1 100 77 http://art-collections.museum.ucsb.edu/files/original/c5574e4e39d5482988815a971e9dcbd3.jpg c37a9ea9431ecfd620da79fe178bd3b0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Feitelson Collection of Old Master Drawings Description An account of the resource The paintings of American artist Lorser Feitelson, along with his wife and fellow artist Helen Lundeberg Feitelson, have been increasingly recognized for their contribution to the development of American abstract painting in the mid-twentieth century. Feitelson, whose own work is now included in the collections of the Los Angeles County Museum of Art, the Smithsonian American Art Museum, the San Francisco Museum of Modern Art, the Whitney Museum of American Art, and the Museum of Modern Art, was also an avid collector of more than 190 Old Master drawings that were bequeathed to AD&A Museum. Feitelson’s collection is of value not only as a tool for education and enjoyment; it also serves as a window into Feitelson’s views on old master drawing techniques and media. The mounts, as the late UC Santa Barbara Professor of Art History Alfred Moir wrote, “are covered with Lorser’s notes, speculating, comparing, documenting them, recording other peoples’ comments on them, pursuing recently published discoveries about their authors.” A catalog of selected work from the Collection was published in 1983, the text of which was the result of a graduate seminar at the UC Santa Barbara which focused on attributions and provenance. The Feitelson Collection conveys to all visitors the vital role of drawing and draftsmanship in artistic production prior to the mid-nineteenth century. Dataset Data encoded in a defined structure. Examples include lists, tables, and databases. A dataset may be useful for direct machine processing. 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 <h3>1985.141</h3> Title A name given to the resource TIBALDI, Pellegrino Creator An entity primarily responsible for making the resource TIBALDI, Pellegrino, b. Italy, 1527 - 1596 Description An account of the resource Frieze with Men, Putti, Satyr, and a Nymph, 16th C. Pen, brown ink, wash over black chalk, white, on brown paper 5 5/16 x 17 1/16" Source A related resource from which the described resource is derived Gift of the Lorser Feitelson and Helen Lundeberg Feitelson Arts Foundation Date A point or period of time associated with an event in the lifecycle of the resource 16th c. Figurative Frieze men Nymph Putti Satyr Sculpture women http://art-collections.museum.ucsb.edu/files/original/f47b0ac58836dcb0ff57e218e0c91c8b.JPG 9b0ef6b04129736b9d3bd0331b8edfd9 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/. Description An account of the resource In 2012, the AD&A Museum at UC Santa Barbara was gifted 8 Portfolios from Exit Art. Founded in 1982 by Jeanette Ingberman and Papo Calo, Exit Art was in operation until mid—2012 and served as an alternative exhibition space for artists working outside the mainstream. The first location, was on West Broadway, in SoHo. In 2002, the gallery moved to its last and final location in Hell's Kitchen where is stayed until mid 2012. Having been identified as an ideal space for artists, Exit Art’s exhibition “Fever” in 1992 was declared one of the ten most important exhibitions of the decade by Peter Plagens from Newsweek. In the late 1990’s, Exit Art began a portfolio series that was a mix of then emerging artists with some of the masters of contemporary art, including Leon Golub, Ann Hamilton, Sanford Biggers, and Alfredo Jaar. These portfolios became a record of Exit Art’s accomplishments for over a decade. Currently housed at the Museum, the following portfolios are now part of the Museum’s collection— 2001, TWO OO ONE; 2004—SIX X FOUR’; 2005—Tantra; 2006—Trance Borders; 2008—Expose; 2009 America America; 2010 Ecstasy 2 and 2011 SEA. Unfortunately, founding co-founder, Jeanette Ingberman passed away in mid 2011 and Exit Art was subsequently closed in 2012 due to concerns over loss of its conceptual oversight. Title A name given to the resource EXIT ART Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. 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 2012.009.001.002 Creator An entity primarily responsible for making the resource ACCONCI, Vito United States, b. 1940 Title A name given to the resource ACCONCI, Vito Description An account of the resource TWO O O ONE: Inside a Room of Sky; Memphis 2001 Digital pigment print on Hahnemuhle German etching, 16/50 22 x 30" PAPER Etching with an image of a blue sky spiraling towards the center where three men stand. Edition, signature, and title in graphite at bottom right. Source A related resource from which the described resource is derived Gift of Exit Art, New York Date A point or period of time associated with an event in the lifecycle of the resource 2001 abstract Blue Center Hurricane men Sky Spiral Works-on-Paper http://art-collections.museum.ucsb.edu/files/original/51580f292dbc727d96775bdef36d5bf5.jpg 2f0a0e8cc424f852f7e59c5f89b236a6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Arts of Asia Description An account of the resource The AD&A Museum houses a small collection of works from Asia including Japanese textiles and a Vietnamese portfolio created using traditional Vietnamese print making techniques. 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 1969.258.1 Title A name given to the resource Artist unknown, Chinese Creator An entity primarily responsible for making the resource Artist unknown, Chinese Description An account of the resource Genre Painting, 19th C. Watercolor and ink on silk 9 1/4 x 6 7/8" FABRIC Chinese genre painting of a large bisson being subdued by a shirtless male while a warrior -like male looks on from front; inscription at upper fight. Source A related resource from which the described resource is derived Gift of Mrs. William T. Campbell Date A point or period of time associated with an event in the lifecycle of the resource 19th C. Chinese Ink men Painting portrait silk Textile Watercolor http://art-collections.museum.ucsb.edu/files/original/cb9f60cdcbc1df9fe20c5b77bcf31e16.jpg cbac480786c40fc38b530300b389fa9f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Arts of Asia Description An account of the resource The AD&A Museum houses a small collection of works from Asia including Japanese textiles and a Vietnamese portfolio created using traditional Vietnamese print making techniques. 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 1969.258.10 Title A name given to the resource Artist unknown, Chinese Creator An entity primarily responsible for making the resource Artist unknown, Chinese Description An account of the resource Genre Painting, 19th C. Watercolor and ink on silk 8 3/4 x 6 3/4" FABRIC Chinese genre painting of two men sitting at a table in discussion; figure at right is wearing a green robe; second figure is in oragne; curtain draped over head. Source A related resource from which the described resource is derived Gift of Mrs. William T. Campbell Date A point or period of time associated with an event in the lifecycle of the resource 19th C. Chinese Ink men Painting portrait silk table Textile Watercolor http://art-collections.museum.ucsb.edu/files/original/937f67cee385082f806d485848f527bd.jpg 5d1390db2f1c53687797f3537d7ec655 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Arts of Asia Description An account of the resource The AD&A Museum houses a small collection of works from Asia including Japanese textiles and a Vietnamese portfolio created using traditional Vietnamese print making techniques. 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 1969.258.13 Title A name given to the resource Artist unknown, Chinese Creator An entity primarily responsible for making the resource Artist unknown, Chinese Description An account of the resource Genre Painting, 19th C. Watercolor and ink on wove paper 9 1/4 x 7 1/4" SHEET Chinese genre painting of a young man at low right offering flowers to an elderly man at left; inscription at upper right. Source A related resource from which the described resource is derived Gift of Mrs. William T. Campbell Date A point or period of time associated with an event in the lifecycle of the resource 19th C. Chinese Ink men Painting portrait Watercolor Works-on-Paper http://art-collections.museum.ucsb.edu/files/original/5938eaf7a8303ee27cc791aa15cb1bb5.jpg d2afffbce0ce72f700dc32b600084867 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Arts of Asia Description An account of the resource The AD&A Museum houses a small collection of works from Asia including Japanese textiles and a Vietnamese portfolio created using traditional Vietnamese print making techniques. 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 1969.258.14 Title A name given to the resource Artist unknown, Chinese Creator An entity primarily responsible for making the resource Artist unknown, Chinese Description An account of the resource Genre Painting, 19th C. Watercolor and ink on wove paper 9 1/4 x 7 1/4" SHEET Chinese genre painting; centralized image of two young men in discussion kneeling and stooping; one is wearing a red jacket; the second a green one over white dress carrying a large basket. Inscription at upper right. Source A related resource from which the described resource is derived Gift of Mrs. William T. Campbell Date A point or period of time associated with an event in the lifecycle of the resource 19th C. Chinese Ink men Painting portrait Watercolor Works-on-Paper http://art-collections.museum.ucsb.edu/files/original/f931819cd65e41a31986c1fd3172aa6f.jpg 9d74f7a3fc6c682f77b0c48affc4797e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Arts of Asia Description An account of the resource The AD&A Museum houses a small collection of works from Asia including Japanese textiles and a Vietnamese portfolio created using traditional Vietnamese print making techniques. 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 1969.258.15 Title A name given to the resource Artist unknown, Chinese Creator An entity primarily responsible for making the resource Artist unknown, Chinese Description An account of the resource Genre Painting, 19th C. Watercolor and ink on wove paper 9 1/4 x 7 1/4" SHEET Chinese genre painting with two figures fishing off the edge of a cliff; a large threatening wave encloses them from above; inscription at upper right. Source A related resource from which the described resource is derived Gift of Mrs. William T. Campbell Date A point or period of time associated with an event in the lifecycle of the resource 19th C. Chinese fishing Ink men Painting portrait Watercolor Works-on-Paper wove http://art-collections.museum.ucsb.edu/files/original/644e921daaf129dde75e6a6514d8f790.jpg 1e7aa36d939100f92307ea7aa3e1c9dd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Arts of Asia Description An account of the resource The AD&A Museum houses a small collection of works from Asia including Japanese textiles and a Vietnamese portfolio created using traditional Vietnamese print making techniques. 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 1969.258.18 Title A name given to the resource Artist unknown, Chinese Creator An entity primarily responsible for making the resource Artist unknown, Chinese Chinese Description An account of the resource 19th C. Watercolor and ink on wove paper 9 1/4 x 7 1/4" SHEET Chinese genre painting of a single figure at right stooped and pointing to a large bird while a second male figure at left looks on. Inscription at upper right. Source A related resource from which the described resource is derived Gift of Mrs. William T. Campbell Date A point or period of time associated with an event in the lifecycle of the resource 19th C. bird Chinese Ink men portrait Watercolor Works-on-Paper wove http://art-collections.museum.ucsb.edu/files/original/5ef230c5ef0b0daf1453f78cfb766fdc.jpg 5cddf8c34603b21076565fc68051b86e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Arts of Asia Description An account of the resource The AD&A Museum houses a small collection of works from Asia including Japanese textiles and a Vietnamese portfolio created using traditional Vietnamese print making techniques. 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 1969.258.2 Title A name given to the resource Artist unknown, Chinese Creator An entity primarily responsible for making the resource Artist unknown, Chinese Chinese Description An account of the resource Genre Painting, 19th C. Watercolor and ink on silk 9 x 6 5/8" FABRIC Chinese genre painting of two monks leaning together looking at a tiger positioned at center; inscription at upper right. Source A related resource from which the described resource is derived Gift of Mrs. William T. Campbell Date A point or period of time associated with an event in the lifecycle of the resource 19th C. Chinese Ink men monks Painting portrait silk Textile tiger Watercolor http://art-collections.museum.ucsb.edu/files/original/4be9a66463e124ba8bfa6ab2081f2cba.jpg 0b2cde18da955469b688e08972b2dd16 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Arts of Asia Description An account of the resource The AD&A Museum houses a small collection of works from Asia including Japanese textiles and a Vietnamese portfolio created using traditional Vietnamese print making techniques. 