is serving the table while a vending machine type of apparatus with pies is positioned in left background. Signed at lower right.
Creator
An entity primarily responsible for making the resource
<strong>FREEMAN</strong>, Don
b. United States, 1908 - 1978
Don Freeman was born in San Diego, California, in 1908. After graduating high school and attending a summer course at San Diego School of Fine Arts, Don moved to New York, where he studied at the Art Students' League and developed a passion for theater. Don spent much of his time on Broadway and could often be found backstage, sketching actors and capturing everything that happened both on and off the stage in his sketchbook. He supported himself by playing his trumpet in a dance band, but after losing his trumpet on the subway Don decided to turn his attention to his sketches. During the 1930s and 40s, he was a brilliant illustrator of New York City life in the best traditions of Social Realism. His subjects were the actors and actresses of Broadway—from the LGBTQI+ icon Orson Welles to Alfred Lunt and Lynn Fontanne to the man in the street or the charwomen who scrubbed the stage after the actors and the audience went home. His cartoons and other illustrations appeared regularly in the New York Herald Tribune, The New York Times, The Christian Science Monitor, and Theater Magazine. Freeman also self-published Don Freeman's Newsstand, a short-lived quarterly magazine, each page of which was an original lithograph. Freeman was also a jazz musician and the brother of hotel entrepreneur Warren Freeman. As Freeman's career progressed, he lightened his palette and depicted more upbeat subjects. In 1951, he began illustrating children's books. He took his first step into children's literature when he was asked to illustrate for William Saroya. He quickly began writing and illustrating his own children's books, including Corduroy, A Pocket for Corduroy, and the Caldecott Honor Book Fly High, Fly Low. Through his writing, he was able to create his own theater. He created many beloved characters in his lifetime, perhaps the most beloved among them the stuffed, overall-wearing bear named Corduroy. He collaborated frequently with his wife, Lydia, a fellow author and artist. Don died in 1978, and his wife went on to establish The Lydia Freeman Charitable Foundation.
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1930s
Lithograph
men
portrait
Restaurant
waitress
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/8d0f9f288bca13151cea94b75dd23d19.jpg
5297d60bf4e0ab48c46d2f9a6b528e3a
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.95
Title
A name given to the resource
<strong>FREEMAN</strong>, Don
Description
An account of the resource
<em>Box Office</em>
Lithograph
16 x 18" MATTED
Lithograph of a crowded box office scene with patrons dressed in tuxedos and evening gowns mingling about. Signed and titled below image.
Creator
An entity primarily responsible for making the resource
<strong>FREEMAN</strong>, Don
b. United States, 1908 - 1978
Don Freeman was born in San Diego, California, in 1908. After graduating high school and attending a summer course at San Diego School of Fine Arts, Don moved to New York, where he studied at the Art Students' League and developed a passion for theater. Don spent much of his time on Broadway and could often be found backstage, sketching actors and capturing everything that happened both on and off the stage in his sketchbook. He supported himself by playing his trumpet in a dance band, but after losing his trumpet on the subway Don decided to turn his attention to his sketches. During the 1930s and 40s, he was a brilliant illustrator of New York City life in the best traditions of Social Realism. His subjects were the actors and actresses of Broadway—from the LGBTQI+ icon Orson Welles to Alfred Lunt and Lynn Fontanne to the man in the street or the charwomen who scrubbed the stage after the actors and the audience went home. His cartoons and other illustrations appeared regularly in the New York Herald Tribune, The New York Times, The Christian Science Monitor, and Theater Magazine. Freeman also self-published Don Freeman's Newsstand, a short-lived quarterly magazine, each page of which was an original lithograph. Freeman was also a jazz musician and the brother of hotel entrepreneur Warren Freeman. As Freeman's career progressed, he lightened his palette and depicted more upbeat subjects. In 1951, he began illustrating children's books. He took his first step into children's literature when he was asked to illustrate for William Saroya. He quickly began writing and illustrating his own children's books, including Corduroy, A Pocket for Corduroy, and the Caldecott Honor Book Fly High, Fly Low. Through his writing, he was able to create his own theater. He created many beloved characters in his lifetime, perhaps the most beloved among them the stuffed, overall-wearing bear named Corduroy. He collaborated frequently with his wife, Lydia, a fellow author and artist. Don died in 1978, and his wife went on to establish The Lydia Freeman Charitable Foundation.
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1934
American
Crowd
Lithograph
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/72ea981b3f05263a9709f4a5e9762c19.jpg
a14691660efb5849d2720dadbd08848c
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.96
Title
A name given to the resource
<strong>FREEMAN</strong>, Don
Description
An account of the resource
<em>Casting for Character</em>
Lithograph
16 x 18" MATTED
Lithograph of multiple male figures on a stage appearing to audition for a role.
