<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://omeka.hvvacc.org/items/show/8246">
    <dcterms:title><![CDATA[bowl]]></dcterms:title>
    <dcterms:subject><![CDATA[cultural artifacts; propaganda]]></dcterms:subject>
    <dcterms:description><![CDATA[A blue chain bowstring surrounds the top outer rim of the bowl.  Under the bowstring there are two blue line drawings flanked by inscriptions: on one side of the bowl, a ship sails through stylized waves; on the other side there is a book in the middle of wheat. The inscriptions read: &quot;Sailing the seas depends on the helmsman&quot; [in Chinese characters - dahai hangxing kao duoshou]; and &quot;The growth of everything relies on the sun&quot; [in Chinese characters - wanwu shenzhang kao taiyang]. ]]></dcterms:description>
    <dcterms:description><![CDATA[This article was acquired by the donor on September 29, 2007]]></dcterms:description>
    <dcterms:creator><![CDATA[unknown Chinese]]></dcterms:creator>
    <dcterms:creator><![CDATA[ceramicist; glazer (applying glaze)]]></dcterms:creator>
    <dcterms:creator><![CDATA[Chinese]]></dcterms:creator>
    <dcterms:creator><![CDATA[People&#039;s Republic of China [Zhongguo]]]></dcterms:creator>
    <dcterms:source><![CDATA[Donor&#039;s notes]]></dcterms:source>
    <dcterms:publisher><![CDATA[Samuel Dorsky Museum of Art. State University of New York at New Paltz (New Paltz, New York, United States)]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[Study Collection. Samuel Dorsky Museum of Art]]></dcterms:publisher>
    <dcterms:date><![CDATA[1966-1976]]></dcterms:date>
    <dcterms:rights><![CDATA[To request permission to publish or reproduce this work, please contact the Samuel Dorsky Museum of Art.]]></dcterms:rights>
    <dcterms:relation><![CDATA[http://hvvacc.org/cdm/singleitem/collection/sdma/id/5115]]></dcterms:relation>
    <dcterms:extent><![CDATA[16.5 cm (6 1/2 inches)[circumference at mouth]; 5.5 cm (2 3/16 inches) [height]]]></dcterms:extent>
    <dcterms:medium><![CDATA[porcelain (material); glaze]]></dcterms:medium>
    <dcterms:medium><![CDATA[ceramics (object genre); ceramic process; glazing (coating)]]></dcterms:medium>
    <dcterms:type><![CDATA[bowl (vessel)]]></dcterms:type>
    <dcterms:type><![CDATA[work]]></dcterms:type>
    <dcterms:identifier><![CDATA[SC-17-14]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[SC-17-14]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[SC-17-14.jpg]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Cultural Revolution]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[modern Chinese styles and periods]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[People&#039;s Republic of China [Zhongguo]]]></dcterms:coverage>
    <dcterms:provenance><![CDATA[Gift of Alfreda Murck]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://omeka.hvvacc.org/items/show/8245">
    <dcterms:title><![CDATA[bowl]]></dcterms:title>
    <dcterms:subject><![CDATA[cultural artifacts; propaganda]]></dcterms:subject>
    <dcterms:description><![CDATA[Five hand-brushed black characters on the upper part of the outer body form a slogan: &quot;The Revolutionary committee is good&quot; {in Chinese characters - geming weiyuan hui hao]. Each character is framed by a decal or stamp of a purple ring and three sunflowers with yellow centers and green leaves. Decorative flourishes join the separate images.]]></dcterms:description>
    <dcterms:description><![CDATA[kiln mark on bottom of bowl: Zi River porcelain factory, Hunan 1969 [in Chinese characters - Hunan Zijiang cichang 1969]; interior of bowl has the Chinese character &quot;yu.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[This article was acquired by the donor on February 15, 2003]]></dcterms:description>
    <dcterms:creator><![CDATA[unknown Chinese]]></dcterms:creator>
    <dcterms:creator><![CDATA[ceramicist; glazer (applying glaze)]]></dcterms:creator>
    <dcterms:creator><![CDATA[Chinese]]></dcterms:creator>