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 1969.258.21 Title A name given to the resource Artist unknown, Chinese Creator An entity primarily responsible for making the resource Artist unknown, Chinese Description An account of the resource Genre Painting, 19th C. Watercolor and ink on wove paper 9 1/4 x 7 1/4" SHEET Chinese genre painting with centralized image of two men holding up a figure positioned on a cloud-like form; at upper left appears a dragon-like creature; at upper right inscription. Source A related resource from which the described resource is derived Gift of Mrs. William T. Campbell Date A point or period of time associated with an event in the lifecycle of the resource 19th C. Chinese dragon Ink men Painting portrait Textile Watercolor http://art-collections.museum.ucsb.edu/files/original/94334c700fff763090772e57dc1d1c03.jpg 0ea13ad718b3b62035fdd9dd7312e894 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Arts of Asia Description An account of the resource The AD&A Museum houses a small collection of works from Asia including Japanese textiles and a Vietnamese portfolio created using traditional Vietnamese print making techniques. 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 1969.258.25 Title A name given to the resource Artist unknown, Chinese Creator An entity primarily responsible for making the resource Artist unknown, Chinese Chinese Description An account of the resource Genre Painting, 19th C. Watercolor and ink on silk 6 7/8 x 8 5/8" FABRIC Chinese genre painting with centralized image of a large male figure; two smaller male figures appear, one at right and the second looking out from the rear. Stork appears at left with inscription at upper left. Source A related resource from which the described resource is derived Gift of Mrs. William T. Campbell Date A point or period of time associated with an event in the lifecycle of the resource 19th C. Chinese Ink men Painting portrait silk Textile Watercolor http://art-collections.museum.ucsb.edu/files/original/2d3b5cc73e311829d43ebafa283694a9.jpg a8728e6d95e32b0c446d86301f5d81d9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Arts of Asia Description An account of the resource The AD&A Museum houses a small collection of works from Asia including Japanese textiles and a Vietnamese portfolio created using traditional Vietnamese print making techniques. 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 1969.258.7 Title A name given to the resource Artist unknown, Chinese Creator An entity primarily responsible for making the resource Artist unknown, Chinese Description An account of the resource Genre Painting, 19th C. Watercolor and ink on silk 8 3/4 x 6 3/4" FABRIC Chinese genre painting of two males, one is seated at a white table; second is feeding a long legged bird; inscription at upper left. Source A related resource from which the described resource is derived Gift of Mrs. William T. Campbell Date A point or period of time associated with an event in the lifecycle of the resource 19th C. Chinese fabric Ink men Painting portrait silk Textile Watercolor http://art-collections.museum.ucsb.edu/files/original/a64c1219bb1d629a8daef2c44bd21b03.jpg a6544bb9785d7a372ac53fbb1e764148 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Arts of Asia Description An account of the resource The AD&A Museum houses a small collection of works from Asia including Japanese textiles and a Vietnamese portfolio created using traditional Vietnamese print making techniques. 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 1963.9 Title A name given to the resource Artist unknown, Indian Creator An entity primarily responsible for making the resource Artist unknown, Indian Description An account of the resource Gentoo Barber, ca. early 20th C. Tempera 13 3/4 x 10" SHEET Indian folk painting of a "Gentoo" barber cutting the hair of a male seated at right leaning against a tree. Gentoo is a word coined by Westerners in reference to the native population of India prior to the use of Hindu. Source A related resource from which the described resource is derived Gift of John E. Carr Date A point or period of time associated with an event in the lifecycle of the resource ca. early 20th C. barber India men Painting portrait tempera http://art-collections.museum.ucsb.edu/files/original/dc960dc08e1dff5d5c393743a6c64ac2.jpg c014dd5dc444ddb7d6347f9e35728645 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sigmund Morgenroth Collection of Renaissance Medals and Plaquettes Description An account of the resource Intricately carved reliefs cast in metal or carved in wood, the Morgenroth Collection of medals and plaquettes rivals major collections of similar materials in the National Gallery in Washington DC or the Metropolitan Museum of Art in New York. The medals commemorate important personages and events, an ancient custom which was revived during the Renaissance. Displayed at AD&A Museum in a Wunderkammer or “cabinet of curiosities,” the medals are viewed by visitors as Italian collectors in fifteenth and sixteenth centuries experienced them. The plaquettes, both round and rectangular in format, are just inches in size, featuring delicate bas-relief portraits and scenes of mythological and Christian subject matter. The Morgenroth collection is among the founding collections of the museum and belongs to the art historical heritage of Santa Barbara. These extraordinary medals and plaquettes, amassed by Mr. Morgenroth primarily between 1927 and 1939, received their inaugural exhibition at the Santa Barbara Museum of Art from January to March 1943. 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 1964.596 Creator An entity primarily responsible for making the resource Artist unknown German, last half 16th century Title A name given to the resource Artist unknown Description An account of the resource Triumph of Poverty last half 16th century bronze 65.5 x 126 mm Source A related resource from which the described resource is derived Sigmund Morgenroth Collection of Renaissance Medals and Plaquettes Date A point or period of time associated with an event in the lifecycle of the resource last half 16th century 16th century Bronze german horse men Religious http://art-collections.museum.ucsb.edu/files/original/9d131eacd5f7d31e22356d3a5b621c7c.jpg c8397fa90cea158fc2807e1093f03413 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sigmund Morgenroth Collection of Renaissance Medals and Plaquettes Description An account of the resource Intricately carved reliefs cast in metal or carved in wood, the Morgenroth Collection of medals and plaquettes rivals major collections of similar materials in the National Gallery in Washington DC or the Metropolitan Museum of Art in New York. The medals commemorate important personages and events, an ancient custom which was revived during the Renaissance. Displayed at AD&A Museum in a Wunderkammer or “cabinet of curiosities,” the medals are viewed by visitors as Italian collectors in fifteenth and sixteenth centuries experienced them. The plaquettes, both round and rectangular in format, are just inches in size, featuring delicate bas-relief portraits and scenes of mythological and Christian subject matter. The Morgenroth collection is among the founding collections of the museum and belongs to the art historical heritage of Santa Barbara. These extraordinary medals and plaquettes, amassed by Mr. Morgenroth primarily between 1927 and 1939, received their inaugural exhibition at the Santa Barbara Museum of Art from January to March 1943. 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 1964.597 Creator An entity primarily responsible for making the resource Artist unknown German, last half 16th century Title A name given to the resource Artist unknown Description An account of the resource Triumph of Church last half 16th century bronze 69 x 128.5 mm Source A related resource from which the described resource is derived Sigmund Morgenroth Collection of Renaissance Medals and Plaquettes Date A point or period of time associated with an event in the lifecycle of the resource last half 16th century 16th century Bronze german horse men Religious http://art-collections.museum.ucsb.edu/files/original/829d7c8592aed31c6112b30bb76cdded.jpg 5f102a5bf21bf3a7cdcd029c4c60f5e5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sigmund Morgenroth Collection of Renaissance Medals and Plaquettes Description An account of the resource Intricately carved reliefs cast in metal or carved in wood, the Morgenroth Collection of medals and plaquettes rivals major collections of similar materials in the National Gallery in Washington DC or the Metropolitan Museum of Art in New York. The medals commemorate important personages and events, an ancient custom which was revived during the Renaissance. Displayed at AD&A Museum in a Wunderkammer or “cabinet of curiosities,” the medals are viewed by visitors as Italian collectors in fifteenth and sixteenth centuries experienced them. The plaquettes, both round and rectangular in format, are just inches in size, featuring delicate bas-relief portraits and scenes of mythological and Christian subject matter. The Morgenroth collection is among the founding collections of the museum and belongs to the art historical heritage of Santa Barbara. These extraordinary medals and plaquettes, amassed by Mr. Morgenroth primarily between 1927 and 1939, received their inaugural exhibition at the Santa Barbara Museum of Art from January to March 1943. 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 1964.598 Creator An entity primarily responsible for making the resource Artist unknown German, last half 16th century Title A name given to the resource Artist unknown Description An account of the resource Triumph of Christian Virtues last half 16th century bronze 65 x 124.5 mm Source A related resource from which the described resource is derived Sigmund Morgenroth Collection of Renaissance Medals and Plaquettes Date A point or period of time associated with an event in the lifecycle of the resource last half 16th century 16th century Bronze horse men Religious Sculpture http://art-collections.museum.ucsb.edu/files/original/3c8db636106886e6ff82f768c88cc285.JPG a4a2d15fae7a2c9b1e5e6054aa8205e0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Carolyn and Edwin Gledhill Photography Collection Description An account of the resource In 1986, Keith Gledhill donated to the AD&A Museum a collection of over 100 photographic materials by his mother and father, Carolyn and Edwin Gledhill. Arriving in 1917, the recently married couple, opened their portrait studio on Chapala Street, one block from the infamous oceanfront Potter Hotel which is now Ambassador Park near Stearns Wharf. Although industrial growth was progressing rapidly throughout the United States, Santa Barbara remained focused on architecture, civic value and pageantry focusing on the city’s cultural elite. This made it a haven for a diverse and growing community of artists and professionals allowing the Gledhills easy access to subjects for their portraiture business. Carolyn and Edwin lived an unconditional lifestyle which was deemed scandalous by early 20th Century standards: at the time of their marriage, Edwin was 19 and Carolyn in her 30s. This unorthodox lifestyle mirrored itself in real life while Edwin was often viewed as the primary photographer of the studio, it was really Carolyn who was the professional. Edwin would pose the subjects but it was only when Carolyn found the pose to her liking that she would pull the shutter. This often resulted in empowered appearing women suggesting an early expression of feminism. But Carolyn had an untimely death in the 1930s while Edwin continued with the photography studio preserving in print Santa Barbara’s historic resources. The Gledhill collection is augmented with additional photographs by Henry Ravell, a colleague and fellow photographer who arrived in Southern California from New York in 1914. 