1 10 1 http://utw10658.utweb.utexas.edu/files/original/e9772789e73a560fd62ef33a4b945556.tif dda63a40750266080d02f6f73071b1b2 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/G1974.20.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/G1974.20.zif Requires A related resource that is required by the described resource to support its function, delivery, or coherence. 14043 Identifier An unambiguous reference to the resource within a given context G1974.20 Creator An entity primarily responsible for making the resource Frederic Sackrider Remington Date A point or period of time associated with an event in the lifecycle of the resource Canton, New York, 1861 - 1909, Ridgefield, Connecticut Date Created Date of creation of the resource. 1906 Rights Holder A person or organization owning or managing rights over the resource. Gift of Miss Ima Hogg, 1943 Spatial Coverage Spatial characteristics of the resource. 124.5 cm x 348 cm (49 in. x 137 in.) Medium The material or physical carrier of the resource. Oil on canvas Title A name given to the resource The Charge [A Cavalry Scrap] Description An account of the resource <span>In 1906, the Knickerbocker Hotel in New York City commissioned artist Frederic Remington to paint a largescale work for its inauguration. <span style="font-style:italic;">The Charge</span> (Remington’s largest painting) served as a monument to the tenacity of the frontiersman, theatrically depicted mid-battle. But Remington took equal delight in the musculature of the galloping horses—evidence of the artist’s awareness of recent photographic<br />studies of horses in motion. The artist periodically traveled westward from his Brooklyn home to satisfy East Coast curiosity for tales of the American West, returning with images that helped shape popular notions of the “Wild West.” As the backdrop to the hotel’s lively Grille Room, this teeming panorama provided an exotic parallel to the hubbub of the hotel’s moneyed crowd.</span> G1974.20