54
Portfolios%3D%22899%22%20and%20Disp_Obj_Type%3D%22Print%22
Print
Women's Equality
Marisol, 1930 - 2016
Marisol
United States
1930 - 2016
Female
41 1/2 x 29 3/4 in. (105.4 x 75.6 cm)
.
.
.
overall
vertical
image
.
.
.
sheet
Printer's ink
Printer's ink
1975
1975
1975
1900-2000, 20th century, Elizabeth Cady Stanton, Lucretia Mott, politics in art, women
Print
1975.120.9
item
Memorial Art Gallery
2/26/2001
75.120.9.DI1
digital image
4/3/2002
http://127.0.0.1:5000/Media/images/75.120.9_A1.jpg
75.120.9DI#2
digital image
1/20/2017
http://127.0.0.1:5000/Media/images/75.120.9_A2.jpg
Print
A New Bill
William Gropper, 1897 - 1977
Gropper, William
United States
1897 - 1977
Male
13 7/8 x 19 3/16 in. (35.2 x 48.7 cm)
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.
.
image
horizontal
image
.
.
.
sheet
Printer's ink
Printer's ink
1940
1940
1940
1900-2000, 20th century, lithographs, politics in art, Social Realism
Print
1940 Presentation Print of the Print Club of Albany
lower right, below imageupper left, in the stone, in the imagelower left, below imageverso, lower right
1996.31
item
Memorial Art Gallery
11/18/1999
96.31SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
96.31DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/96.31_A1.jpg
96.31.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/96.31.tif
Print
The Opposition
William Gropper, 1897 - 1977
Gropper, William
United States
1897 - 1977
Male
12 1/8 x 17 in. (30.8 x 43.2 cm)
.
.
.
Printer's ink
Printer's ink
1942
1942
1942
1900-2000, 20th century, lithographs, politics in art, Social Realism
Print
lower rightlower right, in the platelower left, in the plate
1989.59
item
Memorial Art Gallery
9/8/1999
89.59DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/89.59_A1.jpg
89.59TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
63gropper2.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/63gropper2.tif
89.59DI#2
digital image
1/20/2006
http://127.0.0.1:5000/Media/images/89.59_A2.jpg
Print
Our Next President
After Winslow Homer, 1836 - 1910
Homer, Winslow
United States
1836 - 1910
Male
10 7/8 x 9 1/8 in. (27.6 x 23.2 cm)
.
.
.
image
Printer's ink
Printer's ink
1868
1868
1868
1800-1900, 19th century, figure, politics in art, Ulysses S. Grant, wood engravings
Print
Published in "Harper's Weekly," October 31, 1868
lower center, in the block, inscribed LCtr: "Our Next President." [Drawn by Winslow Homer.]; inscribed UCtr: Saturday, October 31, 1868; inscribed LR: WH
1986.41
item
Memorial Art Gallery
9/8/1999
86.41SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.41DI1
digital image
2/27/2002
http://127.0.0.1:5000/Media/images/86.41_A1.jpg
86.41DI#2
digital image
5/26/2016
http://127.0.0.1:5000/Media/images/86.41_A2.jpg
Print
The Inaugural Procession at Washington Passing the Gate of the Capitol Grounds
Winslow Homer, 1836 - 1910
Homer, Winslow
United States
1836 - 1910
Male
10 3/4 x 9 1/8 in. (27.3 x 23.2 cm)
.
.
.
image
Printer's ink
Printer's ink
1861
1861
1861
1800-1900, 19th century, Abraham Lincoln, Civil War, figure, politics in art, wood engravings
Print
Spread from Harper's of March 16, 1861
lower center, in the block, "see page 165" in square brackets integral to caption text
1986.21.1
item
Memorial Art Gallery
9/8/1999
86.21.1SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.21.1DI1
digital image
3/26/2002
http://127.0.0.1:5000/Media/images/86.21.1_A1.jpg
Print
The Inauguration of Abraham Lincoln as President of the U. S., at the Capitol
After Winslow Homer, 1836 - 1910
Homer, Winslow
United States
1836 - 1910
Male
13 3/4 x 20 1/8 in. (34.9 x 51.1 cm)
.
.
.
image
Printer's ink
Printer's ink
1861
1861
1861
1800-1900, 19th century, Abraham Lincoln, Civil War, figure, politics in art, wood engravings
Print
Published in "Harper's Weekly," March 16, 1861
lower center, in the block
1986.22
item
Memorial Art Gallery
9/8/1999
86.22DI1
digital image
3/26/2002
http://127.0.0.1:5000/Media/images/86.22_A1.jpg
Print
The Seceding Mississippi Delegation in Congress
After Winslow Homer, 1836 - 1910
Homer, Winslow
United States
1836 - 1910
Male
10 7/8 x 8 1/16 in. (27.6 x 20.5 cm)
.
.
.
image
Printer's ink
Printer's ink
1861
1861
1861
1800-1900, 19th century, Civil War, figure, men, politics in art, wood engravings
Print
Published in "Harper's Weekly," February 2, 1861
lower center, "see next page" in square brackets is integral to captionlower left, in the block
1986.20
item
Memorial Art Gallery
9/8/1999
86.20SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.20DI1
digital image
2/27/2002
http://127.0.0.1:5000/Media/images/86.20_A1.jpg
Print
George Washington
Alex Katz, 1927 -
Katz, Alex
United States
1927
Male
20 x 40 in. (50.8 x 101.6 cm)
.