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 1986.114 Creator An entity primarily responsible for making the resource Artist unknown Title A name given to the resource Artist unknown Description An account of the resource 4 Dead, 4 Men with Rifles, 7 Grave Diggers (#109) 1898 gelatin silver and albumen 4 1/4 x 6 1/2 in Source A related resource from which the described resource is derived Gift of Mr. Keith Gledhill Date A point or period of time associated with an event in the lifecycle of the resource 1898 Dead Grave Diggers men photograph portrait Rifles uniform http://art-collections.museum.ucsb.edu/files/original/d0fb89c6246b713fb9322d7e35e214b9.jpg 45448caaa2e69dc82f6330d8214c3e1a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Carolyn and Edwin Gledhill Photography Collection Description An account of the resource In 1986, Keith Gledhill donated to the AD&A Museum a collection of over 100 photographic materials by his mother and father, Carolyn and Edwin Gledhill. Arriving in 1917, the recently married couple, opened their portrait studio on Chapala Street, one block from the infamous oceanfront Potter Hotel which is now Ambassador Park near Stearns Wharf. Although industrial growth was progressing rapidly throughout the United States, Santa Barbara remained focused on architecture, civic value and pageantry focusing on the city’s cultural elite. This made it a haven for a diverse and growing community of artists and professionals allowing the Gledhills easy access to subjects for their portraiture business. Carolyn and Edwin lived an unconditional lifestyle which was deemed scandalous by early 20th Century standards: at the time of their marriage, Edwin was 19 and Carolyn in her 30s. This unorthodox lifestyle mirrored itself in real life while Edwin was often viewed as the primary photographer of the studio, it was really Carolyn who was the professional. Edwin would pose the subjects but it was only when Carolyn found the pose to her liking that she would pull the shutter. This often resulted in empowered appearing women suggesting an early expression of feminism. But Carolyn had an untimely death in the 1930s while Edwin continued with the photography studio preserving in print Santa Barbara’s historic resources. The Gledhill collection is augmented with additional photographs by Henry Ravell, a colleague and fellow photographer who arrived in Southern California from New York in 1914. 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 1986.120 Creator An entity primarily responsible for making the resource Artist unknown Title A name given to the resource Artist unknown Description An account of the resource 9 Men Holding Bones/Cemetary Bone Pile(Paco Bone Yard) 1898 gelatin silver and albumen 4 1/2 x 7 1/2 in Source A related resource from which the described resource is derived Gift of Mr. Keith Gledhill Date A point or period of time associated with an event in the lifecycle of the resource 1898 Archaeologist Bones Cemetary men Paco Bone Yard photograph portrait Skull http://art-collections.museum.ucsb.edu/files/original/ad52179c363af9b7fcf238226a9ce9c4.jpg 0f4a90838347da0bb14b914033ddba44 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Carolyn and Edwin Gledhill Photography Collection Description An account of the resource In 1986, Keith Gledhill donated to the AD&A Museum a collection of over 100 photographic materials by his mother and father, Carolyn and Edwin Gledhill. Arriving in 1917, the recently married couple, opened their portrait studio on Chapala Street, one block from the infamous oceanfront Potter Hotel which is now Ambassador Park near Stearns Wharf. Although industrial growth was progressing rapidly throughout the United States, Santa Barbara remained focused on architecture, civic value and pageantry focusing on the city’s cultural elite. This made it a haven for a diverse and growing community of artists and professionals allowing the Gledhills easy access to subjects for their portraiture business. Carolyn and Edwin lived an unconditional lifestyle which was deemed scandalous by early 20th Century standards: at the time of their marriage, Edwin was 19 and Carolyn in her 30s. This unorthodox lifestyle mirrored itself in real life while Edwin was often viewed as the primary photographer of the studio, it was really Carolyn who was the professional. Edwin would pose the subjects but it was only when Carolyn found the pose to her liking that she would pull the shutter. This often resulted in empowered appearing women suggesting an early expression of feminism. But Carolyn had an untimely death in the 1930s while Edwin continued with the photography studio preserving in print Santa Barbara’s historic resources. The Gledhill collection is augmented with additional photographs by Henry Ravell, a colleague and fellow photographer who arrived in Southern California from New York in 1914. 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 1986.132 Creator An entity primarily responsible for making the resource Artist unknown Title A name given to the resource Artist unknown Description An account of the resource Men Lined up in Military Fashion 1898 gelatin silver and albumen 6 3/8 x 8 1/8 in Source A related resource from which the described resource is derived Gift of Mr. Keith Gledhill Date A point or period of time associated with an event in the lifecycle of the resource 1898 Albumen Print Gathering Gelatin Silver Print landscape line men military outdoors photograph portrait uniform http://art-collections.museum.ucsb.edu/files/original/111610b1338b9f30c4e5ccd43825b196.jpg 0931ea47d5b1dfd1da9c638c3c37f112 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Carolyn and Edwin Gledhill Photography Collection Description An account of the resource In 1986, Keith Gledhill donated to the AD&A Museum a collection of over 100 photographic materials by his mother and father, Carolyn and Edwin Gledhill. Arriving in 1917, the recently married couple, opened their portrait studio on Chapala Street, one block from the infamous oceanfront Potter Hotel which is now Ambassador Park near Stearns Wharf. Although industrial growth was progressing rapidly throughout the United States, Santa Barbara remained focused on architecture, civic value and pageantry focusing on the city’s cultural elite. This made it a haven for a diverse and growing community of artists and professionals allowing the Gledhills easy access to subjects for their portraiture business. Carolyn and Edwin lived an unconditional lifestyle which was deemed scandalous by early 20th Century standards: at the time of their marriage, Edwin was 19 and Carolyn in her 30s. This unorthodox lifestyle mirrored itself in real life while Edwin was often viewed as the primary photographer of the studio, it was really Carolyn who was the professional. Edwin would pose the subjects but it was only when Carolyn found the pose to her liking that she would pull the shutter. This often resulted in empowered appearing women suggesting an early expression of feminism. But Carolyn had an untimely death in the 1930s while Edwin continued with the photography studio preserving in print Santa Barbara’s historic resources. The Gledhill collection is augmented with additional photographs by Henry Ravell, a colleague and fellow photographer who arrived in Southern California from New York in 1914. 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 1986.217 Creator An entity primarily responsible for making the resource Artist unknown Title A name given to the resource Artist unknown Description An account of the resource Near Santa Cruz photo lithograph 4 1/4 x 4 1/4 in Source A related resource from which the described resource is derived Gift of Mr. Keith Gledhill Date A point or period of time associated with an event in the lifecycle of the resource n.d. Dam horse landscape men Nature photograph river Rocks Santa Cruz http://art-collections.museum.ucsb.edu/files/original/38d059c96295dacfbf06911d87f2d966.jpg c4ce315310b8f0b6170348430e9d77ad Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Carolyn and Edwin Gledhill Photography Collection Description An account of the resource In 1986, Keith Gledhill donated to the AD&A Museum a collection of over 100 photographic materials by his mother and father, Carolyn and Edwin Gledhill. Arriving in 1917, the recently married couple, opened their portrait studio on Chapala Street, one block from the infamous oceanfront Potter Hotel which is now Ambassador Park near Stearns Wharf. Although industrial growth was progressing rapidly throughout the United States, Santa Barbara remained focused on architecture, civic value and pageantry focusing on the city’s cultural elite. This made it a haven for a diverse and growing community of artists and professionals allowing the Gledhills easy access to subjects for their portraiture business. Carolyn and Edwin lived an unconditional lifestyle which was deemed scandalous by early 20th Century standards: at the time of their marriage, Edwin was 19 and Carolyn in her 30s. This unorthodox lifestyle mirrored itself in real life while Edwin was often viewed as the primary photographer of the studio, it was really Carolyn who was the professional. Edwin would pose the subjects but it was only when Carolyn found the pose to her liking that she would pull the shutter. This often resulted in empowered appearing women suggesting an early expression of feminism. But Carolyn had an untimely death in the 1930s while Edwin continued with the photography studio preserving in print Santa Barbara’s historic resources. The Gledhill collection is augmented with additional photographs by Henry Ravell, a colleague and fellow photographer who arrived in Southern California from New York in 1914. 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 1986.221 Creator An entity primarily responsible for making the resource Artist unknown Title A name given to the resource Artist unknown Description An account of the resource Two Men with Oxen In Field photo lithograph 4 1/4 x 4 1/4 in Source A related resource from which the described resource is derived Gift of Mr. Keith Gledhill Date A point or period of time associated with an event in the lifecycle of the resource n.d. Farmer field hat landscape Lithograph men oxen photograph Rake trees http://art-collections.museum.ucsb.edu/files/original/63aa77c7118c89f853db8aa258a4a8bc.jpg 968a25485dbca17c2ee12acd86deef18 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Carolyn and Edwin Gledhill Photography Collection Description An account of the resource In 1986, Keith Gledhill donated to the AD&A Museum a collection of over 100 photographic materials by his mother and father, Carolyn and Edwin Gledhill. Arriving in 1917, the recently married couple, opened their portrait studio on Chapala Street, one block from the infamous oceanfront Potter Hotel which is now Ambassador Park near Stearns Wharf. Although industrial growth was progressing rapidly throughout the United States, Santa Barbara remained focused on architecture, civic value and pageantry focusing on the city’s cultural elite. This made it a haven for a diverse and growing community of artists and professionals allowing the Gledhills easy access to subjects for their portraiture business. Carolyn and Edwin lived an unconditional lifestyle which was deemed scandalous by early 20th Century standards: at the time of their marriage, Edwin was 19 and Carolyn in her 30s. This unorthodox lifestyle mirrored itself in real life while Edwin was often viewed as the primary photographer of the studio, it was really Carolyn who was the professional. Edwin would pose the subjects but it was only when Carolyn found the pose to her liking that she would pull the shutter. This often resulted in empowered appearing women suggesting an early expression of feminism. But Carolyn had an untimely death in the 1930s while Edwin continued with the photography studio preserving in print Santa Barbara’s historic resources. The Gledhill collection is augmented with additional photographs by Henry Ravell, a colleague and fellow photographer who arrived in Southern California from New York in 1914. 