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http://utw10658.utweb.utexas.edu/files/original/3acd156a61a76b44875baa99ffbf2939.tif
07453c5206e16f569ac8de5ab579dc3b
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/G1976.21.7.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/G1976.21.7.zif
Requires
A related resource that is required by the described resource to support its function, delivery, or coherence.
13979
Identifier
An unambiguous reference to the resource within a given context
G1976.21.7
Creator
An entity primarily responsible for making the resource
Lafayette Maynard Dixon
Date
A point or period of time associated with an event in the lifecycle of the resource
Fresno, California, 1875 - 1946, Tucson, Arizona
Date Created
Date of creation of the resource.
1933
Rights Holder
A person or organization owning or managing rights over the resource.
Gift of C.R. Smith, 1976
Spatial Coverage
Spatial characteristics of the resource.
114.3 cm x 145.4 cm (45 in. x 57 1/4 in.)
Medium
The material or physical carrier of the resource.
Oil on canvas
Title
A name given to the resource
Top of the Ridge
Description
An account of the resource
Although Maynard Dixon was based in San Francisco for forty years, the Southwest captured his artistic imagination. Together with his wife, famed Depression-era photographer Dorothea Lange, he made numerous trips to Arizona and New Mexico, spending months living on a Hopi reservation. Dixon’s paintings of the West invoke a more modern sensibility than other depictions of the West in this gallery. “The melodramatic Wild West is not for me,” he once stated. “The more lasting qualities are in the quiet and more broadly human aspects of western life.” He was drawn to what he described as “the poetry and pathos of life of western people seen amidst the grandeur, sternness, and loneliness of their country.”
G1976.21.7