Creator
An entity primarily responsible for making the resource
<strong>FREEMAN</strong>, Don
b. United States, 1908 - 1978
Don Freeman was born in San Diego, California, in 1908. After graduating high school and attending a summer course at San Diego School of Fine Arts, Don moved to New York, where he studied at the Art Students' League and developed a passion for theater. Don spent much of his time on Broadway and could often be found backstage, sketching actors and capturing everything that happened both on and off the stage in his sketchbook. He supported himself by playing his trumpet in a dance band, but after losing his trumpet on the subway Don decided to turn his attention to his sketches. During the 1930s and 40s, he was a brilliant illustrator of New York City life in the best traditions of Social Realism. His subjects were the actors and actresses of Broadway—from the LGBTQI+ icon Orson Welles to Alfred Lunt and Lynn Fontanne to the man in the street or the charwomen who scrubbed the stage after the actors and the audience went home. His cartoons and other illustrations appeared regularly in the New York Herald Tribune, The New York Times, The Christian Science Monitor, and Theater Magazine. Freeman also self-published Don Freeman's Newsstand, a short-lived quarterly magazine, each page of which was an original lithograph. Freeman was also a jazz musician and the brother of hotel entrepreneur Warren Freeman. As Freeman's career progressed, he lightened his palette and depicted more upbeat subjects. In 1951, he began illustrating children's books. He took his first step into children's literature when he was asked to illustrate for William Saroya. He quickly began writing and illustrating his own children's books, including Corduroy, A Pocket for Corduroy, and the Caldecott Honor Book Fly High, Fly Low. Through his writing, he was able to create his own theater. He created many beloved characters in his lifetime, perhaps the most beloved among them the stuffed, overall-wearing bear named Corduroy. He collaborated frequently with his wife, Lydia, a fellow author and artist. Don died in 1978, and his wife went on to establish The Lydia Freeman Charitable Foundation.
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1934
American
Lithograph
men
play
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/ebcf62da22d0ad889e51ca39433b02e6.jpg
a4583fbd507fc41dff42e621a3527f59
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.97
Title
A name given to the resource
<strong>FREEMAN</strong>, Don
Description
An account of the resource
<em>On the Fly Rail</em>
Lithograph
16 x 18" MATTED
Black and white lithograph with multiple figures overlooking a stage scene. Figures appear to be controlling certain functions of a stage production. Signed and titled below image.
Creator
An entity primarily responsible for making the resource
<strong>FREEMAN</strong>, Don
b. United States, 1908 - 1978
Don Freeman was born in San Diego, California, in 1908. After graduating high school and attending a summer course at San Diego School of Fine Arts, Don moved to New York, where he studied at the Art Students' League and developed a passion for theater. Don spent much of his time on Broadway and could often be found backstage, sketching actors and capturing everything that happened both on and off the stage in his sketchbook. He supported himself by playing his trumpet in a dance band, but after losing his trumpet on the subway Don decided to turn his attention to his sketches. During the 1930s and 40s, he was a brilliant illustrator of New York City life in the best traditions of Social Realism. His subjects were the actors and actresses of Broadway—from the LGBTQI+ icon Orson Welles to Alfred Lunt and Lynn Fontanne to the man in the street or the charwomen who scrubbed the stage after the actors and the audience went home. His cartoons and other illustrations appeared regularly in the New York Herald Tribune, The New York Times, The Christian Science Monitor, and Theater Magazine. Freeman also self-published Don Freeman's Newsstand, a short-lived quarterly magazine, each page of which was an original lithograph. Freeman was also a jazz musician and the brother of hotel entrepreneur Warren Freeman. As Freeman's career progressed, he lightened his palette and depicted more upbeat subjects. In 1951, he began illustrating children's books. He took his first step into children's literature when he was asked to illustrate for William Saroya. He quickly began writing and illustrating his own children's books, including Corduroy, A Pocket for Corduroy, and the Caldecott Honor Book Fly High, Fly Low. Through his writing, he was able to create his own theater. He created many beloved characters in his lifetime, perhaps the most beloved among them the stuffed, overall-wearing bear named Corduroy. He collaborated frequently with his wife, Lydia, a fellow author and artist. Don died in 1978, and his wife went on to establish The Lydia Freeman Charitable Foundation.
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1934
American
Lithograph
men
play
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/a6ddea8aa86af7f9641b9da24e369e08.jpg
e9b5467c61c8560d851febacd7bdf6e7
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.99
Title
A name given to the resource
<strong>FREEMAN</strong>, Don
Description
An account of the resource
<em>Deep in Hollywood</em>
Lithograph
16 1/2 x 19 1/4" MATTED
Lithograph of scantily dressed females in upper foreground from left to right; they are bathed with lights while a male director appears to be speaking while gesturing with his left hand while holding a megaphone in his right.
