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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