1 10 1 http://utw10658.utweb.utexas.edu/files/original/732e9cd00d42c0b5db5ca76192efd239.tif df83717333129cdbff5a86c0890be3e4 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/PG2014.26-frame.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/PG2014.26-frame.zif Requires A related resource that is required by the described resource to support its function, delivery, or coherence. 20435 Identifier An unambiguous reference to the resource within a given context PG2014.26 Creator An entity primarily responsible for making the resource Willys de Castro Date A point or period of time associated with an event in the lifecycle of the resource Uberlândia, Brazil, 1926 - 1988, São Paulo, Brazil Date Created Date of creation of the resource. 1952 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. 66.4 cm x 59.7 cm (26 1/8 in. x 23 1/2 in.) Medium The material or physical carrier of the resource. Oil on wood Title A name given to the resource Sem título [Untitled] Description An account of the resource The emergence of the Concrete art movements in Brazil in the early 1950s encouraged artists like Willys de Castro, a graphic and theater designer active in São Paulo, to experiment with geometric abstraction. Here Castro avoids the mathematical rigor favored by concrete artists in order to play freely with form and color, which resulted in the creation of a more fluid sense of space. The lighter, neutral tones in the center of this painting suggest depth, while the darker, interlocking shapes anchored in each corner emphasize the flatness of the plane. This preoccupation with the ambiguity of perception became a key aspect in Castro’s later production. PG2014.26