1 10 1 http://utw10658.utweb.utexas.edu/files/original/9cdf49a74294ce3f3758a396b237ebff.tif de35366cf008168d83b2c6b07a24caac 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. Local URL The URL of the local directory containing all assets of the website http://utw10658.utweb.utexas.edu/plugins/Dropbox/files/object_images/ART New/1985.74_recto.zif Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Type The nature or genre of the resource painting Has Version A related resource that is a version, edition, or adaptation of the described resource. http://utw10658.utweb.utexas.edu/plugins/Dropbox/files/object_images/ART New/1985.74_recto.zif Requires A related resource that is required by the described resource to support its function, delivery, or coherence. 14823 Identifier An unambiguous reference to the resource within a given context 1985.74a Creator An entity primarily responsible for making the resource Marguerite Thompson Zorach Date A point or period of time associated with an event in the lifecycle of the resource Santa Rosa, California, 1887 - 1968, Robinhood, Maine Date Created Date of creation of the resource. 1909 Rights Holder A person or organization owning or managing rights over the resource. Michener Acquisitions Fund, 1985 Spatial Coverage Spatial characteristics of the resource. 74.9 cm x 62.4 cm (29 1/2 in. x 24 9/16 in.) Medium The material or physical carrier of the resource. Oil on canvas Title A name given to the resource Rites of Spring - Olympic Offerings (Recto) Description An account of the resource <span>Marguerite Thompson Zorach was among the first painters to introduce European modernism to American audiences, most memorably at the 1913 Armory Show in New York City. Inspired by the “absolute unconventionality and freedom” of European avant-garde practices the artist discovered while living in Paris, <span style="font-style:italic;">Rites of Spring—Olympic Offerings</span> is a rare example of Zorach’s early experimentation with expressionistic applications of color. Here nude figures depicted in cool blues and caustic pinks proffer the season’s harvest to an unseen divine force, providing insight into the artist’s own perception of the “inner spirit of things.”<br /><br />Marguerite Thompson Zorach’s husband and fellow modernist, William Zorach, later used the back of this canvas for his own painting. According to his autobiography, the couple survived years of struggle in New York “by never spending a cent on anything that was not essential . . . we made our own canvases . . . used the stretchers over and over, rolling up the finished pictures. When desperate we painted on both sides of the canvas.” William, who enjoyed more commercial success than Marguerite, presumably used this canvas in a moment of desperation.</span> 1985.74a