Creator
An entity primarily responsible for making the resource
<strong>FREEMAN</strong>, Don
b. United States, 1908 - 1978
Don Freeman was born in San Diego, California, in 1908. After graduating high school and attending a summer course at San Diego School of Fine Arts, Don moved to New York, where he studied at the Art Students' League and developed a passion for theater. Don spent much of his time on Broadway and could often be found backstage, sketching actors and capturing everything that happened both on and off the stage in his sketchbook. He supported himself by playing his trumpet in a dance band, but after losing his trumpet on the subway Don decided to turn his attention to his sketches. During the 1930s and 40s, he was a brilliant illustrator of New York City life in the best traditions of Social Realism. His subjects were the actors and actresses of Broadway—from the LGBTQI+ icon Orson Welles to Alfred Lunt and Lynn Fontanne to the man in the street or the charwomen who scrubbed the stage after the actors and the audience went home. His cartoons and other illustrations appeared regularly in the New York Herald Tribune, The New York Times, The Christian Science Monitor, and Theater Magazine. Freeman also self-published Don Freeman's Newsstand, a short-lived quarterly magazine, each page of which was an original lithograph. Freeman was also a jazz musician and the brother of hotel entrepreneur Warren Freeman. As Freeman's career progressed, he lightened his palette and depicted more upbeat subjects. In 1951, he began illustrating children's books. He took his first step into children's literature when he was asked to illustrate for William Saroya. He quickly began writing and illustrating his own children's books, including Corduroy, A Pocket for Corduroy, and the Caldecott Honor Book Fly High, Fly Low. Through his writing, he was able to create his own theater. He created many beloved characters in his lifetime, perhaps the most beloved among them the stuffed, overall-wearing bear named Corduroy. He collaborated frequently with his wife, Lydia, a fellow author and artist. Don died in 1978, and his wife went on to establish The Lydia Freeman Charitable Foundation.
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1936
American
Lithograph
performance
portrait
women
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/4010ec1e035bb4f6cbc2592701cd1861.jpg
09f66b74fd197fe89769fa75214e0186
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.100
Title
A name given to the resource
<strong>FRIEDLANDER</strong>, Isac
Description
An account of the resource
<em>Revival</em>
Woodcut
16 3/4 x 18 3/4" MATTED
Woodcut of African Americans populating a revival meeting with single male at center foreground.
Creator
An entity primarily responsible for making the resource
<strong>FRIEDLANDER</strong>, Isac
b. United States, 1890 - 1968
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1934
American
Crowd
Religion
woodcut
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/d830995d6c66a3606a988edbd9a2bfe9.jpg
794cbaf88ffb7300ba8254758ea31cfb
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.101
Title
A name given to the resource
<strong>FRIEDLANDER</strong>, Isac
Description
An account of the resource
<em>Diversion</em>
Etching
16 3/4 x 20" MATTED
Black and white etching of multiple couples dancing while others are seated at tables.
Creator
An entity primarily responsible for making the resource
<strong>FRIEDLANDER</strong>, Isac
b. United States, 1890 - 1968
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1932
Couple
dancing
etching
portrait
Works-on-Paper
-
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.102
Title
A name given to the resource
<strong>GOLINKIN</strong>, Joseph
Description
An account of the resource
<em>Arm Scissors</em>
Lithograph
24 x 16 1/2" MATTED
Lithograph of a wrestling match with two figures engaged on a mat; bottom figure is turned upward in a scissor motion. Referee looks on from right.
Creator
An entity primarily responsible for making the resource
<strong>GOLINKIN</strong>, Joseph
b. United States, 1896 - 1977
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1932
-
http://art-collections.museum.ucsb.edu/files/original/a0dfe527c43f6e8c1ff6d3d9d0b0c2e4.jpg
07f64d0be56a1d920a4cf1bb159e9a09
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.103
Title
A name given to the resource
<strong>GOLINKIN</strong>, Joseph
Description
An account of the resource
<em>Set 'Em Up</em>
Lithograph
20 1/2 x 24" MATTED
Lithograph of a bowling alley; angular image with players throwing balls while on-lookers are seated at lower left and right foreground.
Creator
An entity primarily responsible for making the resource
<strong>GOLINKIN</strong>, Joseph
b. United States, 1896 - 1977
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1935
bowling
Lithograph
portrait
sport
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/76d60ddf80c327845cac0d4c33cd0181.jpg
02cb7eaeb2652d68afae8276e551ec36
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.104
Title
A name given to the resource
<strong>GORSLINE</strong>, Douglas
Description
An account of the resource
<em>Invitation to the Lindy Hop</em>
Etching
12 1/2 x 11 1/4" MATTED
Etching of a centralized image of a scantily clad female who appears to be dancing. She is facing a male at right whose back is turned towards the viewer while multiple figures appear in the left background in a celebratory mode. Signed, dated with title below image.
