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10
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http://utw10658.utweb.utexas.edu/files/original/064920d771393ab650b4340de2ecd48a.tif
2a027257166b978defde13237a5f2b97
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/G1960.10.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/G1960.10.zif
Requires
A related resource that is required by the described resource to support its function, delivery, or coherence.
14265
Identifier
An unambiguous reference to the resource within a given context
G1960.10
Creator
An entity primarily responsible for making the resource
Norman Wilfred Lewis
Date
A point or period of time associated with an event in the lifecycle of the resource
New York, New York, 1909 - 1979, New York, New York
Date Created
Date of creation of the resource.
1958
Rights Holder
A person or organization owning or managing rights over the resource.
Gift of the Longview Foundation, Inc., 1960
Spatial Coverage
Spatial characteristics of the resource.
130.2 cm x 161.9 cm (51 1/4 in. x 63 3/4 in.)
Medium
The material or physical carrier of the resource.
Oil on linen canvas
Title
A name given to the resource
La Puerto Del Sol
Description
An account of the resource
<span>From 1950 until his death in 1979, Norman Lewis was a leading figure in Abstract Expressionist painting circles in New York—a relative rarity for an artist of color at the time. In his travels to Spain in the 1950s, Lewis studied the paintings at the Museo Nacional del Prado—a short walk from Puerta del Sol, one of the busiest public squares in Madrid. Lewis’s tight clusters of varying colors suggest moving masses of people. “When I was in Madrid,” Lewis recalled in an interview, “one of the things in my own self-education was the discouraging fact that painting pictures didn’t bring about any change.” In later paintings, Lewis used this compositional technique to mimic crowds of protestors during the Civil Rights Movement. Works like <span style="font-style:italic;">La Puerta del Sol</span> prefigure Lewis’s paintings of the 1960s and 1970s, which strive to convey the African American struggle through abstraction.</span>
G1960.10