.
.
sheet/image
Printer's ink
Printer's ink
1975
1975
1975
1900-2000, 20th century, lithographs, men, politics in art, portraits
Print
1975.120.7
item
Memorial Art Gallery
9/8/1999
75.120.7DI1
digital image
7/22/2004
http://127.0.0.1:5000/Media/images/75.120.7_A1.jpg
Print
The 1920's... The Migrants Arrive and Cast Their Ballots
Jacob Lawrence, 1917 - 2000
Lawrence, Jacob
United States
1917 - 2000
Male
34 3/8 x 26 in. (87.3 x 66 cm)
.
.
.
overall
vertical
image
.
.
.
sheet
Printer's ink
Printer's ink
1974
1974
1974
1900-2000, 20th century, Images of Black People, politics in art, serigraphs, Social Realism
Print
In 1975, Jacob Lawrence and twelve other artists were asked to respond to the question, "What does independence mean to me?" The prints made by the artists comprise the Kent Bicentennial Portfolio: Spirit of Independence, commissioned in honor of the American Bicentennial.
Jacob Lawrence's parents migrated from the south to New York City, so the theme of migration was one that had great meaning to his personal history. He said, "During the post World War I period millions of black people left southern communities in the United States and migrated to northern cities. This migration reached its peak during the 1920's. Among the many advantages the migrants found in the north was the freedom to vote. In my print, migrants are represented expressing that freedom."
[Gallery label text]
lower rightlower centerlower rightlower right
Jacob and Gwendolyn Lawrence
1975.120.8
item
Memorial Art Gallery
9/8/1999
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.120.8DI1
digital image
7/22/2004
http://127.0.0.1:5000/Media/images/75.120.8_A1.jpg
Print
Frederick Douglass
Elizabeth M. Olds, (Minneapolis, Minnesota, 1896 - 1991, Sarasota, Florida)
Olds, Elizabeth M.
United States
1896 - 1991
Female
Primary
17 7/8 x 14 in. (45.4 x 35.6 cm)
.
.
.
image
vertical
image
.
.
.
sheet
Printer's ink
Printer's ink
1942
1942
1942
1900-2000, 20th century, Frederick Douglass, Images of Black People, politics in art, serigraphs
Print
lower right, below imagelower center, below image, Erasure evidentlower left, below imageverso
2001.16
item
Memorial Art Gallery
1/8/2002
2001.16DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.16_A1.jpg
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2001.16SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2001.16DI#2
digital image
2/17/2010
http://127.0.0.1:5000/Media/images/2001.16_A2.jpg
Print
Surface Series #44
Robert Rauschenberg, (Port Arthur, TX, 1925 - 2008, Captiva Island, FL)
Rauschenberg, Robert
United States
1925 - 2008
Male
40 x 40 in. (101.6 x 101.6 cm)
.
.
.
image
square
image
.
.
.
sheet
Printer's ink
Printer's ink
1970
1970
1970
1900-2000, politics in art, serigraphs
Print
lower right, below image
1981.50.8
item
Memorial Art Gallery
12/17/2001
81.50.8DI1
digital image
12/18/2001
http://127.0.0.1:5000/Media/images/81.50.8_A1.jpg
Print
Surface Series #47
Robert Rauschenberg, (Port Arthur, TX, 1925 - 2008, Captiva Island, FL)
Rauschenberg, Robert
United States
1925 - 2008
Male
40 x 40 in. (101.6 x 101.6 cm)
.
.
.
image
square
image
.
.
.
sheet
Printer's ink
Printer's ink
1970
1970
1970
1900-2000, politics in art, serigraphs
Print
lower right, below image
1981.50.11
item
Memorial Art Gallery
12/17/2001
81.50.11DI1
digital image
12/18/2001
http://127.0.0.1:5000/Media/images/81.50.11_A1.jpg
Print
Surface Series #49
Robert Rauschenberg, (Port Arthur, TX, 1925 - 2008, Captiva Island, FL)
Rauschenberg, Robert
United States
1925 - 2008
Male
40 x 40 in. (101.6 x 101.6 cm)
.
.
.
image
square
image
.
.
.
sheet
Printer's ink
Printer's ink
1970
1970
1970
1900-2000, politics in art, serigraphs
Print
lower right, below image
1981.50.13
item
Memorial Art Gallery
12/17/2001
81.50.13DI1
digital image
12/18/2001
http://127.0.0.1:5000/Media/images/81.50.13_A1.jpg
Print
Surface Series #53
Robert Rauschenberg, (Port Arthur, TX, 1925 - 2008, Captiva Island, FL)
Rauschenberg, Robert
United States
1925 - 2008
Male
40 x 40 in. (101.6 x 101.6 cm)
.
.
.
image
square
image
.
.
.
sheet
Printer's ink
Printer's ink
1970
1970
1970
1900-2000, 20th century, politics in art, serigraphs
Print
lower right, below image
1981.50.17
item
Memorial Art Gallery
12/17/2001
81.50.17DI1
digital image
12/18/2001
http://127.0.0.1:5000/Media/images/81.50.17_A1.jpg
Print
General Grant and His Family (after William Cogswell)
John Sartain, (London, England, 1808 - 1897, Philadelphia, Pennsylvania)
Sartain, John
United States
1808 - 1897
Male
Engraver
Cogswell, William
United States
1819 - 1903
Male
Original artist
After
28 1/4 x 21 7/8 in. (71.8 x 55.6 cm)
.