Creator
An entity primarily responsible for making the resource
<strong>GORSLINE</strong>, Douglas
b. United States, 1913 - 1985
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1942
dancing
etching
portrait
woman
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/4635700628d3e92a347591d35514d29e.jpg
8255ae9e9de41f61564048a3782973ed
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.105
Title
A name given to the resource
<strong>GORSLINE</strong>, Douglas
Description
An account of the resource
<em>Express Stop</em>
etching
sheet: 11 3/8 x 9 7/8 in; mat: 12 x 11 1/4 in
image: 6 1/2 x 5 7/8 in`
Creator
An entity primarily responsible for making the resource
<strong>GORSLINE</strong>, Douglas
b. United States, 1913 - 1985
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1948
American
etching
portrait
transportation
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/8888d44fbe39d9c32a4f6b57abb229f0.jpg
7ba15d8ee350e6ba64ede606904e38fe
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.107
Title
A name given to the resource
<strong>HAUPERS,</strong> Clement
Description
An account of the resource
Shore Leave
etching
image: 10 1/2 x 8 in; mat: 17 x 14 in
Clement Haupers’ Shore Leave (1935) presents a sailor’s impressive backside to us while three women admire his front, eyeing all the different particulars. Above them an ironic display of song titles: After Every Party, Turn out the Lights, Fit as a Fiddle, Here Lies Love, Take Me in Your Arms, Contend, and Til Tomorrow fill out the lower register, while above float And So To Bed, Night and Day, All of Me and others. The sentences they spell out are quite obvious. Hauper cleverly exposes the extreme sexuality of popular music—most of it aimed at women—and exposes its effect. Bruce Robertson, Representing America p. 46
Creator
An entity primarily responsible for making the resource
<strong>HAUPERS</strong>, Clement
b. United States, 1900 - 1982
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
American
etching
portrait
sailor
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/ae0774ed6f5bab1ebc7f365407d1c71f.jpg
154044618ac054a0725d92f3947bc3cf
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.106
Title
A name given to the resource
<strong>HAUPERS</strong>, Clement
Description
An account of the resource
<em>Hot Dog Counter</em>
etching
sheet: 15 x 12 inches; mat: 16 1/2 x 13 1/2 in
image: 9 5/8 x 8 1/4 in
Creator
An entity primarily responsible for making the resource
<strong>HAUPERS</strong>, Clement
b. United States, 1900- 1982
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1931
etching
food
portrait
Restaurant
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/cb1ec315fc278047963a8710eb3f98fc.jpg
4c25a9d9639aaf068f4774c513bc8741
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.108
Title
A name given to the resource
<strong>HIRSCH,</strong> Joseph
Description
An account of the resource
<em>The Confidence</em>
lithograph
image: 9 1/2 x 11 1/8 in; mat: 15 1/2 x 16 3/4 in
Creator
An entity primarily responsible for making the resource
<strong>HIRSCH,</strong> Joseph
b. United States, 1910 - 1981
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1944
conversation
Lithograph
men
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/acbc3715848110962dc40e70cb114b0f.jpg
c5a4684b639b08c1ce35f3256557e3e6
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.109
Title
A name given to the resource
<strong>HIRSCH</strong>, Joseph
Description
An account of the resource
<em>The Kiss</em>
lithograph
sheet: 6 1/4 x 7 3/4 in; mat: 10 x 11 1/2 in
image: 3 1/2 x 4 3/4 in
Creator
An entity primarily responsible for making the resource
<strong>HIRSCH</strong>, Joseph
b. United States, 1910 - 1981
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1948
American
Couple
Lithograph
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/4117c0a9d5651a52a69be757b3087133.jpg
622d01678bcd5d970199d9ca9d300984
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.111
Title
A name given to the resource
<strong>HIRSCH</strong>, Joseph
Description
An account of the resource
<em>Man and Beast</em>
lithograph
image: 15 1/2 x 7 1/4 in; mat: 21 1/8 x 13 7/8 in
Creator
An entity primarily responsible for making the resource
<strong>HIRSCH,</strong> Joseph
b. United States, 1910 - 1981
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1946
animal
horse
Lithograph
man
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/15997702d2b9100df915b0bbfc2e9135.jpg
2dd57046aeb7a846819b70a630ae5614
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.111
Title
A name given to the resource
<strong>HIRSCH</strong>, Joseph
Description
An account of the resource
<em>Shark</em>
lithograph
sheet 16 1/8 x 11 in; mat: 18 1/4 x 15 in
image: 11 x 8 in Balck and white image of a man wearing a hat holding cards against his mouth.
