1 10 1 http://utw10658.utweb.utexas.edu/files/original/462224b5f9f4590ebd3366ec0cba25d9.jpg 1a98d55596d1bd8e9a2f453013800bed 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/_2-22 Tate Images/By Acc #/PG2014.11.jpg 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 drawing 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/_2-22 Tate Images/By Acc #/PG2014.11.jpg Requires A related resource that is required by the described resource to support its function, delivery, or coherence. 20420 Identifier An unambiguous reference to the resource within a given context PG2014.11 Creator An entity primarily responsible for making the resource Hércules Barsotti Date A point or period of time associated with an event in the lifecycle of the resource São Paulo, Brazil, 1914 - 2010, São Paulo, Brazil Date Created Date of creation of the resource. 1959 Rights Holder A person or organization owning or managing rights over the resource. Gift of Judy S. and Charles W. Tate, 2016 Spatial Coverage Spatial characteristics of the resource. 35.6 cm x 30.2 cm (14 in. x 11 7/8 in.) Medium The material or physical carrier of the resource. Ink on paper Title A name given to the resource Sem título [Untitled] Description An account of the resource Hércules Barsotti was a graphic designer and artist inspired by the work of Concrete and Neo-Concrete art in Brazil. He adopted the limited palette and spare geometric forms of Concrete art, but avoided its mathematical rigor. He favored instead the more sensorial approach to geometry that characterized the Neo-Concrete movement emerging in Rio de Janeiro. In these drawings, Barsotti organizes planes and lines to evoke a sense of visual tension and fragmentation, suggesting a three-dimensional space that recedes away from the surface, grounding his geometry in the physical world. PG2014.11