1 100 2 http://art-collections.museum.ucsb.edu/files/original/a6ddea8aa86af7f9641b9da24e369e08.jpg e9b5467c61c8560d851febacd7bdf6e7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 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 1992.99 Title A name given to the resource FREEMAN, Don Description An account of the resource Deep in Hollywood Lithograph 16 1/2 x 19 1/4" MATTED Lithograph of scantily dressed females in upper foreground from left to right; they are bathed with lights while a male director appears to be speaking while gesturing with his left hand while holding a megaphone in his right. Creator An entity primarily responsible for making the resource 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 1936 American Lithograph performance portrait women Works-on-Paper http://art-collections.museum.ucsb.edu/files/original/df4b6896f09691918a179d8cda82f1c0.jpg caf6b49eb59a013fc883359806b8e756 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 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 1992.55 Title A name given to the resource BEAL, Gifford Description An account of the resource Bareback Act, Old Hippodrome Lithograph 14 x 18" MATTED Lithograph of circus performers; lone female perched on the shoulders of a male straddling while stearing two horses; circus maestro at left wearing a formal black jacket and hat. Signed at lower right below image and in plate of image. Creator An entity primarily responsible for making the resource BEAL, Gifford b. b. United States, 1879 - 1956 Source A related resource from which the described resource is derived Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints Date A point or period of time associated with an event in the lifecycle of the resource 1950 animals circus horses Lithograph performance portrait Works-on-Paper