Creator
An entity primarily responsible for making the resource
<strong>HIRSCH</strong>, Joseph
b. United States, 1910 - 1981
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1967
cards
Lithograph
man
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/a4d17d4731e2cc5134ed54805c605dbd.jpg
781b554a141976b81811472436dcedc5
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.112
Title
A name given to the resource
<strong>HIRSCH</strong>, Joseph
Description
An account of the resource
<em>Melancholy</em>
lithograph
sheet: 20 3/4 x 23 1/2 in; mat: 22 x 24 1/2 in
image: 15 x 17 1/2 in
Creator
An entity primarily responsible for making the resource
<strong>HIRSCH</strong>, Joseph
b. United States, 1910 - 1981
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1979
instrument
Lithograph
music
musicians
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/045e21ef3c135d4809e501afcf946739.jpg
976ed3cc1b8ba3c59b65a6a059bfac66
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.116
Title
A name given to the resource
<strong>HOFFMAN,</strong> Irwin
Description
An account of the resource
<em>The Stoker</em>
lithograph
sheet: 11 1/8 x 7 3/8 in; mat: 14 3/4 x 11 1/2 in
image: 9 x 5 7/8 in
Creator
An entity primarily responsible for making the resource
<strong>HOFFMAN</strong>, Irwin
b. United States, 1901 - 1989
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1930s
Lithograph
man
portrait
worker
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/01649814ed74a6e7363c4736f6d373b8.jpg
1b9bc27d4b28d2200089e0d348e6ff06
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.113
Title
A name given to the resource
<strong>HOFFMAN</strong>, Irwin
Description
An account of the resource
<em>Drilling in Ore</em>
lithograph
sheet: 19 x 13 1/4 in; mat: 20 x 16 1/2 in
image: 14 x 10 3/4 in
Creator
An entity primarily responsible for making the resource
<strong>HOFFMAN</strong>, Irwin
b. United States, 1901 - 1989
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1930s
Lithograph
men
portrait
workers
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/9a4d92f9ba2dcedc3383693d2991b3f5.jpg
83afe57f66f23eb4077b453913369401
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.114
Title
A name given to the resource
<strong>HOFFMAN</strong>, Irwin
Description
An account of the resource
<em>African Golfers</em>
etching
sheet: 9 1/2 x 12 1/2 in; mat: 14 x 18 in
image: 8 x 10 7/8 in
Creator
An entity primarily responsible for making the resource
<strong>HOFFMAN</strong>, Irwin
b. United States, 1901 - 1989
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1939
Crowd
etching
Figurative
golf
sport
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/7f5691ab824a9cc19a6e947acee487e2.jpg
fe97c576a1cf048a097e1c1e3d9500f4
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.115
Title
A name given to the resource
<strong>HOFFMAN</strong>, Irwin
Description
An account of the resource
<em>Lace Makers</em>
etching
sheet: 12 3/4 x 15 7/8 in; mat: 16 x 18 in
image: 9 3/4 x 11 7/8 in
Creator
An entity primarily responsible for making the resource
<strong>HOFFMAN</strong>, Irwin
b. United States, 1901 - 1989
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
mid/late 20th C.
etching
portrait
sewing
women
workers
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/94269a876ba4ee7f8bc6bac1ea8a557d.jpg
76005ebf3654d97acd37ac58a84c01ce
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.117
Title
A name given to the resource
<strong>HURD,</strong> Peter
Description
An account of the resource
<em>Sermon from "Revelations"</em>
lithograph
image: 10 x 13 1/2 in; mat: 17 1/4 x 10 1/2 in
Creator
An entity primarily responsible for making the resource
<strong>HURD</strong>, Peter
b. United States, 1904 - 1984
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1938
book
candle
Lithograph
Religion
still life
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/6a9ca201ff23925bc2b4b5efb9d621f5.jpg
f20f1484666c932a7eda87591d4980c0
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.118
Title
A name given to the resource
<strong>KENT</strong>, Rockwell
Description
An account of the resource
<em>Mala (Danseuse)</em>
lithograph
sheet: 16 x 13 1/8 in; mat: 17 x 15 1/2 in
image: 11 1/4 x 9 7/8 in
Creator
An entity primarily responsible for making the resource
<strong>KENT</strong>, Rockwell
b. United States, 1882 - 1971
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1933
American
Lithograph
man
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/f46a1630b5b84a6c70760a4c4d05065d.jpg
a4e28c76fc65d35675d5113639ccd2c3
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1995.48
Title
A name given to the resource
<strong>KENT</strong>, Rockwell
Description
An account of the resource
<em>Night Watch</em>
Wood engraving
5 1/4 x 8" IMAGE
Wood engraving of a single figure who appears to be a wooden structure. He is standing and holding onto a pole suggesting pain and agony. Signed at lower right.