.
.
Printer's ink
Printer's ink
1868
1868
1868
1800-1900, 19th century, engravings, politics in art, portraits, Ulysses S. Grant
Print
lower leftlower right
1985.66
item
Memorial Art Gallery
9/8/1999
glossy
full
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
85.66DI1
digital image
7/22/2004
http://127.0.0.1:5000/Media/images/85.66_A1.jpg
Print
The County Election (after George Caleb Bingham)
John Sartain, (London, England, 1808 - 1897, Philadelphia, Pennsylvania)
Bingham, George Caleb
United States
1811 - 1879
Male
Original artist
After
Sartain, John
United States
1808 - 1897
Male
Engraver
25 5/8 x 32 3/16 in. (65.1 x 81.8 cm)
.
.
.
Printer's ink
Printer's ink
Hand-colored line, stipple and mezzotint engraving on chine colle
1854
1854
1854
1800-1900, 19th century, mezzotints, politics in art
Print
This scene is a commentary on American elections as well as on a specific Election Day in 1850. On that day, in Saline County, Missouri, the artist George Caleb Bingham ran for a place in the State Legislature. E. D. Sappington, the candidate lifting his shiny top hat, was the winner. Sappington, with his workers, tried to buy votes with liquor, and because he was related to the judge and one of the clerks, the election’s outcome aroused suspicion. While Bingham did not contest the results, The County Election makes a powerful statement about his thoughts concerning the corrupt proceedings. The artist represents himself as the figure in the stovepipe hat seated on the courthouse steps, attended by a friendly dog and two men in white hats who pause to look over his shoulder.
John Sartain was a highly successful engraver and publisher. He is well-known for his mezzotints of paintings by some of America’s major artists, including Emanuel Leutze and Thomas Sully. His descendants continued to make important contributions to the world of 19th century American art.
[Gallery label text, October 2010]
lower rightlower center
1991.73
item
Memorial Art Gallery
9/8/1999
91.73SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
91.73DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/91.73_A1.jpg
Print
Politricks
Harry Sternberg, 1904 - 2002
Sternberg, Harry
United States
1904 - 2002
Male
34 3/4 x 25 in. (88.3 x 63.5 cm)
.
.
.
block
image
.
.
.
sheet
Printer's ink
Printer's ink
0
0
1900-2000, 20th century, politics in art, woodcuts
Print
lower right, below imagelower center
1998.34
item
Memorial Art Gallery
9/8/1999
98.34SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.34DI1
digital image
7/22/2004
http://127.0.0.1:5000/Media/images/98.34_A1.jpg
Print
Jackie
Andy Warhol, 1928 - 1987
Warhol, Andy
United States
1928 - 1987
Male
23 7/8 x 23 1/4 in. (60.6 x 59.1 cm)
.
.
.
.
.
.
overall
frame
Acrylic
Acrylic
1964
1964
1964
1900-2000, 20th century, politics in art, serigraphs, women
Print
Warhol often used an unorthodox approach to portraiture. He borrowed from media photographs of celebrities to construct an individual’s public image instead of using a brush to render an idiosyncratic artistic interpretation of a sitter’s appearance.
This work is part of Warhol’s “Jackie” series, which he began shortly after the assassination of President John F. Kennedy in 1963. As the basis for the paintings, he first selected eight photographs from the mass-media coverage of the event. He then cropped the pictures to focus on the President’s widow, Jacqueline Kennedy. Warhol used a commercial silkscreen technique to produce multiple versions of his work. As Warhol described,
I wanted something that gave more of an assembly line effect….With silkscreening you pick a photograph, blow it up, transfer it in glue onto silk, and then roll ink across it so the ink goes through the silk but not through the glue. That way you get the same image, slightly different each time. It was all so simple quick and chancy.
[Forman Gallery, Summer 2015]
1965.7
item
Memorial Art Gallery
9/8/1999
65.7TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.7SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.7DI1
digital image
Memorial Art Gallery
Imaging complete
6/19/2001
http://127.0.0.1:5000/Media/images/65.7_A1.jpg
70warhol1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/70warhol1.tif
Print
Jacqueline Kennedy III
Jacqueline Kennedy III
Andy Warhol, 1928 - 1987
Warhol, Andy
United States
1928 - 1987
Male
Warhol, Andy
United States
1928 - 1987
Male
Primary
40 x 30 in. (101.6 x 76.2 cm)
.
.
.
.
.
.
overall
frame
Printer's ink
Printer's ink
1966
1966
1966
1900-2000, 20th century, politics in art, serigraphs, women
Print
The images that Andy Warhol used of Jacqueline Bouvier Kennedy were based on photographs by Fred War in "Life" magazine, December 6, 1963.
[Gallery label text]
From the portfolio "Eleven Pop Artists, Volume III"
Pop Art print rotation, Post-1950 American art gallery, Jessica Marten, Assistant Curator, Oct. 3, 2011 - March 5, 2012:
President John F. Kennedy was the first “television president;” he and his wife and children were regulars on our TVs, as if they were our royal family. After the President’s assassination, Warhol treated images of Jacqueline Kennedy as a popular culture commodity much like his ubiquitous Campbell Soup can.
