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http://utw10658.utweb.utexas.edu/files/original/cf24db575f1a4abc89a4485ead2e27ca.tif
30c74cdd9a9173fa2a7171de1f307484
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/2010.100.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/2010.100.zif
Requires
A related resource that is required by the described resource to support its function, delivery, or coherence.
20625
Identifier
An unambiguous reference to the resource within a given context
2010.100
Creator
An entity primarily responsible for making the resource
Andy Warhol
Date
A point or period of time associated with an event in the lifecycle of the resource
Pittsburgh, 1928 - 1987, New York
Date Created
Date of creation of the resource.
1980
Rights Holder
A person or organization owning or managing rights over the resource.
Bequest of Farrah Fawcett, 2010
Spatial Coverage
Spatial characteristics of the resource.
101.6 cm x 101.6 cm (40 in. x 40 in.)
Medium
The material or physical carrier of the resource.
Synthetic polymer paint and silkscreen on canvas
Title
A name given to the resource
Farrah Fawcett
Description
An account of the resource
<span>This painting of University of Texas alumna and <span style="font-style:italic;">Charlie’s Angels</span> star Farrah Fawcett typifies Andy Warhol’s portrait style of the 1970s and 1980s. The artist photographed starlets like Fawcett, Grace Jones, Blondie’s Debbie Harry, and Dolly Parton; their bare shoulders serve as a nod to classical portraiture. Working from a Polaroid, Warhol sent the negative to a photo lab to have it enlarged and transferred onto a sheet of acetate. Once a silkscreen was made from the sheet, Warhol and his assistants squeegeed ink through the screen onto a pre-painted canvas, using punches of color to highlight the glamour of his subjects.</span>
2010.100