    <dcterms:creator><![CDATA[People&#039;s Republic of China [Zhongguo]]]></dcterms:creator>
    <dcterms:source><![CDATA[Donor&#039;s notes]]></dcterms:source>
    <dcterms:publisher><![CDATA[Samuel Dorsky Museum of Art. State University of New York at New Paltz (New Paltz, New York, United States)]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[Study Collection. Samuel Dorsky Museum of Art]]></dcterms:publisher>
    <dcterms:date><![CDATA[1969]]></dcterms:date>
    <dcterms:rights><![CDATA[To request permission to publish or reproduce this work, please contact the Samuel Dorsky Museum of Art.]]></dcterms:rights>
    <dcterms:relation><![CDATA[http://hvvacc.org/cdm/singleitem/collection/sdma/id/5114]]></dcterms:relation>
    <dcterms:extent><![CDATA[16 cm (6 1/3 inches) [circumference at mouth]; 5.5 cm (2 3/16 inches) [height]]]></dcterms:extent>
    <dcterms:medium><![CDATA[porcelain (material); glaze]]></dcterms:medium>
    <dcterms:medium><![CDATA[ceramics (object genre); ceramic process; glazing (coating)]]></dcterms:medium>
    <dcterms:type><![CDATA[bowl (vessel)]]></dcterms:type>
    <dcterms:type><![CDATA[work]]></dcterms:type>
    <dcterms:identifier><![CDATA[SC-17-15]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[SC-17-15]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[SC-17-15.jpg]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Cultural Revolution]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[modern Chinese styles and periods]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[People&#039;s Republic of China [Zhongguo]]]></dcterms:coverage>
    <dcterms:provenance><![CDATA[Gift of Alfreda Murck]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://omeka.hvvacc.org/items/show/8244">
    <dcterms:title><![CDATA[bowl]]></dcterms:title>
    <dcterms:subject><![CDATA[cultural artifacts; propaganda]]></dcterms:subject>
    <dcterms:description><![CDATA[The exterior of the bowl, at the top of the rim, features a double red bowstring framing a red geometric design broken by a stylized green flower. Beneath the bottom bowstring, four bold outlined Chinese characters read: &quot;Be industrious and thrifty in managing household&quot; [qinjian chijia]. A red bowstring decorates the top of the foot of the bowl.]]></dcterms:description>
    <dcterms:description><![CDATA[red circular mark: &quot;Product of Nantong Ceramic Factory, Jiangsu&quot; [in Chinese charactors - Jiangsu Nantong cichang chupin]]]></dcterms:description>
    <dcterms:description><![CDATA[bottom of the bowl]]></dcterms:description>
    <dcterms:description><![CDATA[This article was acquired by the donor in 2001-2005]]></dcterms:description>
    <dcterms:creator><![CDATA[unknown Chinese]]></dcterms:creator>
    <dcterms:creator><![CDATA[ceramicist; glazer (applying glaze)]]></dcterms:creator>
    <dcterms:creator><![CDATA[Chinese]]></dcterms:creator>
    <dcterms:creator><![CDATA[People&#039;s Republic of China [Zhongguo]]]></dcterms:creator>
    <dcterms:source><![CDATA[Donor&#039;s notes]]></dcterms:source>
    <dcterms:publisher><![CDATA[Samuel Dorsky Museum of Art. State University of New York at New Paltz (New Paltz, New York, United States)]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[Study Collection. Samuel Dorsky Museum of Art]]></dcterms:publisher>
    <dcterms:date><![CDATA[late 1950s-1960s]]></dcterms:date>
    <dcterms:rights><![CDATA[To request permission to publish or reproduce this work, please contact the Samuel Dorsky Museum of Art.]]></dcterms:rights>
    <dcterms:relation><![CDATA[http://hvvacc.org/cdm/singleitem/collection/sdma/id/5113]]></dcterms:relation>
    <dcterms:extent><![CDATA[16 cm (6 1/3 inches) [circumference at mouth]; 5.5 cm (2 3/16 inches) [height]]]></dcterms:extent>
    <dcterms:medium><![CDATA[porcelain (material); glaze]]></dcterms:medium>
    <dcterms:medium><![CDATA[ceramics (object genre); ceramic process; glazing (coating)]]></dcterms:medium>
    <dcterms:type><![CDATA[bowl (vessel)]]></dcterms:type>