Warhol used a commercial silkscreen technique to produce his art. “I wanted something that gave more of an assembly line effect… With silkscreening you pick a photograph, blow it up, transfer it in glue onto silk, and then roll ink across it so the ink goes through the silk but not through the glue. That way you get the same image, slightly different each time. It was all so simple quick and chancy.”
lower left, Hand undeterminedverso
1976.132
item
Memorial Art Gallery
9/8/1999
76.132SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
76.132DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/76.132_A1.jpg
76.132TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70warhol2.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/70warhol2.tif
76.132DI#2
digital image
1/20/2006
http://127.0.0.1:5000/Media/images/76.132_A2.jpg
Print
Jurors Listening to Counsel, Supreme Court, New City Hall, New York
Winslow Homer, 1836 - 1910
Homer, Winslow
United States
1836 - 1910
Male
9 x 13 3/4 in. (22.9 x 34.9 cm)
.
.
.
image
Printer's ink
Printer's ink
1869
1869
1869
1800-1900, 19th century, figure, politics in art, wood engravings
Print
Published in "Harper's Weekly," February 20, 1869
lower center, in the block
1986.45
item
Memorial Art Gallery
9/8/1999
86.45SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.45DI1
digital image
2/27/2002
http://127.0.0.1:5000/Media/images/86.45_A1.jpg
86.45DI#2
digital image
8/11/2016
http://127.0.0.1:5000/Media/images/86.45_A2.jpg
Print
Birmingham Race Riot
Andy Warhol, 1928 - 1987
Warhol, Andy
United States
1928 - 1987
Male
19 15/16 x 24 in. (50.7 x 61 cm)
.
.
.
sheet/image
Printer's ink
Printer's ink
1964
1964
1964
1900-2000, 20th century, Charles Rand Penney Collection, politics in art, serigraphs, violence
Print
Andy Warhol frequently appropriated images by other artists for his work. In this case, the image was originally a photograph by Charles Moore in "Life" magazine, May 17, 1963.
[Gallery label text 2013]
This image first appeared in Andy Warhol’s Disasters series, in which the artist selected, cropped, altered, and reproduced mass-circulated news photographs. The series commented upon America’s social ills with photos of suicides, car crashes and nuclear explosions. Birmingham Race Riot captures the racial tensions that gripped the country during the Civil Rights Movement.
Warhol was an eager consumer of newspapers and magazines; he likely saw this photo of the Birmingham riot when it was published in LIFE magazine on May 17, 1963, only five days after the event it immortalized. The original photograph was taken by Charles Moore.
lower right, in the image
1975.335.10
item
Memorial Art Gallery
9/8/1999
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.335.10DI1
digital image
12/5/2001
http://127.0.0.1:5000/Media/images/75.335.10_A1.jpg
75.335.10DI#2
digital image
2/13/2015
http://127.0.0.1:5000/Media/images/75.335.10_A2.jpg
Print
Union Mixer
Colleen Browning, 1918 - 2003
Browning, Colleen
United States
1918 - 2003
Female
23 x 35 in. (58.4 x 88.9 cm)
.
.
.
overall
horizontal
image
.
.
.
sheet
Printer's ink
Printer's ink
0
0
1900-2000, 20th century, American art, lithographs, politics in art
Print
1975.120.2
item
Memorial Art Gallery
9/8/1999
75.120.2DI1
digital image
3/28/2002
http://127.0.0.1:5000/Media/images/75.120.2_A1.jpg
1975.120.2DI#2
digital image
6/23/2020
http://127.0.0.1:5000/Media/images/75.120.2_A2.jpg
Print
Bicentennial Bandwagon
Red Grooms, 1935 -
Grooms, Red
United States
1935
Male
26 5/8 x 34 3/4 in. (67.6 x 88.3 cm)
.
.
.
sheet/image
Printer's ink
Printer's ink
1975
1975
1975
1000-1400, 1900-2000, 20th century, politics in art, serigraphs
Print
1975.120.4
item
Memorial Art Gallery
9/8/1999
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.120.4DI1
digital image
1/18/2002
http://127.0.0.1:5000/Media/images/75.120.4_A1.jpg
Print
The Anti-Religious Alphabet
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
This young and cheerful boy, dressed in a Soviet military costume and carrying a school blackboard, plays the protagonist of <em>The Anti-Religious Alphabet<em>. Although he only appears in five of the posters, he serves as both role model for and link between readers and the Soviet anti-religious campaign.
2001.20.1
item
Memorial Art Gallery
7/9/2003
2001.20.1DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.1_A1.jpg
2001.20.1SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2001.20.1DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.1_A2.jpg
Print
Comrades, Clean out the Cult's Claptrap!
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
The red color of the large silhouetted broom links it to the Soviet government, which, beginning in 1929, actively set out to close and destroy churches, bells and objects used in the practice of religion. Some religious objects, such as icons, crosses and bibles, were relocated in special anti-religious museums where they were displayed as artifacts of an ancient cult.
Here, the broom sweeps the floor to remove an icon with an image of the Virgin Mary, a censer used in Orthodox religious rituals, a bible, and a chotki, or prayer rope used for saying repetitive private devotional prayers.