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 1986.229 Creator An entity primarily responsible for making the resource Artist unknown Title A name given to the resource Artist unknown Description An account of the resource 2 Nurses & 2 Men In a Hospital gelatin sliver 3 1/2" x 4 3/4" Source A related resource from which the described resource is derived Gift of Mr. Keith Gledhill Date A point or period of time associated with an event in the lifecycle of the resource n.d. Cast Gelatin Silver Print Hospital Bed men Nurses photograph portrait uniform Wheelchair http://art-collections.museum.ucsb.edu/files/original/742a753b8bac3bbb3b1d800863d41233.jpg 36b288bce6cd0daf99cfa600956afc97 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Carolyn and Edwin Gledhill Photography Collection Description An account of the resource In 1986, Keith Gledhill donated to the AD&A Museum a collection of over 100 photographic materials by his mother and father, Carolyn and Edwin Gledhill. Arriving in 1917, the recently married couple, opened their portrait studio on Chapala Street, one block from the infamous oceanfront Potter Hotel which is now Ambassador Park near Stearns Wharf. Although industrial growth was progressing rapidly throughout the United States, Santa Barbara remained focused on architecture, civic value and pageantry focusing on the city’s cultural elite. This made it a haven for a diverse and growing community of artists and professionals allowing the Gledhills easy access to subjects for their portraiture business. Carolyn and Edwin lived an unconditional lifestyle which was deemed scandalous by early 20th Century standards: at the time of their marriage, Edwin was 19 and Carolyn in her 30s. This unorthodox lifestyle mirrored itself in real life while Edwin was often viewed as the primary photographer of the studio, it was really Carolyn who was the professional. Edwin would pose the subjects but it was only when Carolyn found the pose to her liking that she would pull the shutter. This often resulted in empowered appearing women suggesting an early expression of feminism. But Carolyn had an untimely death in the 1930s while Edwin continued with the photography studio preserving in print Santa Barbara’s historic resources. The Gledhill collection is augmented with additional photographs by Henry Ravell, a colleague and fellow photographer who arrived in Southern California from New York in 1914. 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 1986.230 Creator An entity primarily responsible for making the resource Artist unknown Title A name given to the resource Artist unknown Description An account of the resource 2 Nurses & 2 Men in a Hospital (Duplicate of 1986.229) gelatin sliver 4 1/4" x 3 1/4" Source A related resource from which the described resource is derived Gift of Mr. Keith Gledhill Date A point or period of time associated with an event in the lifecycle of the resource n.d. Cast Gelatin Silver Print Hospital Bed men Nurses photograph portrait uniform Wheelchair http://art-collections.museum.ucsb.edu/files/original/f447b40b36bc59b50c3d85def26a502a.jpg 3427474bfb3e9059364cd372a1836a85 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Carolyn and Edwin Gledhill Photography Collection Description An account of the resource In 1986, Keith Gledhill donated to the AD&A Museum a collection of over 100 photographic materials by his mother and father, Carolyn and Edwin Gledhill. Arriving in 1917, the recently married couple, opened their portrait studio on Chapala Street, one block from the infamous oceanfront Potter Hotel which is now Ambassador Park near Stearns Wharf. Although industrial growth was progressing rapidly throughout the United States, Santa Barbara remained focused on architecture, civic value and pageantry focusing on the city’s cultural elite. This made it a haven for a diverse and growing community of artists and professionals allowing the Gledhills easy access to subjects for their portraiture business. Carolyn and Edwin lived an unconditional lifestyle which was deemed scandalous by early 20th Century standards: at the time of their marriage, Edwin was 19 and Carolyn in her 30s. This unorthodox lifestyle mirrored itself in real life while Edwin was often viewed as the primary photographer of the studio, it was really Carolyn who was the professional. Edwin would pose the subjects but it was only when Carolyn found the pose to her liking that she would pull the shutter. This often resulted in empowered appearing women suggesting an early expression of feminism. But Carolyn had an untimely death in the 1930s while Edwin continued with the photography studio preserving in print Santa Barbara’s historic resources. The Gledhill collection is augmented with additional photographs by Henry Ravell, a colleague and fellow photographer who arrived in Southern California from New York in 1914. 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 1986.231 Creator An entity primarily responsible for making the resource Artist unknown Title A name given to the resource Artist unknown Description An account of the resource 2 Nurses & 2 Men in a Hospital (Duplicate of 1986.230) gelatin sliver 4 1/4" x 3 1/4" Source A related resource from which the described resource is derived Gift of Mr. Keith Gledhill Date A point or period of time associated with an event in the lifecycle of the resource n.d. Cast Gelatin Silver Print Hospital Bed men Nurses photograph portrait uniform Wheelchair http://art-collections.museum.ucsb.edu/files/original/da848fcf79fea076556a051f2c5f25b2.jpg f88104a25c5196ca6f9e8a773001143b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Carolyn and Edwin Gledhill Photography Collection Description An account of the resource In 1986, Keith Gledhill donated to the AD&A Museum a collection of over 100 photographic materials by his mother and father, Carolyn and Edwin Gledhill. Arriving in 1917, the recently married couple, opened their portrait studio on Chapala Street, one block from the infamous oceanfront Potter Hotel which is now Ambassador Park near Stearns Wharf. Although industrial growth was progressing rapidly throughout the United States, Santa Barbara remained focused on architecture, civic value and pageantry focusing on the city’s cultural elite. This made it a haven for a diverse and growing community of artists and professionals allowing the Gledhills easy access to subjects for their portraiture business. Carolyn and Edwin lived an unconditional lifestyle which was deemed scandalous by early 20th Century standards: at the time of their marriage, Edwin was 19 and Carolyn in her 30s. This unorthodox lifestyle mirrored itself in real life while Edwin was often viewed as the primary photographer of the studio, it was really Carolyn who was the professional. Edwin would pose the subjects but it was only when Carolyn found the pose to her liking that she would pull the shutter. This often resulted in empowered appearing women suggesting an early expression of feminism. But Carolyn had an untimely death in the 1930s while Edwin continued with the photography studio preserving in print Santa Barbara’s historic resources. The Gledhill collection is augmented with additional photographs by Henry Ravell, a colleague and fellow photographer who arrived in Southern California from New York in 1914. 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 1986.238 Creator An entity primarily responsible for making the resource Artist unknown Title A name given to the resource Artist unknown Description An account of the resource 9 Men in Uniform at Meal Time gelatin sliver 3 x 4 in Source A related resource from which the described resource is derived Gift of Mr. Keith Gledhill Date A point or period of time associated with an event in the lifecycle of the resource n.d. Gelatin Silver Print Meal Time men photograph portrait Soldiers uniform 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 The Ken Trevey Collection of American Realist Prints 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 BACON, Peggy Description An account of the resource Pleading for the Oppressed 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 BACON, 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/68b38c4d665becbbc00ea6e7ef32a0a9.jpg 320a64a6450075a6f243ef394f6e4cbc 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 Paintings Description An account of the resource In addition to the Sedgwick Collection of Old Master Paintings and The Fernand Lungren Bequest, the AD&A Museum has steadilycollected paintings including works complimenting the Sedgwick Collection as well as large scale works by Matt Mullican and Adam Ross. 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 S2018.009.009 Creator An entity primarily responsible for making the resource BARAJAS, GABRIEL Title A name given to the resource BARAJAS, GABRIEL Description An account of the resource Installation of Santa Barbara Project: Moises Digital photograph 11 x 14'' MOUNTED One of seven mounted digital photographs taken at Santa Barbara City College of John Sonsini painting his subjects. A worker in a pale blue tank top and jeans, Moises, sits with his fingers laced as Sonsini paints his portrait, focusing on his facial features. Source A related resource from which the described resource is derived Gift of John Sonsini Date A point or period of time associated with an event in the lifecycle of the resource n.d. artist canvas men model Painting photograph posing still life http://art-collections.museum.ucsb.edu/files/original/838381f8c9714b06bf178e8a15e08332.jpg f4ef8914e3f42e03b3a8be3a555b9ae4 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 Paintings Description An account of the resource In addition to the Sedgwick Collection of Old Master Paintings and The Fernand Lungren Bequest, the AD&A Museum has steadilycollected paintings including works complimenting the Sedgwick Collection as well as large scale works by Matt Mullican and Adam Ross. 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 S2018.009.013 Creator An entity primarily responsible for making the resource BARAJAS, GABRIEL Title A name given to the resource BARAJAS, GABRIEL Description An account of the resource Installation of Santa Barbara Project: Miguel signing Digital photograph 14 x 11" MOUNTED One of seven mounted digital photographs taken at Santa Barbara City College of John Sonsini painting his subjects. A worker in a checkered blue shirts, Miguel, stands alongside Sonsini, their backs to the camera, as both men sign the reverse of a canvas. Source A related resource from which the described resource is derived Gift of John Sonsini Date A point or period of time associated with an event in the lifecycle of the resource n.d. canvas men photograph signing still life two men 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 The Ken Trevey Collection of American Realist Prints 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 BELLOWS, George Description An account of the resource Business Men's Baths 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 BELLOWS, 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/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 The Ken Trevey Collection of American Realist Prints 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 BELLOWS, George Description An account of the resource The Barricade 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 BELLOWS, 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/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 The Ken Trevey Collection of American Realist Prints 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 BENTON, Thomas Hart Description An account of the resource Strike (Mine Strike) 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 BENTON, 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/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 The Ken Trevey Collection of American Realist Prints 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 BENTON, Thomas Hart Description An account of the resource Down the River 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 BENTON, 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/870599980814b705e9839a7555daa9cc.jpg 32d5c80f66f233bc1b788349f3df8e10 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Margaret Mallory Bequest Description An account of the resource The Margaret Mallory Bequest comprises two distinct areas of the AD&A Museum holdings. In 1961, Margaret Mallory donated a group of twentieth century and Old Master prints to the museum. In 1964, Mallory made another donation of over 300 African objects to the museum. Thirty-five years later, and one year after Mallory’s death in 1998, the Margaret Mallory Bequest brought additional works on paper from the twentieth century to AD&A Museum. Together with the Ruth S. Schaffner Collection, the Mallory Bequest added to AD&A Museum’s strong collection of contemporary works on paper. Besides her passionate art collecting, Mallory was a filmmaker and founded Falcon Films in 1947 (together with former Santa Barbara Museum of Art director Ala Story) to produce documentary films on art and artists. Mallory was an early supporter of AD&A Museum, active in the tasks of fundraising, acquisitions and public relations which established the AD&A Museum as a vibrant teaching museum. 