    <dcterms:type><![CDATA[work]]></dcterms:type>
    <dcterms:identifier><![CDATA[SC-17-13]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[SC-17-13]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[SC-17-13.jpg]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Cultural Revolution]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[modern Chinese styles and periods]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[People&#039;s Republic of China [Zhongguo]]]></dcterms:coverage>
    <dcterms:provenance><![CDATA[Gift of Alfreda Murck]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://omeka.hvvacc.org/items/show/8243">
    <dcterms:title><![CDATA[bowl]]></dcterms:title>
    <dcterms:subject><![CDATA[cultural artifacts; propaganda]]></dcterms:subject>
    <dcterms:description><![CDATA[The white ground of the bowl is decorated with a dark blue bowstring on the rim. Just below the rim on the exterior wall is a bunch of pine needles, first stenciled in red and then sprayed green, signifying endurance and high principle. Below the pine needles is a red inscription: &quot;Learn from Comrade Men He&quot; [in Chinese characters - Xiang Men He Tongzhi xuexi]. ]]></dcterms:description>
    <dcterms:description><![CDATA[partially illegible: &quot;The Masses. Beijing Exhibition Road Enamel&quot; [in Chinese characters - Dazhong Beijing shi Zhanlanlu tangci]. ]]></dcterms:description>
    <dcterms:description><![CDATA[on bottom of bowl]]></dcterms:description>
    <dcterms:description><![CDATA[This object was acquired by the donor at Baoguosi on September 26, 2002.]]></dcterms:description>
    <dcterms:creator><![CDATA[unknown Chinese]]></dcterms:creator>
    <dcterms:creator><![CDATA[metalworker; enameler; calligrapher]]></dcterms:creator>
    <dcterms:creator><![CDATA[Chinese]]></dcterms:creator>
    <dcterms:creator><![CDATA[People&#039;s Republic of China [Zhongguo]]]></dcterms:creator>
    <dcterms:source><![CDATA[Donor&#039;s notes]]></dcterms:source>
    <dcterms:publisher><![CDATA[Samuel Dorsky Museum of Art. State University of New York at New Paltz (New Paltz, New York, United States)]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[Study Collection. Samuel Dorsky Museum of Art]]></dcterms:publisher>
    <dcterms:date><![CDATA[1966]]></dcterms:date>
    <dcterms:rights><![CDATA[To request permission to publish or reproduce this work, please contact the Samuel Dorsky Museum of Art.]]></dcterms:rights>
    <dcterms:relation><![CDATA[http://hvvacc.org/cdm/singleitem/collection/sdma/id/5112]]></dcterms:relation>
    <dcterms:extent><![CDATA[18.5 cm (7 1/4 inches) [diameter at mouth] x 7.62 cm (3 inches) [height] ]]></dcterms:extent>
    <dcterms:medium><![CDATA[porcelain enamel]]></dcterms:medium>
    <dcterms:medium><![CDATA[metal]]></dcterms:medium>
    <dcterms:medium><![CDATA[pressing; high firing]]></dcterms:medium>
    <dcterms:type><![CDATA[bowl (vessel)]]></dcterms:type>
    <dcterms:type><![CDATA[work]]></dcterms:type>
    <dcterms:identifier><![CDATA[SC-17-09]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[SC-17-09]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[SC-17-09.jpg]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Cultural Revolution]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[modern Chinese styles and periods]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[People&#039;s Republic of China [Zhongguo]]]></dcterms:coverage>
    <dcterms:provenance><![CDATA[Gift of Alfreda Murck]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://omeka.hvvacc.org/items/show/8240">
    <dcterms:title><![CDATA[Andre Gide]]></dcterms:title>
    <dcterms:title><![CDATA[Faces of the 20s [portfolio of 12 photographs]]]></dcterms:title>
    <dcterms:title><![CDATA[Portfolio of 12 photographs published in an edition of 65, 1 through 60 and A through E, produced in 1982]]></dcterms:title>
    <dcterms:subject><![CDATA[people; portraits; documentary photography; authors--1920-1940]]></dcterms:subject>