2001.20.2
item
Memorial Art Gallery
7/9/2003
2001.20.2DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.2_A1.jpg
2001.20.2SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2001.20.2DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.2_A2.jpg
Print
Believing is Bad for you, Badder than Booze
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
Recognized as a capitalist by his top hat and monocle, the sneering man at the top of the image sprays three figures with liquid from a pressurized canister-- perhaps one similar to those used to ferment alcohol-- labeled "religion." The three figures beneath are engaged in stereotypical self-destructive and frenetic, seemingly drunken, activities related to their religious beliefs. The colorful man at the left is probably a Mongolian who pierces himself with knives; the old peasant woman bangs her head on the ground while praying; and the <em>kulak</em>, or wealthy landowner, flagellates himself with a whip.
[Gallery label text, 2004]
2001.20.3
item
Memorial Art Gallery
7/9/2003
2001.20.3DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.3_A1.jpg
2001.20.3DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.3_A2.jpg
Print
The Lord's Law Lauds the Lords
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
The wealthy and fat capitalist, riding heavily on the back of a common man, points to a Bible opened to the words "Be patient." According to the anti-religious campaigners, the acceptance of Christian belief resulted in the enslavement of the masses, shown here by the whip that the capitalist wields.
2001.20.4
item
Memorial Art Gallery
7/9/2003
2001.20.4DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.4_A1.jpg
2001.20.4SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2001.20.4DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.4_A2.jpg
Print
Prohibit Prehistoric Peasant Prejudices
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
Along with the church, the <em>kulak</em>, or wealthy landowner, and the village priest were seen as key impediments to the Soviet anti-religious campaign. In this image, the giant silhouetted tractor, symbolic of the Soviet government by both its red color and the sign of the hammer and sickle, mows down a church as well as the <em>kulak</em> and the priest. The fields in the background, delineated by barbed wire, refer to the land owned by the <em>kulak</em>, who was the primary opponent to true agricultural collectivization.
2001.20.5
item
Memorial Art Gallery
7/9/2003
2001.20.5DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.5_A1.jpg
2001.20.5SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2001.20.5DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.5_A2.jpg
Print
The Faithful Friars' Frequent Fasting
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
The fast, or sacrificial self-denial of food, is a traditional method of religious observance in most faiths. The irony in this image is clear: the priest who is in theory serving the faith and the faithful through sacrifice is in reality a glutton.
2001.20.6
item
Memorial Art Gallery
7/9/2003
2001.20.6DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.6_A1.jpg
2001.20.6DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.6_A2.jpg
Print
The Saintly Spiders Sting the Stragglers
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
The old peasant woman on pilgrimage, a sack on her back and carrying a walking stick, travels along a path that connects at the far right with an enormous spider's web. The spider, his head crowned with the black headdress of a high-level member of the Orthodox clergy, lays in wait. As bait, he dangles religious icons as she approaches the web. Icons like these were purchased by the religious faithful at various pilgrimage sites dedicated to saints and miracles of the Church.
2001.20.7
item
Memorial Art Gallery
7/9/2003
2001.20.7DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.7_A1.jpg
2001.20.7SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2001.20.7DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.7_A2.jpg
Print
Substitute Science for the Sorcerer's Spells
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
In many Russian rural communities, peasants consulted the village sorcerer as frequently as they consulted the village priest. The toothless and unkempt man on the left-- the sorcerer-- is shown with various tools of his trade: a rat, a bone, seeds, and a candle. A bottle labeled with the symbol of the Russian Orthodox cross is probably holy water, linking the magic of the sorcerer with the sorcery of the church. The scientific alternatives to magic, including the "new bible" <em>Political Education</em>, a microscope, and a draftsman's triangle are shown on the right.
[Gallery label text, 2004]
2001.20.8
item
Memorial Art Gallery
7/9/2003
2001.20.8DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.8_A1.jpg
2001.20.8DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.8_A2.jpg
Print
The Jury's Judgment: Jeers for a Judas
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
The religious faith and passive resistance movement of Mahatma Gandhi, the Hindu leader who was an activist for the rights of Indians under British colonial rule, was in direct opposition to the philosophy of the militant Soviet anti-religious campaign. On the left, Gandhi is shown with his hand outstretched, receiving money from the bejeweled hand of a capitalist; on the right, masses of Indians carrying the Soviet flag with its sign of the hammer and sickle raise their fists in anger.
2001.20.9
item
Memorial Art Gallery
7/9/2003
2001.20.9DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.9_A1.jpg
2001.20.9DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.9_A2.jpg
Print
Blacksmith, Beat the Bells into Ballbearings
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
On January 30, 1929, the Presidium, one organ of the Soviet government, banned the pealing of church bells, and within the next three years, hundreds of churches were demolished or closed and looted. Massive numbers of bells and icons were destroyed; the metal was used to support industrialization efforts.
2001.20.10
item
Memorial Art Gallery
7/9/2003
2001.20.10DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.10_A1.jpg
2001.20.10SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2001.20.10DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.10_A2.jpg
Print
The Lurid Lava of Loathsome Lies
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
The Soviet anti-religious movement was directed at all religions, including Judaism, Islam, Western Catholicism, and Russian Orthodox Christianity. The headdresses of the four figures spewing liquid from their mouths indicate that they are leaders within their particular faith: from left to right are a rabbi, an Orthodox priest, a mullah, and the Pope.
The protagonist of <em>The Anti-Religious Alphabet</em>, armed with his blackboard and umbrella, shows how the power of education can counter and protect against religious propaganda.