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 1984.57 Creator An entity primarily responsible for making the resource Brassai French, 1899 - 1984 Title A name given to the resource BRASSAI Description An account of the resource Two Young Men Sharing One Suit, ca. 1928 Gelatin silver print 11 1/2 x 8 3/4 in. Source A related resource from which the described resource is derived Gift of Miss Margaret Mallory, Dean's Office Purchse Fund Date A point or period of time associated with an event in the lifecycle of the resource 20th c. Fedora Figurative men photograph suit Young 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 The Ken Trevey Collection of American Realist Prints 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 BRODSKY, Harry Description An account of the resource The Bar 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 BRODSKY, 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/08eadf4fea1189e00dac0be22362da93.jpg 72237edb2d58410b7f4d3009d29e6f7b 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 Highway as Habitat Description An account of the resource In 1986, Ulrich Keller, Professor of Photography, the History of Art and Architecture, UCSB, brought the exhibition "Highway as Habitat" to the AD&A Museum. Compiled by Roy Stryker, a sociologist, this series reflects a bygone era from 1943-1955 when Americans had fun on the road. The approximately 140 black and white photographs from the Standard Oil of New Jersey documentary project are broken into genres: Public Transit, Rest Stops, Signage and Truckers 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 1985.368 Creator An entity primarily responsible for making the resource BUBLEY, Esther 1921-1998 Title A name given to the resource BUBLEY, Esther Description An account of the resource Waiting Room Greyhound Bus Terminal Gelatin silver print Source A related resource from which the described resource is derived Purchase, Standard Oil of New Jersey Photographic Archives, Ekstrom Library University of Louisville Date A point or period of time associated with an event in the lifecycle of the resource ca. 1940-49; reprint 1985 20th century black and white bus men newspaper passengers photograph still life waiting room http://art-collections.museum.ucsb.edu/files/original/7675feb608ecfa051ca956ed53c5d562.jpg a592e46010ab9fbe1f5cfec8bafbf5c7 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 Highway as Habitat Description An account of the resource In 1986, Ulrich Keller, Professor of Photography, the History of Art and Architecture, UCSB, brought the exhibition "Highway as Habitat" to the AD&A Museum. Compiled by Roy Stryker, a sociologist, this series reflects a bygone era from 1943-1955 when Americans had fun on the road. The approximately 140 black and white photographs from the Standard Oil of New Jersey documentary project are broken into genres: Public Transit, Rest Stops, Signage and Truckers 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 1985.379 Creator An entity primarily responsible for making the resource BUBLEY, Esther 1921-1998 Title A name given to the resource BUBLEY, Esther Description An account of the resource Long Island City Central Greyhound Lines Gelatin silver print Source A related resource from which the described resource is derived Purchase, Standard Oil of New Jersey Photographic Archives, Ekstrom Library University of Louisville Date A point or period of time associated with an event in the lifecycle of the resource 1940-1949; reprint 1985 20th century black and white bus greyhound men Perspective photograph still life workers 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 The Ken Trevey Collection of American Realist Prints 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 CADMUS, Paul Description An account of the resource YMCA Locker Room 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 CADMUS, 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 The Ken Trevey Collection of American Realist Prints 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 CADMUS, Paul Description An account of the resource Two Boys on the Beach #1 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 CADMUS, 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/a96b2b087489e91741571ec6910f83e1.jpg 589c8f55ad134cb97036bb93fab2c20e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Margaret Mallory Bequest Description An account of the resource The Margaret Mallory Bequest comprises two distinct areas of the AD&A Museum holdings. In 1961, Margaret Mallory donated a group of twentieth century and Old Master prints to the museum. In 1964, Mallory made another donation of over 300 African objects to the museum. Thirty-five years later, and one year after Mallory’s death in 1998, the Margaret Mallory Bequest brought additional works on paper from the twentieth century to AD&A Museum. Together with the Ruth S. Schaffner Collection, the Mallory Bequest added to AD&A Museum’s strong collection of contemporary works on paper. Besides her passionate art collecting, Mallory was a filmmaker and founded Falcon Films in 1947 (together with former Santa Barbara Museum of Art director Ala Story) to produce documentary films on art and artists. Mallory was an early supporter of AD&A Museum, active in the tasks of fundraising, acquisitions and public relations which established the AD&A Museum as a vibrant teaching museum. 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 1999.11.1 Creator An entity primarily responsible for making the resource CAGLI, Corrado Italian, 1910-1976 Title A name given to the resource CAGLI, Corrado Description An account of the resource Il Bagatto Minore Source A related resource from which the described resource is derived Margaret Mallory Bequest Date A point or period of time associated with an event in the lifecycle of the resource n.d. Dice Figurative Four Faces men Mirrored Works-on-Paper http://art-collections.museum.ucsb.edu/files/original/ac0f381f06c9db7eaf6b31682fff8afd.jpg 59b3e0612267b251be0e4249a2ad7f58 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/. Description An account of the resource In 2012, the AD&A Museum at UC Santa Barbara was gifted 8 Portfolios from Exit Art. Founded in 1982 by Jeanette Ingberman and Papo Calo, Exit Art was in operation until mid—2012 and served as an alternative exhibition space for artists working outside the mainstream. The first location, was on West Broadway, in SoHo. In 2002, the gallery moved to its last and final location in Hell's Kitchen where is stayed until mid 2012. Having been identified as an ideal space for artists, Exit Art’s exhibition “Fever” in 1992 was declared one of the ten most important exhibitions of the decade by Peter Plagens from Newsweek. In the late 1990’s, Exit Art began a portfolio series that was a mix of then emerging artists with some of the masters of contemporary art, including Leon Golub, Ann Hamilton, Sanford Biggers, and Alfredo Jaar. These portfolios became a record of Exit Art’s accomplishments for over a decade. Currently housed at the Museum, the following portfolios are now part of the Museum’s collection— 2001, TWO OO ONE; 2004—SIX X FOUR’; 2005—Tantra; 2006—Trance Borders; 2008—Expose; 2009 America America; 2010 Ecstasy 2 and 2011 SEA. Unfortunately, founding co-founder, Jeanette Ingberman passed away in mid 2011 and Exit Art was subsequently closed in 2012 due to concerns over loss of its conceptual oversight. Title A name given to the resource EXIT ART Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. 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 2012.009.004.003 Creator An entity primarily responsible for making the resource CONDO, George United States, b.1957 Title A name given to the resource CONDO, George Description An account of the resource TRANCE/BORDERS: Blue Expanding Figures 2006 6 Color silkscreen on Lenox 100 paper, 35/50 30 x 22" PAPER PAPER of blue figures expanding into one another; signature and date at lower right. Source A related resource from which the described resource is derived Gift of Exit Art, New York Date A point or period of time associated with an event in the lifecycle of the resource 2006 abstract Blue Breast Figurative men nude Penis Sexual women Works-on-Paper http://art-collections.museum.ucsb.edu/files/original/1399877b30e26eb9a3873742d715cf83.JPG 71a56207467f18796c2e6fd5efc2aa1a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Margaret Mallory Bequest Description An account of the resource The Margaret Mallory Bequest comprises two distinct areas of the AD&A Museum holdings. In 1961, Margaret Mallory donated a group of twentieth century and Old Master prints to the museum. In 1964, Mallory made another donation of over 300 African objects to the museum. Thirty-five years later, and one year after Mallory’s death in 1998, the Margaret Mallory Bequest brought additional works on paper from the twentieth century to AD&A Museum. Together with the Ruth S. Schaffner Collection, the Mallory Bequest added to AD&A Museum’s strong collection of contemporary works on paper. Besides her passionate art collecting, Mallory was a filmmaker and founded Falcon Films in 1947 (together with former Santa Barbara Museum of Art director Ala Story) to produce documentary films on art and artists. Mallory was an early supporter of AD&A Museum, active in the tasks of fundraising, acquisitions and public relations which established the AD&A Museum as a vibrant teaching museum. 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 1999.12 Creator An entity primarily responsible for making the resource Cornell, Thomas United States, b. 1937 Title A name given to the resource CORNELL, Thomas Description An account of the resource The Fat Man wash sheet: 6 1/4 x 10; image: 3 1/4 x 6 1/8 in. Five men carry fat man on platform Source A related resource from which the described resource is derived Margaret Mallory Bequest Date A point or period of time associated with an event in the lifecycle of the resource 1960 Fat Man Figurative men Platform Works-on-Paper http://art-collections.museum.ucsb.edu/files/original/d34fcffc4e9ec4ad5cc59b263849ea64.jpg f42c9aa92cb3226eea56614035b6b080 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 Highway as Habitat Description An account of the resource In 1986, Ulrich Keller, Professor of Photography, the History of Art and Architecture, UCSB, brought the exhibition "Highway as Habitat" to the AD&A Museum. Compiled by Roy Stryker, a sociologist, this series reflects a bygone era from 1943-1955 when Americans had fun on the road. The approximately 140 black and white photographs from the Standard Oil of New Jersey documentary project are broken into genres: Public Transit, Rest Stops, Signage and Truckers 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 1985.346 Creator An entity primarily responsible for making the resource CORSINI, Harold United States, 1919-2008 Title A name given to the resource CORSINI, Harold Description An account of the resource Men on Sander Truck Gelatin silver print Source A related resource from which the described resource is derived Purchase, Standard Oil of New Jersey Photographic Archives, Ekstrom Library University of Louisville Date A point or period of time associated with an event in the lifecycle of the resource 1940-1949; reprint 1985 20th century black and white landscape men photograph sander workers http://art-collections.museum.ucsb.edu/files/original/5c81c13d87432f3f2bbab15d43f0044f.jpg c955b45c23dde8ca7210cc7fbe1eb563 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Keith Puccinelli Collection of Art and Design Description An account of the resource In 2018, the AD&A Museum was given numerous artworks from the Estate of Frances Garvin and Keith Julius Puccinelli. Included in this gift are Puccinelli's own archive of drawings, sculptures, prints, sketchbooks, and graphic design. As a renowned artist and graphic designer based in Santa Barbara, the collection represents a significant part of the Museum's holdings. 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 DEBRIS, Bob Description An account of the resource Vent Haven Museum, Fort Mitchell, Kentucky, 2003 Date A point or period of time associated with an event in the lifecycle of the resource 2003 Type C Print 22 1/2 x 24 "(FRAMED); 15 x 15" (IMAGE) Photograph of museum display with several ventriloquist puppets in rows. At lower right, signed. Creator An entity primarily responsible for making the resource DEBRIS, Bob b. United States Source A related resource from which the described resource is derived Estate of Frances Garvin and Keith Julius Puccinelli Identifier An unambiguous reference to the resource within a given context 2018.001.025 Figurative men photograph Puppets Suits http://art-collections.museum.ucsb.edu/files/original/f37e8afb1a91b58cab26c1ebdef8535c.jpg 67c142af6f459eb3ce5f5825f59daf00 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 UCSB Alumni and Faculty Description An account of the resource The AD&A Museum has a strong collection of artwork from MFA students as well as a smaller group of faculty and former faculty members. Many well known artists are included in this group including Mark di Suvero, Jud Fine and Richard Serra. 