Creator
An entity primarily responsible for making the resource
<strong>KENT</strong>, Rockwell
b. United States, 1882 - 1971
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1929
American
engraving
Figurative
portrait
Wood
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/eaa09994a10d47b61ca0e85b2f520f67.jpg
d211c49948bd3d4031f1e25dbc23dae0
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.119
Title
A name given to the resource
<strong>LANDACRE</strong>, Paul
Description
An account of the resource
<em>A Woman</em>
wood engraving
image: 10 1/2 x 6 in; mat: 18 3/4 x 13 1/4 in
Creator
An entity primarily responsible for making the resource
<strong>LANDACRE</strong>, Paul
b. United States, 1893 - 1963
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1937
engraving
nude
portrait
woman
Wood
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/bd0c35e27312c94e44bb1a866c7ab8b3.jpg
94521828dc3d3afe674139187637f56b
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.120
Title
A name given to the resource
<strong>LEIGHTON</strong>, Clare
Description
An account of the resource
<em>Threshing</em>
wood engraving
sheet: 11 x 15 in; mat: 14 1/4 x 18 in
image: 8 x 10 1/2 in
Creator
An entity primarily responsible for making the resource
<strong>LEIGHTON</strong>, Clare
b. United States, 1901 -
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1933
engraving
farm
landscape
Wood
workers
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/2ec2c2a84fb83d616a397f274f194dee.jpg
dffc784865f13600adab5d191575fdbf
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.121
Title
A name given to the resource
<strong>LEWIS</strong>, Martin
Description
An account of the resource
<em>Ice Cream Cones</em>
drypoint
image: 9 1/4 x 15 in; mat: 20 x 24 in
Creator
An entity primarily responsible for making the resource
<strong>LEWIS,</strong> Martin
Australian/b. United States, 1881 - 1962
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1928
beach
children
drypoint
seascape
water
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/613c52bb2caf5917b73acb7e40b87184.jpg
482f72de0cd24526ca334823b1c62554
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.122
Title
A name given to the resource
<strong>LEWIS</strong>, Martin
Description
An account of the resource
<em>Arc Welders</em>
lithograph
image: 10 x 7 7/8 in.; mat: 15 7/8 x 13 1/2 in.
Creator
An entity primarily responsible for making the resource
<strong>LEWIS</strong>, Martin
Australian/b. United States, 1881 - 1962
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1937
cityscape
landscape
Lithograph
workers
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/e4e4c8895c6a82d063f36e63a54f3678.jpg
9f7af1747dcc439bb2cbd10b83fe182c
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.123
Title
A name given to the resource
<strong>LIMBACH</strong>, Russell
Description
An account of the resource
<em>Reviewing Stand</em>
lithograph
image: 9 7/8 x 14 1/4 in; mat: 16 x 20 1/4 in
Creator
An entity primarily responsible for making the resource
<strong>LIMBACH</strong>, Russell
b. United States, 1904 -
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1934
american flag
Crowd
Flags
Lithograph
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/9b1a4cf2da7cb71123c54d9f1e0fab04.jpg
b655678540ea7d3c37b80b6f010fa787
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.124
Title
A name given to the resource
<strong>LOCKE</strong>, Charles W.
Description
An account of the resource
<em>Hole in the Wall</em>
lithograph
image: 6 1/2 x 8 1/4 in; mat: 13 x 14 1/2 in
Charles Locke’s Hole in the Wall (1930) presents a typical situation, a group of men at the bar—in this case finishing their lunch. Locke vitalizes the scene with class difference: sitting side-by-side but not interacting, the men in the foreground are carefully distinguished by their dress to suggest different socioeconomic backgrounds. The man on the left, with his cloth cap, sweater under his jacket and downcast eyes fulfills the expectations of a working class type, while the man next to him wears a hat with a brim, a tie, is looking up; to complete the difference, he smokes a cigar while the other smokes a cigarette. Bruce Robertson, Representing America p. 36
Creator
An entity primarily responsible for making the resource
<strong>LOCKE</strong>, Charles W.
b. United States, 1899 - 1983
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1930s
bar
Lithograph
men
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/80b5ad93ac716f0dfe84beee40f42c5f.jpg
614a1c1ba3782df8e516c0e076aa06a6
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.125
Title
A name given to the resource
<strong>LOCKE</strong>, Charles W.