2001.20.11
item
Memorial Art Gallery
7/9/2003
2001.20.11DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.11_A1.jpg
2001.20.11SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2001.20.11DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.11_A2.jpg
Print
The Mass's Martyrs Meet the Might of the Masses
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
This image juxtaposes stragglers going to church, seduced by the holy relics of martyrs, with the massive numbers of workers heading into a factory. The powerful factory whistle blasts its call to labor; the fractured and broken lines around the church bell suggest the weakness of both its sound and effectiveness in an industrialized society.
2001.20.12
item
Memorial Art Gallery
7/9/2003
2001.20.12DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.12_A1.jpg
2001.20.12DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.12_A2.jpg
Print
The Merry Monks' Mendacious Miracles
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
Icons-- images of the Virgin Mary, Christ, or holy saints-- are important devotional objects in Russian Orthodox Christianity. Because believers communicate through them with the divine world, they are sometimes seen as magical. Here, the magic is revealed as the outright trickery of the clergy. Although this image of the Virgin Mary seems to weep genuine tears, in reality a monk is pouring a bucket of water into a vessel attached to the back of the icon.
2001.20.13
item
Memorial Art Gallery
7/9/2003
2001.20.13DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.13_A1.jpg
2001.20.13DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.13_A2.jpg
Print
A Proletarian Prayer for Pious Preachers
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
As in many other images from the alphabet, the Roman Catholic pope is shown as a dangerous figure; a large knife attached to his rosary substitutes for the traditional Christian cross. Here, however, the pope is unsuccessful in his mission: the large boot of the young anti-religious protagonist from <em>The Anti-Religious Alphabet</em> forcefully removes him from the premises.
2001.20.14
item
Memorial Art Gallery
7/9/2003
2001.20.14DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.14_A1.jpg
2001.20.14DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.14_A2.jpg
Print
Pull the Plug on the Parasites' Paradise
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
In this image, the religious clergy of Western Catholicism are shown as propagandists at the service of capitalism. The shark-toothed man at the bottom of the image, recognized as a capitalist by his hat and monocle, holds a stick topped by a cloud labeled "Paradise." At the top of the cloud is Christ, who is stretching his hands out toward the people running to meet him. The offer of religious paradise to the masses, though, is shown here as a devious trap: the people are being forcibly driven to the edge of a cliff by the pope (recognized by his crown) and western monks and priests (recognized by their costume and the cross of Western Christianity). The gap between the edge of the cliff and paradise is too wide, and they fall directly into the mouth of the capitalist.
[Gallery label text, 2004]
2001.20.15
item
Memorial Art Gallery
7/9/2003
2001.20.15DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.15_A1.jpg
2001.20.15DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.15_A2.jpg
Print
Sacred Stories are So Silly!
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
Although our protagonist is clearly reading, which is the point of learning the alphabet, he is also laughing at the religious stories he finds in the Bible. The premise of the Soviet educational movement can be summarized with another well-used slogan of the time: "Literacy: The Path to Communism." Students were expected to read selectively in a way that would advance the industrialization of society and the principles of atheist materialism.
2001.20.16
item
Memorial Art Gallery
7/9/2003
2001.20.16DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.16_A1.jpg
2001.20.16SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2001.20.16DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.16_A2.jpg
Print
That's the Way to Till, Comrade Tractor!
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
In the Russian countryside, the <em>kulak</em>, or wealthy landowner, the village priest, and elderly peasant women who persisted in their religious beliefs were considered the three holdouts to both the Soviet anti-religious campaign and the move toward collective farming and industrialization. Here, despite the three characters' attempts at restraining the tiller, the tractor going around the circumference of the circle clears the <em>kulak</em>'s land of individual plots, replacing them with a single one filled with golden wheat. The word "collectivization" is written on the tiller.
2001.20.17
item
Memorial Art Gallery
7/9/2003
2001.20.17DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.17_A1.jpg
2001.20.17SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2001.20.17DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.17_A2.jpg
Print
Sack the Saints-Sow the Seeds
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
Russian peasants frequently planted their crops based on a belief in superstitions and the power of divine forces rather than scientific methods. This image juxtaposes the old way of farming with the new and technologically advanced. On the left, two saints identified by their halos as Nicholas and Elijah are watering wilted crops and swinging a censer used in church rituals. On the right, a full field of healthy wheat serves as a backdrop to a book with the words "Agrotechnology" and "Fertilizers." The drawing is of a Machine Tractor Station (MTC).
2001.20.18
item
Memorial Art Gallery
7/9/2003
2001.20.18DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.18_A1.jpg
2001.20.18DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.18_A2.jpg
Print
Ford's Factories are Fascist Forts
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
In this image, which addresses the threat of Nazi Germany to the Soviet Union, the hat of the American icon Uncle Sam is crowned with a Nazi swastika. The soldiers on the brim of the hat fire machine guns into the populace on the ground. The figure of Uncle Sam holds a Bible open to a page that assures "All men are brothers."
The caption for this image refers to Henry Ford, the founder of the American automotive industry and one of the wealthiest businessmen in the world. In 1931, Ford, a staunch supporter of Hitler, established a factory in Cologne, Germany, which, along with the factories of General Motors, provided many of the trucks that eventually motorized the Nazi attempt to conquer Europe.