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 1991.41 Creator An entity primarily responsible for making the resource EVERTON, Macduff American, 1947- Title A name given to the resource EVERTON, Macduff Description An account of the resource Spreading Leaves, Hacienda Holactun rom The Modern Maya: A Culture in Transition Gelatin silver print framed: 20 x 24 in. Macduff Everton’s photographs are part of his ongoing series called The Modern Maya which documents the descendants of the Maya as a culture in flux. Throughout Everton’s photographic essay, as in this small selection of his works, evidence of globalization’s reach (TVs, mass-produced clothing and industrialization) comingle with images of traditional homes made from guano palms as well as age-old farming techniques. Source A related resource from which the described resource is derived MUSEUM PURCHASE FUND Date A point or period of time associated with an event in the lifecycle of the resource 1971 Gelatin Silver Print indigenous men photograph portrait http://art-collections.museum.ucsb.edu/files/original/9e04dfeeeea8867c6532c5aa392f79b9.jpg fd3b078d74cab8ab95ec1a8d87e089b3 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 Photography Description An account of the resource In addition to the Bancroft Collection of Vintage Photographs and the Carolyn and Edwin Gledhill Collection, the AD&A Museum has established a wide and comprehensive selection of photography dating to the late 19th c. thru today. This includes but is not limited to salt paper and albumen prints and contemporary photographers such as Garry Winogrand and Catherine Opie. 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 2025.012.001.025 Creator An entity primarily responsible for making the resource Fink, Larry b. United States, 1941-2023 Title A name given to the resource FINK, LARRY Description An account of the resource The Boxing Portfolio, 1989 to 1996, Tyson-Ruddock Fight, Las Vega, NV, March 1991 Gelatin silver print, AP 1/5 20 x 16" SHEET Juxtaposing athletic skill and the desire for victory against corruption and brutality, Larry Fink has documented the boxing ring from 1989-1996. 55 Robed lone boxer stands at center of image surrounded by various firgures. Signed, date, with AP and title on reverse. Source A related resource from which the described resource is derived The Yanover Family Trust in memory of Pauline Milrad Date A point or period of time associated with an event in the lifecycle of the resource 1989-1996 Action african-american Athletics boxing men Philadelphia photography 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 The Ken Trevey Collection of American Realist Prints 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 FREEMAN, Don Description An account of the resource Automat Aristocrat 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 FREEMAN, 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/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 The Ken Trevey Collection of American Realist Prints 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 FREEMAN, Don Description An account of the resource Casting for Character 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 FREEMAN, 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 The Ken Trevey Collection of American Realist Prints 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 FREEMAN, Don Description An account of the resource On the Fly Rail 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 FREEMAN, 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/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 The Ken Trevey Collection of American Realist Prints 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 HIRSCH, Joseph Description An account of the resource The Confidence 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 HIRSCH, 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/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 The Ken Trevey Collection of American Realist Prints 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 HOFFMAN, Irwin Description An account of the resource Drilling in Ore 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 HOFFMAN, 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/e8e92237f9de2a321653c45b3cb6a3c0.jpg ceac824f77ac07d0879163876d01838b 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 Highway as Habitat Description An account of the resource In 1986, Ulrich Keller, Professor of Photography, the History of Art and Architecture, UCSB, brought the exhibition "Highway as Habitat" to the AD&A Museum. Compiled by Roy Stryker, a sociologist, this series reflects a bygone era from 1943-1955 when Americans had fun on the road. The approximately 140 black and white photographs from the Standard Oil of New Jersey documentary project are broken into genres: Public Transit, Rest Stops, Signage and Truckers 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 1985.344 Creator An entity primarily responsible for making the resource LIBSOHN, Sol United States 1914-2001 Title A name given to the resource LIBSOHN, Sol Description An account of the resource Willard Shorts, Last Minute Chat with Harry Miller 1985 Gelatin silver print Source A related resource from which the described resource is derived Purchase, Standard Oil of New Jersey Photographic Archives, Ekstrom Library University of Louisville Date A point or period of time associated with an event in the lifecycle of the resource 1940-1949; reprint 1985 20th century black and white landscape men photograph truckers trucks http://art-collections.museum.ucsb.edu/files/original/0ed95d02a0f850df6407c0801b3eefc6.jpg 55e967a58689e8c16dc7b809d8d761c7 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 Highway as Habitat Description An account of the resource In 1986, Ulrich Keller, Professor of Photography, the History of Art and Architecture, UCSB, brought the exhibition "Highway as Habitat" to the AD&A Museum. Compiled by Roy Stryker, a sociologist, this series reflects a bygone era from 1943-1955 when Americans had fun on the road. The approximately 140 black and white photographs from the Standard Oil of New Jersey documentary project are broken into genres: Public Transit, Rest Stops, Signage and Truckers 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 1985.421 Creator An entity primarily responsible for making the resource LIBSOHN, Sol United States 1914-2001 Title A name given to the resource LIBSOHN, Sol Description An account of the resource Esso Service Station, Rochester, N.Y., 1945 1985 Gelatin silver print Source A related resource from which the described resource is derived Purchase, Standard Oil of New Jersey Photographic Archives, Ekstrom Library University of Louisville Date A point or period of time associated with an event in the lifecycle of the resource 1945; reprint 1985 20th century automotive black and white Figurative men photography repair 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 The Ken Trevey Collection of American Realist Prints 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 LOCKE, Charles W. Description An account of the resource Hole in the Wall 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 LOCKE, 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 The Ken Trevey Collection of American Realist Prints 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 LOCKE, Charles W. Description An account of the resource Intermission lithograph image: 13 1/2 x 8 3/4 in; mat: 19 x 14 in Creator An entity primarily responsible for making the resource LOCKE, 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/43d954b4b8212ea23113cc92387e83d0.jpg d8a638c13b5001b039b6f831bafc9975 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Fernand Lungren Bequest Description An account of the resource In 1959, The Fernand Lungren Bequest became the first group of paintings acquired by the AD&A Museum for its permanent collection. Fernand Harvey Lungren (1857-1932) was among Santa Barbara’s most distinguished artists of the early twentieth century. Although he began his career as part of the circle of the American artist William Merritt Chase and spent an extended period in Paris where he was influenced by the work of James McNeill Whistler, it was Lungren’s journey to the American Southwest that most profoundly affected him. Sponsored by the Santa Fe Railroad which wished to commission images of the Southwest to entice eastern tourists, Lungren made his first excursions west in the early 1890s. By the 1920s, Lungren’s Santa Barbara studio became a center for the local arts scene where the artist displayed his Native American artifacts alongside canvases depicting the glowing, solitary beauty of the American desert. The Fernand Lungren Collection belongs to the art historical heritage of Santa Barbara and has particular meaning for the AD&A Museum which functions as a hands-on, teaching museum. It was Lundgren’s intent that his collections be given to “people of the City of Santa Barbara” for public enjoyment and edification. In his will, the artist bequeathed his painting collection, a body of 188 paintings and 131 drawings, to the Santa Barbara Teachers’ College, the forerunner to the UC Santa Barbara, and his collection of Native American artifacts to the Santa Barbara Museum of Natural History. It was Lungren’s wish that the gift of his collection “will result in as much pleasure to the community as I have in making it.” In the early 1960s, the collection was physically transferred to UC Santa Barbara and, in line with the artist’s pedagogical intent of exhibition and teaching, works from the Fernand Lungren Collection are experienced by students, faculty and community members at AD&A Museum today. 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 1964.831 Creator An entity primarily responsible for making the resource LUNGREN, Fernand b. United States, 1857-1932 Title A name given to the resource LUNGREN, Fernand Description An account of the resource Conversation Watercolor on paper 10 x 14" SHEET Source A related resource from which the described resource is derived Fernand Lungren Bequest Date A point or period of time associated with an event in the lifecycle of the resource n.d. conversation landscape men Painting paper Watercolor http://art-collections.museum.ucsb.edu/files/original/38c4fa3c1611bdc3aad3eef2b65da6c4.jpg cdcb63c60f399791aeafc48826196b71 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Fernand Lungren Bequest Description An account of the resource In 1959, The Fernand Lungren Bequest became the first group of paintings acquired by the AD&A Museum for its permanent collection. Fernand Harvey Lungren (1857-1932) was among Santa Barbara’s most distinguished artists of the early twentieth century. Although he began his career as part of the circle of the American artist William Merritt Chase and spent an extended period in Paris where he was influenced by the work of James McNeill Whistler, it was Lungren’s journey to the American Southwest that most profoundly affected him. Sponsored by the Santa Fe Railroad which wished to commission images of the Southwest to entice eastern tourists, Lungren made his first excursions west in the early 1890s. By the 1920s, Lungren’s Santa Barbara studio became a center for the local arts scene where the artist displayed his Native American artifacts alongside canvases depicting the glowing, solitary beauty of the American desert. The Fernand Lungren Collection belongs to the art historical heritage of Santa Barbara and has particular meaning for the AD&A Museum which functions as a hands-on, teaching museum. It was Lundgren’s intent that his collections be given to “people of the City of Santa Barbara” for public enjoyment and edification. In his will, the artist bequeathed his painting collection, a body of 188 paintings and 131 drawings, to the Santa Barbara Teachers’ College, the forerunner to the UC Santa Barbara, and his collection of Native American artifacts to the Santa Barbara Museum of Natural History. It was Lungren’s wish that the gift of his collection “will result in as much pleasure to the community as I have in making it.” In the early 1960s, the collection was physically transferred to UC Santa Barbara and, in line with the artist’s pedagogical intent of exhibition and teaching, works from the Fernand Lungren Collection are experienced by students, faculty and community members at AD&A Museum today. 