Description
An account of the resource
<em>Intermission</em>
lithograph
image: 13 1/2 x 8 3/4 in; mat: 19 x 14 in
Creator
An entity primarily responsible for making the resource
<strong>LOCKE</strong>, Charles W.
b. United States, 1899 - 1983
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1937
conversation
instrument
Lithograph
men
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/fa9626e504d873bdfd7982a5a4f81bf9.jpg
1e0bfc8fd8486beb6a13a8a0dd5252d6
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.126
Title
A name given to the resource
<strong>LOZOWICK</strong>, Louis
Description
An account of the resource
Loading
lithograph
sheet: 20 x 14 1/4 in; mat: 22 1/4 x 16 1/8 in
image: 10 3/4 x 7 1/2 in
Creator
An entity primarily responsible for making the resource
LOZOWICK, Louis
b. United States, 1892 - 1973
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1930
construction
Figurative
Lithograph
workers
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/fe7b1f0dbc218f894264ef4d52e65308.jpg
da64be0825cda068ad309008378c0e29
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.127
Title
A name given to the resource
<strong>MARGOLIES</strong>, Samuel
Description
An account of the resource
<em>Babylon</em>
etching, aquatint
sheet: 7 x 7 7/8 in; mat: 10 1/2 x 8 1/2 in
image: 2 5/8 x 3 in
Creator
An entity primarily responsible for making the resource
<strong>MARGOLIES</strong>, Samuel
b. United States
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1949
cityscape
etching
landscape
man
worker
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/37c680fc550e31695726d504a1b9942b.jpg
a44d648bd29bb75089a41f262e84bbf9
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.128
Title
A name given to the resource
<strong>MARKHAM</strong>, Kyra
Description
An account of the resource
<em>Penny, Lady?</em>
lithograph
image: 9 3/4 x 12 3/4 in; mat: 15 3/4 x 18 1/2 in
Creator
An entity primarily responsible for making the resource
<strong>MARKHAM</strong>, Kyra
b. United States, 1891 - 1967
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1934
American
Lithograph
man
money
portrait
woman
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/0a0f5099f057775158f03419723606d1.jpg
4a72036331a911474db2e7045d6b95fa
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.129
Title
A name given to the resource
<strong>MARSH</strong>, Reginald
Description
An account of the resource
<em>Bread Line - No One Has Starved</em>
etching
sheet: 13 x 15 1/2 in; mat: 15 1/2 x 19 in
image: 6 3/8 x 11 7/8 in
Creator
An entity primarily responsible for making the resource
<strong>MARSH</strong>, Reginald
b. United States, 1898 - 1954
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1932
American
etching
line
men
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/b24da722002b35f94ef0721a00ca0380.jpg
bbeb5ae77d7d6e59212b94fb627dba68
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.13
Title
A name given to the resource
<strong>MARSH</strong>, Reginald
Description
An account of the resource
<em>Flying Concellos</em>
etching
sheet: 11 1/2 x 15 7/8 in; mat: 13 1/2 x 18 in
image: 8 x 9 7/8 in
Creator
An entity primarily responsible for making the resource
<strong>MARSH</strong>, Reginald
b. United States, 1898 - 1954
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1933
American
etching
portrait
sport
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/5cd8883d8626b027d76c71004c7c30b7.jpg
1c1ae7f5edcf63aa2b2bf3147f00bc2c
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.131
Title
A name given to the resource
<strong>MAZUR</strong>, Michael Burton
Description
An account of the resource
<em>Closed Ward no. 12</em>
etching, aquatint
sheet: 27 1/2 x 39 in; framed: 30 x 42 in
2 plates measuring overall 23 1/4 x 33 1/2 inches, on one sheet
Creator
An entity primarily responsible for making the resource
<strong>MAZUR,</strong> Michael Burton
American, 1935 -
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1962
American
etching
Figurative
figures
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/903e22f104815f4d40e9f8d6b8597933.jpg
e5ab2bb229cf09541249a6c21b2873c6
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.134
Title
A name given to the resource
<strong>MEISSNER</strong>, Leo John
Description
An account of the resource
<em>Shine ?</em>
linoleum cut
sheet: 13 3/4 x 9 7/8 in; mat: 16 1/2 x 13 in
image: 11 7/8 x 8 1/2 in
Creator
An entity primarily responsible for making the resource
<strong>MEISSNER</strong>, Leo John
1895 - 1977
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1928
linoleum
portrait
shoes
shop
workers
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/15cc7b6a1514e2aa29a9efe28379b64f.jpg
99eb4c773e1da64e72d57f12980e9fbb
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.132
Title
A name given to the resource
<strong>MESSICK</strong>, Ben
Description
An account of the resource
<em>Heavy Load</em>
lithograph
sheet: 13 3/4 x 8 3/4 in; mat: 20 1/2 x 16 in
Creator
An entity primarily responsible for making the resource
<strong>MESSICK</strong>, Ben
b. United States, 1901 - 1981
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
mid/late 20th C.
