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Portfolios%20%3D%20%223092%22%20and%20Century%20%3D%20%2220th%20Century%22%20and%20Disp_Obj_Type%20%3D%20%22Sculpture%22
Sculpture
Dove
William Edmondson, (Davidson, County, KY, 1882 - 1951, Nashville, TN)
Edmondson, William
United States
1882 - 1951
Male
4 x 8 1/4 x 13 1/2 in. (10.2 x 21 x 34.3 cm)
.
.
.
Sandstone
Sandstone
0
0
1900-2000, 20th century, birds, folk art, sculpture
Sculpture
William Edmondson was a self-taught sculptor from Tennessee, who claimed that God told him to start sculpting. He transformed blocks of stone into his ‘critters’, including this elegant dove.
Oct. 2011/Folk Art Case
M. Searl
1970.60
item
Memorial Art Gallery
9/8/1999
70.60TR1
Transparency
Memorial Art Gallery
Side
2 1/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
transparency
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.60SL1
slide
left side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.60DI1
digital image
Memorial Art Gallery
Side
Imaging complete
6/19/2001
http://127.0.0.1:5000/Media/images/70.60_A1.jpg
70.60NEG1
negative
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.60PRT1
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.60SL2
slide
right side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.60DI#2
digital image
6/13/2011
http://127.0.0.1:5000/Media/images/70.60_A2.jpg
Sculpture
Woman Fixing her Hair
Elizabeth Catlett, (Washington, DC, 1915 - 2012, Cuernavaca, Mexico)
Catlett, Elizabeth
America and Mexico
1915 - 2012
Female
18 1/2 x 9 7/16 x 11 5/8 in. (47 x 24 x 29.5 cm)
.
.
.
overall
overall
Terracotta
Terracotta
0
0
Images of Black People
Sculpture
Over the course of her long and prolific career, sculptor and printmaker Elizabeth Catlett used her art to celebrate the beauty and strength of Black women. In Woman Fixing Her Hair, Catlett has streamlined the figure’s details, creating a monumental quality in this small sculpture.
In 1946, after earning her master’s degree in art from the University of Iowa, Catlett moved to Mexico where she studied the traditional ceramic forms and techniques of the region. Woman Fixing Her Hair was made during Catlett’s early period in Mexico and its medium, size, and style reference ancient ceramic sculptures made in the region.
[Gallery label text, 2024]
back of base, lower rightunderside
2014.43
item
Memorial Art Gallery
6/25/2014
6633DI#1
digital image
Front
00/00/00
http://127.0.0.1:5000/Media/images/2014.43_A1.jpg
6633DI#2
digital image
Three-quarter
00/00/00
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6633DI#3
digital image
Three-quarter
00/00/00
http://127.0.0.1:5000/Media/images/2014.43_A3.jpg
6633DI#4
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/2014.43_A4.jpg
6633DI#6
digital image
Bottom
00/00/00
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6633DI#5
digital image
Back
00/00/00
http://127.0.0.1:5000/Media/images/2014.43_A5.jpg
2014.43DI#7
digital image
1/4/2017
http://127.0.0.1:5000/Media/images/2014.43_A7.jpg
2014.43DI#8
digital image
1/4/2017
http://127.0.0.1:5000/Media/images/2014.43_A8.jpg
Sculpture
Last Supper
Oliver Cheatham, 20th century
Cheatham, Oliver
United States
Male
11 3/8 x 25 5/8 x 3/4 in. (28.9 x 65.1 x 1.9 cm)
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.
.
Wood
Wood
0
0
1900-2000, 20th century, folk art, Images of Black People, sculpture
Sculpture
1999.14
item
Memorial Art Gallery
4/12/2000
99.14SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3x2
00/00/00
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glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
99.14DI1
digital image
2 x 2
7/23/2002
http://127.0.0.1:5000/Media/images/99.14_A1.jpg
Sculpture
The Nativity
Oliver Cheatham, 20th century
Cheatham, Oliver
United States
Male
12 1/2 x 25 1/4 x 7/8 in. (31.8 x 64.1 x 2.2 cm)
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.
.