2001.20.19
item
Memorial Art Gallery
7/9/2003
2001.20.19DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.19_A1.jpg
2001.20.19DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.19_A2.jpg
Print
Waving the Word While Wielding the Whip
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
An important tenet of the anti-religious movement was the intertwined relationship between Christian beliefs and capitalism, a relationship that was dangerous to the freedom of the common man. In this image, a slave, perhaps from one of the African or Caribbean nations colonized by Europeans, is chained and whipped by the wealthy capitalist. A Franciscan friar, symbolizing the missionary preachers of the Catholic Church, displays a Bible opened to the words "love one another." Men bent over from the weight of their burdens are seen in the background.
2001.20.20
item
Memorial Art Gallery
7/9/2003
2001.20.20DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.20_A1.jpg
2001.20.20DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.20_A2.jpg
Print
Churches are Chains that Choke and Chafe
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
The Soviet anti-religious campaigners believed that the common man was enslaved by the church, and that his freedom could only be obtained by embracing the doctrine of atheist communism. The man in this image, blindfolded and chained to the dome of a church, wears the traditional tunic and hairstyle of a Russian peasant. The cross that he wears on the chain around his neck is the same one that extends from the top of the church dome.
2001.20.21
item
Memorial Art Gallery
7/9/2003
2001.20.21DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.21_A1.jpg
2001.20.21DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.21_A2.jpg
Print
Read it Loud and Clear! Rosaries are Rubbish!
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
Like the rosaries of Roman Catholicism, the <em>chotki</em>, or prayer ropes, of Russian Orthodox Christianity are strings of beads used by the religious faithful to recite a series of predetermined prayers. Because of the Western rather than Orthodox cross on the end of the beads, this image could refer to the Roman pope's mandate for Catholics to say the Rosary "for the conversion of Russia," which was seen as a symbol of western aggression by the Soviet anti-religious campaign.
2001.20.22
item
Memorial Art Gallery
7/9/2003
2001.20.22DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.22_A1.jpg
2001.20.22SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2001.20.22DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.22_A2.jpg
Print
Pierce the Pack of Priestly Pretenders
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
Armed with a shield in the form of the journal <em>The Godless</em>, the official publication of the activist "League of the Militant Godless," our young protagonist aggressively attacks the figureheads of the key religions seen as threats to the Soviet government. Seen from left to right are a mullah, the Pope, a Russian Orthodox priest, a shaman (shamanism was still practiced among Siberian tribes), and a rabbi.
2001.20.23
item
Memorial Art Gallery
7/9/2003
2001.20.23DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.23_A1.jpg
2001.20.23SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2001.20.23DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.23_A2.jpg
Print
Tongs! Trim Their Twisted Tentacles!
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
By the time the <em>Anti-Religious Alphabet</em> was produced in 1932, Adolph Hitler's rise to power was almost complete. Hitler was elected Chancellor of Germany in January 1933; his regime immediately implemented the mass arrests of communists and socialists, imprisoning them in the Nazi concentration camp at Dachau. In this image, an enormous yellow one-eyed octopus, its top hat marked with a Nazi swastika, stretches four bristled tentacles across a map of Europe. At the end of each tentacle is a figure that symbolizes both real and perceived threats to the Soviet Union. From left to right are a Japanese soldier, a member of the out-of-favor Soviet Socialist Democratic Party, another soldier (nationality unknown), and a member of the Russian Orthodox clergy. By snipping the tentacles at the source of the threat, the giant red pincers halt both the internal and external threats to the Soviet government.
2001.20.24
item
Memorial Art Gallery
7/9/2003
2001.20.24DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.24_A1.jpg
2001.20.24DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.24_A2.jpg
Print
Extract the Exploiters with Electric Excavators
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
The electrification of the countryside, intended to defeat the ignorance of the populace by bringing agricultural communities into the Machine Age, was a primary goal of the Soviet government. Here, the electric excavator forcefully removes two of the key opponents to the Soviet effort: the <em>kulak</em>, or wealthy landowner, and the low-level village priest.
2001.20.25
item
Memorial Art Gallery
7/9/2003
2001.20.25DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.25_A1.jpg
2001.20.25DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.25_A2.jpg
Print
How Humble, How Holy He is!
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
One of the key changes that the Soviet government made to agriculture was to replace individual land ownership with the collective farm, or <em>kolkhoz</em>. Here, the fist at the right, crowned with the cap of the <em>kulak</em>, or rich landowner, manipulates a village "holy fool" with strings like those of a marionette. Holy fools traveled itinerantly throughout the countryside and were often seen as prophets of wisdom. Here, the holy fool is crying out to an old peasant woman "Don't join the <em>kolkhoz</em>," which was the obvious desire of the <em>kulak</em>. The artist Cheremnykh used word play to strengthen the imagery: in Russian, <em>kulak</em> is also the word for fist.
2001.20.26
item
Memorial Art Gallery
7/9/2003
2001.20.26DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.26_A1.jpg
2001.20.26DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.26_A2.jpg
Print
Vile and Virulent is the Viper's Venom
Mikhail Mikhailovich Cheremnykh, (Tomsk, Russia, 1890 - 1962, Moscow, USSR)
Cheremnykh, Mikhail Mikhailovich
Russia
1890 - 1962
Male
14 7/8 x 10 5/8 in. (37.8 x 27 cm)
.
.
.
sheet/ image
Printer's ink
Printer's ink
1932
1932
1932
1900-2000, 20th century, lithographs, politics in art
Print
From a portfolio of 27 prints.