American
Lithograph
man
portrait
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/b4cc6571fa2384e7261513efdd9392ca.jpg
c85389fb13d49bbd66253cca41a19a30
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.133
Title
A name given to the resource
<strong>MESSICK</strong>, Ben
Description
An account of the resource
<em>B Girls at Work</em>
lithograph
sheet: 13 1/2 x 19 3/4 in; mat: 19 1/2 x 24 1/4 in
Creator
An entity primarily responsible for making the resource
<strong>MESSICK,</strong> Ben
b. United States, 1901 - 1981
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1940
American
bar
Figurative
Lithograph
portrait
women
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/91a4f6cacb13c1ee519290a5620c462b.jpg
c37235fc3c8784b1c5c9d6491851b0cc
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.135
Title
A name given to the resource
<strong>MILLER</strong>, Kenneth Hayes
Description
An account of the resource
<em>Leaving the Shop</em>
etching
image: 7 3/4 x 9 3/4 in; mat: 14 x 16 in
Creator
An entity primarily responsible for making the resource
<strong>MILLER</strong>, Kenneth Hayes
b. United States, 1876 - 1952
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1929
American
etching
portrait
shop
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/7133270836c4084f0319845a25776be4.jpg
c2c52efb13bc39ea0da9a504815aa510
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.136
Title
A name given to the resource
<strong>MILLER</strong>, Kenneth Hayes
Description
An account of the resource
<em>Department Store</em>
etching
sheet: 9 1/8 x 7 3/4 inches; mat: 11 5/8 x 9 5/8 inches
image: 7 x 5 in
Creator
An entity primarily responsible for making the resource
<strong>MILLER</strong>, Kenneth Hayes
b. United States, 1876 - 1952
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1930
American
etching
portrait
store
women
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/dea33aae49ac439365c0ccfcf9e7f018.jpg
c31ebc93fea984786a33232e2ed03bf4
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
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/.
Identifier
An unambiguous reference to the resource within a given context
1992.137
Title
A name given to the resource
<strong>NESBITT</strong>, Jackson Lee
Description
An account of the resource
<em>Old Man with Violin</em>
etching
sheet: 19 1/2 x 14 3/4 in; mat: 20 1/2 x 15 3/4 in
image: 12 3/4 x 10 3/4 in
Creator
An entity primarily responsible for making the resource
<strong>NESBITT</strong>, Jackson Lee
b. United States, 1913 -
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1955
American
etching
instrument
man
portrait
violin
Works-on-Paper
-
http://art-collections.museum.ucsb.edu/files/original/5d70a0dde0ca268b1569296e5cef1943.jpg
281af297612d17e85d6aa776ecc5a7d2
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
<strong>The Ken Trevey Collection of American Realist Prints</strong>
Description
An account of the resource
The AD&A Museum is indebted to UC Santa Barbara alumnus Ken Trevey for this significant contribution to the Museum’s holdings in graphic arts. The Ken Trevey Collection tells the stories of Americans across a broad socio-economic spectrum during the 1930s and 1940s. In addition, the Trevey Collection provides the vehicle for an in-depth investigation into the history of printmaking during the Great Depression in the United States. As a body of prints created during the first period of significant government support for the arts, the Trevey Collection is of value to students and scholars across numerous disciplines, including art history, American history, race and gender studies, and economic history. In its inaugural exhibition at the Museum, works from the Trevey Collection were grouped around several themes: realistic urban dramas countered by idealized country settings, women in the world, men in industry, couples and lovers, old boys’ clubs, and the preoccupation with body image as rendered in scenes of sports and medicine. At the center of these thematic groupings, one finds in the Trevey Collection numerous images of African-American life. In their treatment of the African-American experience, the prints vacillate between a growing yet complicated acknowledgment of the hardships of racism and stereotyped imagery reflective of the limited white perceptions of black realities. “Prints…are the most democratic form of pictorial art,” wrote the organizers of the print section at the New York World’s Fair in 1939. The Trevey Collection of American realist prints exemplifies this statement through its diverse depictions of rural and urban, black and white, male and female, empowered and impoverished. Ken Trevey was a television screenwriter and his interest in stories is felt clearly in these prints.
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.
Dublin Core
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Identifier
An unambiguous reference to the resource within a given context
1992.138
Title
A name given to the resource
<strong>RICO</strong>, DON
Description
An account of the resource
<em>A Box at Minsky's</em>
wood engraving
sheet: 7 1/4 x 9 1/4 in; mat: 11 x 13 in
image: 4 1/2 x 6 1/2 in
Creator
An entity primarily responsible for making the resource
<strong>RICO,</strong> DON
b. United States, 1910
Source
A related resource from which the described resource is derived
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
Date
A point or period of time associated with an event in the lifecycle of the resource
1937
American
engraving
Figurative
men
print
Wood
Works-on-Paper