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 1964.93 Creator An entity primarily responsible for making the resource LUNGREN, Fernand b. United States, 1857-1932 Title A name given to the resource LUNGREN, Fernand Description An account of the resource "Rais [sic Resi] Selim," from the Egyptian Series ca. 1901 graphite on paper sheet: 12 1/4 x 8 1/2 inches; mat: 19 1/2 x 14 1/2 inches Source A related resource from which the described resource is derived Fernand Lungren Bequest Date A point or period of time associated with an event in the lifecycle of the resource ca. 1901 20th century Drawing Graphite men paper still life study http://art-collections.museum.ucsb.edu/files/original/8e9aeaeb6fa01a91f1bf84f20a972ef9.jpg de62423481ac4fb7fd90b51c8f5ee0d3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Fernand Lungren Bequest Description An account of the resource In 1959, The Fernand Lungren Bequest became the first group of paintings acquired by the AD&A Museum for its permanent collection. Fernand Harvey Lungren (1857-1932) was among Santa Barbara’s most distinguished artists of the early twentieth century. Although he began his career as part of the circle of the American artist William Merritt Chase and spent an extended period in Paris where he was influenced by the work of James McNeill Whistler, it was Lungren’s journey to the American Southwest that most profoundly affected him. Sponsored by the Santa Fe Railroad which wished to commission images of the Southwest to entice eastern tourists, Lungren made his first excursions west in the early 1890s. By the 1920s, Lungren’s Santa Barbara studio became a center for the local arts scene where the artist displayed his Native American artifacts alongside canvases depicting the glowing, solitary beauty of the American desert. The Fernand Lungren Collection belongs to the art historical heritage of Santa Barbara and has particular meaning for the AD&A Museum which functions as a hands-on, teaching museum. It was Lundgren’s intent that his collections be given to “people of the City of Santa Barbara” for public enjoyment and edification. In his will, the artist bequeathed his painting collection, a body of 188 paintings and 131 drawings, to the Santa Barbara Teachers’ College, the forerunner to the UC Santa Barbara, and his collection of Native American artifacts to the Santa Barbara Museum of Natural History. It was Lungren’s wish that the gift of his collection “will result in as much pleasure to the community as I have in making it.” In the early 1960s, the collection was physically transferred to UC Santa Barbara and, in line with the artist’s pedagogical intent of exhibition and teaching, works from the Fernand Lungren Collection are experienced by students, faculty and community members at AD&A Museum today. 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 1964.932 Creator An entity primarily responsible for making the resource LUNGREN, Fernand b. United States, 1857-1932 Title A name given to the resource LUNGREN, Fernand Description An account of the resource Study of Boys 19th-20th C graphite on paper sheet: 12 1/4 x 8 1/2 inches; mat: 19 1/2 x 14 1/2 inches Source A related resource from which the described resource is derived Fernand Lungren Bequest Date A point or period of time associated with an event in the lifecycle of the resource 19th-20th C Anatomy boys Drawing Graphite men paper portrait study 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 The Ken Trevey Collection of American Realist Prints 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 MARSH, Reginald Description An account of the resource Bread Line - No One Has Starved 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 MARSH, 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/cea24416045ccc7e500b49da31b467d8.JPG d0a8d0c35f0509f5606377e8fc15b578 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 UCSB Alumni and Faculty Description An account of the resource The AD&A Museum has a strong collection of artwork from MFA students as well as a smaller group of faculty and former faculty members. Many well known artists are included in this group including Mark di Suvero, Jud Fine and Richard Serra. 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 2013.003.045 Creator An entity primarily responsible for making the resource MELCHIONE, Joseph S. b. United States, 1948-2012 Title A name given to the resource MELCHIONE, Joseph S. Description An account of the resource Protesters carrying placards, Second Riot from Year of Rebellion, the 1970 Isla Vista Riots Gelatin silver print 22 1/2 x 24 1/2" FRAME Black and white photograph; protesters wearing heavy make up and carrying placards one with Spiro Agnew on the cover of Newsweek Source A related resource from which the described resource is derived Gifted from the Estate of Joseph Stewart Melchione Date A point or period of time associated with an event in the lifecycle of the resource 1970; reprinted 2008 Crowd men photograph portrait rebellion http://art-collections.museum.ucsb.edu/files/original/ca4e6c9d75ad75274017736a3b8146d8.JPG 4f3d92358eb830e9759a328cdae7a8af 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 UCSB Alumni and Faculty Description An account of the resource The AD&A Museum has a strong collection of artwork from MFA students as well as a smaller group of faculty and former faculty members. Many well known artists are included in this group including Mark di Suvero, Jud Fine and Richard Serra. 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 2013.003.049 Creator An entity primarily responsible for making the resource MELCHIONE, Joseph S. b. United States, 1948-2012 Title A name given to the resource MELCHIONE, Joseph S. Description An account of the resource Protesters gathered, one carrying a scroll-like sign with text, Second Riot from Year of Rebellion, the 1970 Isla Vista Riots Gelatin silver print 25 1/2 x 21 1/2" FRAME Black and white photograph; protesters gathered with male figure carrying scroll-like sign with text. In the background are signs for Rexall Drugs in Isla Vista. Source A related resource from which the described resource is derived Gifted from the Estate of Joseph Stewart Melchione Date A point or period of time associated with an event in the lifecycle of the resource 1970; reprinted 2008 Gelatin Silver Print men photograph portrait rebellion http://art-collections.museum.ucsb.edu/files/original/a886df04526f5035564be686597d3c7e.jpg 997dd664a106666393b4852235ae2f79 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 UCSB Alumni and Faculty Description An account of the resource The AD&A Museum has a strong collection of artwork from MFA students as well as a smaller group of faculty and former faculty members. Many well known artists are included in this group including Mark di Suvero, Jud Fine and Richard Serra. 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 2010.003.024 Creator An entity primarily responsible for making the resource Meller, Peter b. Hungary, 1928-2008 Title A name given to the resource MELLER, Peter Description An account of the resource Il Delitto 6 5/8 x 9" Brown image of two men hunting facing left; one is laying down in foreground and appears to be dead. Trees at top center and right area. Source A related resource from which the described resource is derived Bea Farwell Bequest Date A point or period of time associated with an event in the lifecycle of the resource n.d landscape men portrait trees Works-on-Paper http://art-collections.museum.ucsb.edu/files/original/dea2c6dbe329282c3bf8fac90a0e9c19.jpg 0b518b80fb915331b04dd1246959ac7e 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 UCSB Alumni and Faculty Description An account of the resource The AD&A Museum has a strong collection of artwork from MFA students as well as a smaller group of faculty and former faculty members. Many well known artists are included in this group including Mark di Suvero, Jud Fine and Richard Serra. 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 2010.003.037 Creator An entity primarily responsible for making the resource Meller, Peter b. Hungary, 1928-2008 Title A name given to the resource MELLER, Peter Description An account of the resource Marx and Hegel II 17 x 11" Black and white sketch-like drawing of two figures holding one another, one right-side up and one upside-down Source A related resource from which the described resource is derived Bea Farwell Bequest Date A point or period of time associated with an event in the lifecycle of the resource n.d. figures men political portrait Works-on-Paper http://art-collections.museum.ucsb.edu/files/original/599d5e32830df441fe1a326e74392edd.jpg 2c2207091bc68839b52c68db020a8ad9 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 UCSB Alumni and Faculty Description An account of the resource The AD&A Museum has a strong collection of artwork from MFA students as well as a smaller group of faculty and former faculty members. Many well known artists are included in this group including Mark di Suvero, Jud Fine and Richard Serra. 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 2010.003.046 Creator An entity primarily responsible for making the resource Meller, Peter b. Hungary, 1928-2008 Title A name given to the resource MELLER, Peter Description An account of the resource Pippo + Renzo 1401 5 3/8 x 8 1/2" Brown image of two mirrored figures facing each other with two stools separated by matching designs. Source A related resource from which the described resource is derived Bea Farwell Bequest Date A point or period of time associated with an event in the lifecycle of the resource n.d. figures men portrait print Works-on-Paper http://art-collections.museum.ucsb.edu/files/original/c361e4fc5e9427237dbacec4e904e16c.jpg 9014daddfe0c90465c200c29346f0efb 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 UCSB Alumni and Faculty Description An account of the resource The AD&A Museum has a strong collection of artwork from MFA students as well as a smaller group of faculty and former faculty members. Many well known artists are included in this group including Mark di Suvero, Jud Fine and Richard Serra. 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 2010.003.047 Creator An entity primarily responsible for making the resource Meller, Peter b. Hungary, 1928-2008 Title A name given to the resource MELLER, Peter Description An account of the resource The Fall of Jericho 8 1/8 x 11" Black image on beige paper of a brigade of hornblowers before a brick wall that covers top of print Source A related resource from which the described resource is derived Bea Farwell Bequest Date A point or period of time associated with an event in the lifecycle of the resource n.d. landscape men portrait print Works-on-Paper http://art-collections.museum.ucsb.edu/files/original/0b4f78008021903e95a582e60a8a06eb.jpg 794967fd0e88cade23902359d8999a5b 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 UCSB Alumni and Faculty Description An account of the resource The AD&A Museum has a strong collection of artwork from MFA students as well as a smaller group of faculty and former faculty members. Many well known artists are included in this group including Mark di Suvero, Jud Fine and Richard Serra. 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 2010.003.048 Creator An entity primarily responsible for making the resource Meller, Peter b. Hungary, 1928-2008 Title A name given to the resource MELLER, Peter Description An account of the resource Nadar and Jules Verne 8 1/2 x 11" Black image on beige paper of two men in a hot-air balloon above a desert landscape Source A related resource from which the described resource is derived Bea Farwell Bequest Date A point or period of time associated with an event in the lifecycle of the resource n.d. Beige Desert landscape men Works-on-Paper http://art-collections.museum.ucsb.edu/files/original/2d619ad34ec1b106d03d6487b038bb24.jpg c931169b9c04873429e70f648a1735a5 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 UCSB Alumni and Faculty Description An account of the resource The AD&A Museum has a strong collection of artwork from MFA students as well as a smaller group of faculty and former faculty members. Many well known artists are included in this group including Mark di Suvero, Jud Fine and Richard Serra. 