Pope Pius XI, the leader of the Catholic Church at the time Cheremnykh designed <em>The Anti-Religious Alphabet</em>, was openly critical of the atheistic doctrine of the Soviet Union. He condemned communism as the most persistent enemy of Christianity, calling it a "satanic scourge" from which the common man must be saved. The pope was seen as a grave threat to Soviet society; this image presents Pius XI's words as a writhing, dangerous snake waiting to strike.
2001.20.27
item
Memorial Art Gallery
7/9/2003
2001.20.27DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2001.20.27_A1.jpg
2001.20.27DI#2
digital image
7/14/2008
http://127.0.0.1:5000/Media/images/2001.20.27_A2.jpg
Print
The Polling
William Hogarth, (London, 1697 - 1764, London)
Hogarth, William
England
1697 - 1764
Male
17 1/4 x 22 1/16 in. (43.8 x 56 cm)
.
.
.
Printer's ink
Printer's ink
1755-1758
1755
1758
1600-1800, 18th century, engravings, people in art, politics in art
Print
The third plate from a sequence of four entitled "Four Prints of An Election," based on four paintings also by Hogarth. The prints were originally published between February, 1755 and February, 1758.
1954.21
item
Memorial Art Gallery
10/5/2000
54.21SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.21SL2
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detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.21SL3
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detail
2 x 2
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http://127.0.0.1:5000/Graphics/blank.gif
54.21SL4
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.21DI#1
digital image
Full
00/00/00
http://127.0.0.1:5000/Media/images/54.21_A1.jpg
54.21DI#2
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/54.21_A2.jpg
54.21DI#3
digital image
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00/00/00
http://127.0.0.1:5000/Media/images/54.21_A3.jpg
54.21DI#4
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/54.21_A4.jpg
Print
Canvassing for Votes
William Hogarth, (London, 1697 - 1764, London)
Hogarth, William
England
1697 - 1764
Male
17 x 21 7/8 in. (43.2 x 55.6 cm)
.
.
.
sheet
Printer's ink
Printer's ink
1755-1758
1755
1758
1600-1800, 18th century, engravings, people in art, politics in art
Print
The second plate from a sequence of four entitled "Four Prints of An Election," based on four paintings also by Hogarth. The prints were originally published between February, 1755 and February, 1758.
1954.22
item
Memorial Art Gallery
10/5/2000
54.22SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.22SL2
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.22SL3
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.22SL4
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.22SL5
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.22DI#1
digital image
Full
00/00/00
http://127.0.0.1:5000/Media/images/54.22_A1.jpg
54.22DI#2
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/54.22_A2.jpg
54.22DI#3
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/54.22_A3.jpg
54.22DI#4
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/54.22_A4.jpg
54.22DI#5
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/54.22_A5.jpg
Print
An Election Entertainment
William Hogarth, (London, 1697 - 1764, London)
Hogarth, William
England
1697 - 1764
Male
17 1/8 x 22 1/4 in. (43.5 x 56.5 cm)
.
.
.
sheet
Printer's ink
Printer's ink
1755-1758
1755
1758
1600-1800, 18th century, engravings, people in art, politics in art
Print
The first plate from a sequence of four entitled "Four Prints of An Election," based on four paintings also by Hogarth. The prints were originally published between February, 1755 and February, 1758.
1954.23
item
Memorial Art Gallery
10/5/2000
54.23SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.23SL2
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.23SL3
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2 x 2
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2 x 2
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54.23SL6
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2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.23SL7
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.23DI#1
digital image
Full
00/00/00
http://127.0.0.1:5000/Media/images/54.23_A1.jpg
54.23DI#2
digital image
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00/00/00
http://127.0.0.1:5000/Media/images/54.23_A2.jpg
54.23DI#3
digital image
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00/00/00
http://127.0.0.1:5000/Media/images/54.23_A3.jpg
54.23DI#4
digital image
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00/00/00
http://127.0.0.1:5000/Media/images/54.23_A4.jpg
54.23DI#5
digital image
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00/00/00
http://127.0.0.1:5000/Media/images/54.23_A5.jpg
54.23DI#6
digital image
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00/00/00
http://127.0.0.1:5000/Media/images/54.23_A6.jpg
54.23DI#7
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/54.23_A7.jpg
Print
Chairing the Members
William Hogarth, (London, 1697 - 1764, London)
Hogarth, William
England
1697 - 1764
Male
17 3/16 x 22 in. (43.7 x 55.9 cm)
.
.
.
sheet
Printer's ink
Printer's ink
1755-1758
1755
1758
1600-1800, 18th century, engravings, people in art, politics in art
Print
The fourth plate from a sequence of four entitled "Four Prints of An Election," based on four paintings also by Hogarth. The prints were originally published between February, 1755 and February, 1758.
1954.25
item
Memorial Art Gallery
10/5/2000
54.25SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.25SL2
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.25SL3
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2 x 2
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54.25SL4
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2 x 2
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http://127.0.0.1:5000/Graphics/blank.gif
54.25SL5
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.25DI#1
digital image
Full
00/00/00
http://127.0.0.1:5000/Media/images/54.25_A1.jpg
54.25DI#2
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/54.25_A2.jpg
54.25DI#3
digital image
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00/00/00
http://127.0.0.1:5000/Media/images/54.25_A3.jpg
54.25DI#4
digital image
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00/00/00
http://127.0.0.1:5000/Media/images/54.25_A4.jpg
54.25DI#5
digital image
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00/00/00
http://127.0.0.1:5000/Media/images/54.25_A5.jpg