Wood
Wood
0
0
1900-2000, 20th century, folk art, Images of Black People, sculpture
Sculpture
The nativity of Christ has been a popular subject in many artistic traditions. Here, the carver has included all the traditional elements arranged in a simple yet effective way, using few colors and creating the illusion of depth. Gold paint illuminates the baby, above whom an angel watches protectively.
Like the carver of the Santo [73.9], or the artisan who built the Tramp Art Shrine [87.4], Oliver Cheatham was an artist who expressed his religious devotion with wood and paint. Little else is known about him. The donor, Reverend Romig, came across a few pieces of his work on a sidewalk in New York City; the artist had died, and his family was throwing his things away. Fortunately, Reverend Romig recognized the beauty of the work, retrieved what he could, and kindly donated two pieces to the Memorial Art Gallery: The Nativity and The Last Supper [99.14], which is being conserved.
[Gallery label text, 2002]
1999.15
item
Memorial Art Gallery
4/12/2000
99.15SL1
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
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
99.15DI2
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/99.15_A2.jpg
99.15DI1
digital image
2 x 2
7/23/2002
http://127.0.0.1:5000/Media/images/99.15_A1.jpg
Sculpture
Nam
Melvin Edwards, 1937 -
Edwards, Melvin
United States
1937
Male
Primary
14 3/16 x 15 3/8 x 7 5/16 in. (36 x 39 x 18.5 cm)
.
.
.
overall
overall
Steel
Steel
1973
1973
1973
Sculpture
These sculptures are part of Melvin Edwards’ Lynch Fragments series, which symbolizes the lived experiences of Black men and women in America. Through his practice of assemblage and transformation, Edwards addresses political, cultural, and social themes through abstracted forms.
Nam and Texas Tale—made nearly twenty years apart—remain true to Edwards’ distinct vision, evoking themes of protest and resistance. Nam references the Vietnam War. The diamond form, with its dark, concealed interior, hints at the deep wounds inflicted by the war. Texas Tale alludes to the artist’s childhood in Houston, Texas, during a time of racial segregation. A combination of abstract shapes and recognizable forms suggests both agricultural tools and implements of bondage.
[Gallery label text, 2024]
back
2015.24
item
Memorial Art Gallery
10/1/2015
2015.24DI#1
digital image
11/18/2016
http://127.0.0.1:5000/Media/images/2015.24_A1.jpg
2015.24DI#2
digital image
6/10/2016
http://127.0.0.1:5000/Media/images/Inventory pictures/2015.24_I1.JPG
2015.24DI#2
digital image
11/18/2016
http://127.0.0.1:5000/Media/images/2015.24_A2.jpg
2015.24DI#3
digital image
11/18/2016
http://127.0.0.1:5000/Media/images/2015.24_A3.jpg
Sculpture
Texas Tale
Melvin Edwards, 1937 -
Edwards, Melvin
United States
1937
Male
Primary
18 x 8 5/16 x 11 5/16 in. (45.7 x 21.1 x 28.7 cm)
.
.
.
overall
overall
Steel
Steel
1992
1992
1992
Sculpture
These sculptures are part of Melvin Edwards’ Lynch Fragments series, which symbolizes the lived experiences of Black men and women in America. Through his practice of assemblage and transformation, Edwards addresses political, cultural, and social themes through abstracted forms.
Nam and Texas Tale—made nearly twenty years apart—remain true to Edwards’ distinct vision, evoking themes of protest and resistance. Nam references the Vietnam War. The diamond form, with its dark, concealed interior, hints at the deep wounds inflicted by the war. Texas Tale alludes to the artist’s childhood in Houston, Texas, during a time of racial segregation. A combination of abstract shapes and recognizable forms suggests both agricultural tools and implements of bondage.
[Gallery label text, 2024]
back
2015.23
item
Memorial Art Gallery
10/1/2015
2015.23DI#1
digital image
11/18/2016
http://127.0.0.1:5000/Media/images/2015.23_A1.jpg
2015.23DI#2
digital image
6/10/2016
http://127.0.0.1:5000/Media/images/Inventory pictures/2015.23_I1.JPG
2015.23DI#2
digital image
11/18/2016
http://127.0.0.1:5000/Media/images/2015.23_A2.jpg
2015.23DI#3
digital image
11/18/2016
http://127.0.0.1:5000/Media/images/2015.23_A3.jpg