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 2010.003.049 Creator An entity primarily responsible for making the resource Meller, Peter b. Hungary, 1928-2008 Title A name given to the resource MELLER, Peter Description An account of the resource Marx and Hegel I 17 x 11" Black image of two men holding one another, one right-side up and one upside-down Source A related resource from which the described resource is derived Bea Farwell Bequest Date A point or period of time associated with an event in the lifecycle of the resource n.d. figures men political portrait Works-on-Paper http://art-collections.museum.ucsb.edu/files/original/ed6910316411a6a12d6d64dc7a0c8c97.jpg 95f8298316f43a943ab65443b16b1ca6 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 Photography Description An account of the resource In addition to the Bancroft Collection of Vintage Photographs and the Carolyn and Edwin Gledhill Collection, the AD&A Museum has established a wide and comprehensive selection of photography dating to the late 19th c. thru today. This includes but is not limited to salt paper and albumen prints and contemporary photographers such as Garry Winogrand and Catherine Opie. 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 1980.8h Creator An entity primarily responsible for making the resource Muybridge, Eadweard British/American, 1830 - 1904 Title A name given to the resource MUYBRIDGE, Eadweard Description An account of the resource Animal Locomotion, Plate 384 collotype 9 1/8 x 12 1/2 in. Two men wrestling Source A related resource from which the described resource is derived Gift of Mrs. Paul Lienau Date A point or period of time associated with an event in the lifecycle of the resource n.d. Dance Figurative men nude portrait 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 The Ken Trevey Collection of American Realist Prints 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 1992.138 Title A name given to the resource RICO, DON Description An account of the resource A Box at Minsky's 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 RICO, 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 http://art-collections.museum.ucsb.edu/files/original/d892d9d6ad7c2846f9d7e625ebf99041.jpg 34c0d154f0166ff20f833184d78c8d0a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Ken Trevey Collection of American Realist Prints 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 1992.141 Title A name given to the resource RIGGS, Robert Description An account of the resource Pool lithograph sheet: 19 1/2 x 23 in; mat: 22 x 27 in image: 14 1/2 x 19 3/8 in Creator An entity primarily responsible for making the resource RIGGS, Robert b. United States, 1896 - 1966 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 landscape Lithograph men Pool portrait swim Works-on-Paper http://art-collections.museum.ucsb.edu/files/original/db327d53e2b857cfee733313282e7821.jpg 59545c13a2df8a129060429b75daae9d 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 Paintings Description An account of the resource In addition to the Sedgwick Collection of Old Master Paintings and The Fernand Lungren Bequest, the AD&A Museum has steadilycollected paintings including works complimenting the Sedgwick Collection as well as large scale works by Matt Mullican and Adam Ross. 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 2016.003.007 Creator An entity primarily responsible for making the resource SERBAN, Savu b. Romania, 1978 Title A name given to the resource SERBAN, Savu Description An account of the resource The Bathers 2010 Oil on canvas 74 x 126" CANVAS Large painting of multiple male figures in lower foreground standing in front of a tree set against a canallike body of water. Source A related resource from which the described resource is derived Gift of Stanley and Gail Hollander Date A point or period of time associated with an event in the lifecycle of the resource 2010 bathers landscape men oil Painting still life http://art-collections.museum.ucsb.edu/files/original/1b6ccc6b88e8a0f5cf4aa96e90eee3a9.jpg a18b818e80bc04f457e72b505d762590 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Ken Trevey Collection of American Realist Prints 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 1992.153 Title A name given to the resource SMITH, Lawrence Beall Description An account of the resource Business Lunch Lithograph 13 3/4 x 17" MAT Lithograph of a group of three business men sitting at a table who appear to be in a discussion; two of the figures have their backs to the viewer while the third figure's face is obscured from view. Signed, dated and titled below image. Creator An entity primarily responsible for making the resource SMITH, Lawrence Beall b. United States, 1909 - 1995 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 business Lithograph men portrait Works-on-Paper http://art-collections.museum.ucsb.edu/files/original/56aee0942cfd7744158a87af2f5e3f8a.jpg 794c2a82b32ff0b01a762bf969b4db77 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Ken Trevey Collection of American Realist Prints 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 1992.155 Title A name given to the resource SMITH, Lawrence Beall Description An account of the resource The Crisis Lithograph, A/P 16 3/8 x 17 1/2" MAT Lithograph of multiple figures positioned around a bench while two of the seated men play checkers. Signed, dated with AP below image. It appears to be winter suggested by the men's clothing of hats and coats while the trees are barren. Creator An entity primarily responsible for making the resource SMITH, Lawrence Beall b. United States, 1909 -1995 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 American landscape Lithograph men park portrait Works-on-Paper http://art-collections.museum.ucsb.edu/files/original/fcc11e90f18fe437d40d5f9e1c6ea4ad.jpg 8fdab43ce0c7ab7cb7570a1607c173cf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Ken Trevey Collection of American Realist Prints 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 1992.162 Title A name given to the resource SPRUANCE, Benton Description An account of the resource Spinner Play Lithograph 21 1/8 x 25 3/4" MAT In the 1930s college football was the national rage, attracting over 70,000 to some games and immortalizing the Notre Dame football team and Knut Rockne. Benton Spruance’s Spinner Play, 1934, depicts college kids from the University of Pennsylvania. Spruance’s print, in its extreme stylization of the figures, aims to reveal the essential power of the game, the brute force of one team pitted against another. The game was brutal too: in 1931 there were 40 college fatalities, a figure which diminished only slightly throughout the decade. Creator An entity primarily responsible for making the resource SPRUANCE, Benton b. United States, 1904-1967 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 Figurative football Lithograph men portrait sport Works-on-Paper http://art-collections.museum.ucsb.edu/files/original/7a3eccd6a9fd0918e8df4305163878c5.jpg a2b3902f3257927395460cacfc3d6ebb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Carolyn and Edwin Gledhill Photography Collection Description An account of the resource In 1986, Keith Gledhill donated to the AD&A Museum a collection of over 100 photographic materials by his mother and father, Carolyn and Edwin Gledhill. Arriving in 1917, the recently married couple, opened their portrait studio on Chapala Street, one block from the infamous oceanfront Potter Hotel which is now Ambassador Park near Stearns Wharf. Although industrial growth was progressing rapidly throughout the United States, Santa Barbara remained focused on architecture, civic value and pageantry focusing on the city’s cultural elite. This made it a haven for a diverse and growing community of artists and professionals allowing the Gledhills easy access to subjects for their portraiture business. Carolyn and Edwin lived an unconditional lifestyle which was deemed scandalous by early 20th Century standards: at the time of their marriage, Edwin was 19 and Carolyn in her 30s. This unorthodox lifestyle mirrored itself in real life while Edwin was often viewed as the primary photographer of the studio, it was really Carolyn who was the professional. Edwin would pose the subjects but it was only when Carolyn found the pose to her liking that she would pull the shutter. This often resulted in empowered appearing women suggesting an early expression of feminism. But Carolyn had an untimely death in the 1930s while Edwin continued with the photography studio preserving in print Santa Barbara’s historic resources. The Gledhill collection is augmented with additional photographs by Henry Ravell, a colleague and fellow photographer who arrived in Southern California from New York in 1914. 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 1986.267 Creator An entity primarily responsible for making the resource TABER American Title A name given to the resource TABER Description An account of the resource Portrait of Four Men and a Woman Wearing a Hat Albumen print 5 1/2 x 4 in Source A related resource from which the described resource is derived Gift of Mr. Keith Gledhill Date A point or period of time associated with an event in the lifecycle of the resource n.d. Dressed formal men photograph portrait Taber woman Young Adult http://art-collections.museum.ucsb.edu/files/original/a2094fd34537d8829e93ce0f1f67c0d8.jpg 4f5e33b4c5d291de5a9ea807aedfd3b3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Ken Trevey Collection of American Realist Prints 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 1992.163 Title A name given to the resource TAYLOR, Prentiss Description An account of the resource Scottsboro, Ltd. Lithograph 16 1/2 x 13" MAT This lithograph includes a group of African American men positioned in a tightly held group with their hands raised. The figures are positioned against a stark depiction of a telephone pole. The image is in reference to the Scottsboro six who were tried and then later acquitted of sexual assualt against two white women. It was a groundbreaking case which supported the right of defendants to adequate legal counsel. Creator An entity primarily responsible for making the resource TAYLOR, Prentiss b. United States, 1907 -1991 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 Lithograph men political portrait racism Works-on-Paper http://art-collections.museum.ucsb.edu/files/original/f51eab35736cf4b5c02a577e0572f036.jpg 458715b0d4b15178a514d949a3309a5e 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 UCSB Alumni and Faculty Description An account of the resource The AD&A Museum has a strong collection of artwork from MFA students as well as a smaller group of faculty and former faculty members. Many well known artists are included in this group including Mark di Suvero, Jud Fine and Richard Serra. 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 1984.96 Creator An entity primarily responsible for making the resource WARSHAW, Howard American, NYC 1920 - 1977 Santa Barbara Title A name given to the resource WARSHAW, Howard Description An account of the resource Polo Players Charcoal and wash, white highlights on paper image: 34 x 25 in mat: 41 1/2 x 32 1/2 in frame: 44 x 34 in Source A related resource from which the described resource is derived Gift of Professor and Mrs. Roger Chapman Date A point or period of time associated with an event in the lifecycle of the resource 1975 charcoal horses men portrait sport wash Works-on-Paper http://art-collections.museum.ucsb.edu/files/original/5adde48dd3d6055122f7c53952e6918b.jpg 8840fa61701542348e847dd0d4c38cca Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Margaret Mallory Bequest Description An account of the resource The Margaret Mallory Bequest comprises two distinct areas of the AD&A Museum holdings. In 1961, Margaret Mallory donated a group of twentieth century and Old Master prints to the museum. In 1964, Mallory made another donation of over 300 African objects to the museum. Thirty-five years later, and one year after Mallory’s death in 1998, the Margaret Mallory Bequest brought additional works on paper from the twentieth century to AD&A Museum. Together with the Ruth S. Schaffner Collection, the Mallory Bequest added to AD&A Museum’s strong collection of contemporary works on paper. Besides her passionate art collecting, Mallory was a filmmaker and founded Falcon Films in 1947 (together with former Santa Barbara Museum of Art director Ala Story) to produce documentary films on art and artists. Mallory was an early supporter of AD&A Museum, active in the tasks of fundraising, acquisitions and public relations which established the AD&A Museum as a vibrant teaching museum. 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 1999.34 Creator An entity primarily responsible for making the resource Wodynski, J. Title A name given to the resource WODYNSKI, J. Description An account of the resource Costume Study graphite, watercolor sheet: 14 x 9 3/4 in. Recto: costume study for two males Verso: costume study for a water nymph Source A related resource from which the described resource is derived Margaret Mallory Bequest Date A point or period of time associated with an event in the lifecycle of the resource 20th c. Costumes Figurative men Mystical study Watercolor Works-on-Paper