    <dcterms:description><![CDATA[Abbott has lit the French author and Nobel Prize winner (1947) Andre Gide (1869-1951) so as to highlight the writer&#039;s head, face and hands emerging from deep shadow. His look, directly out at the viewer, is equally penetrating and pensive and speaks of a deeply intellectual nature.]]></dcterms:description>
    <dcterms:description><![CDATA[Berenice Abbott [in pencil]]]></dcterms:description>
    <dcterms:description><![CDATA[lower right corner of mount verso]]></dcterms:description>
    <dcterms:description><![CDATA[2 inscriptions: 56/60 [in pencil]; Berenice Abbott / Faces of the 20s / Published by Parasol Press, Ltd / 1981. All Rights Are Reserved [stamped]]]></dcterms:description>
    <dcterms:description><![CDATA[1st inscription: lower left corner of mount verso; 2nd inscription: verso]]></dcterms:description>
    <dcterms:description><![CDATA[American photographer, Berenice Abbott, was born in Springfield, Ohio on July 7, 1898 and died in retirement in Monson, Maine in 1991. She spent a formative and influential decade in Paris in the 1920s, during which time she served as darkroom assistant to American Surrealist photographer Man Ray (1923) and had a photographic portrait studio (1926-1929), photographing many of Paris&#039; leading intellectuals and salonistes. After the 1929 world economic collapse, she returned to New York and spent most of her productive life in photography there. She undertook the systematic photographic documentation of New York City for the Federal Arts Project from 1935 to 1939 entitled &quot;Changing New York.&quot; Her five decades of accomplishments behind the camera range from portraiture and modernist experimentation to documentation and scientific interpretation. Her contributions as photographic educator, inventor, author and historian are equally diverse: she originated the photography program at the New School for Social Research and taught there from 1934 to 1958; wrote several books and numerous articles including the once influential &quot;Guide to Better Photography&quot; (1941); received four U.S. patents for photographic and other devices; provided photographs for several science text books published by Massachusetts Institute of Technology; and rescued the work of French master photographer Eugene Atget. Abbott&#039;s photographs consistently reflect her innate appreciation for the profound documentary capacity of rigorously conceived images to impart information in an aesthetically engaging way. Within four major thematic categories -- Portraits (1920s-1930s), New York City (1930s-1940s), Science (1940s-1950s), and American Scenes (1930s-1960s) -- Abbott&#039;s photographs effectively unite the personal and the impersonal in one penetrating body of work.]]></dcterms:description>
    <dcterms:creator><![CDATA[Abbott, Berenice]]></dcterms:creator>
    <dcterms:creator><![CDATA[photographer]]></dcterms:creator>
    <dcterms:creator><![CDATA[1898 - 1991]]></dcterms:creator>
    <dcterms:creator><![CDATA[American]]></dcterms:creator>
    <dcterms:source><![CDATA[Copyright Julia Van Haaften http://www.nypl.org/research/chss/spe/art/photo/abbottex/biography.html; http://www.getty.edu/vow/ULANFullDisplay?find=berenice+abbott&amp;role=&amp;nation=&amp;prev_page=1&amp;subjectid=500020631; Newhall, Beaumont. The History of Photography, p 135. New York, NY: The Museum of Modern Art, 1964]]></dcterms:source>
    <dcterms:publisher><![CDATA[Samuel Dorsky Museum of Art. State University of New York at New Paltz (New Paltz, New York, United States)]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[Photography Collection. Samuel Dorsky Museum of Art]]></dcterms:publisher>
    <dcterms:date><![CDATA[1927 [repinted 1981]]]></dcterms:date>
    <dcterms:date><![CDATA[Portfolio of 12 photographs published in an edition of 65, 1 through 60 and A through E, produced in 1982]]></dcterms:date>
    <dcterms:rights><![CDATA[To request permission to publish or reproduce this work, please contact the Samuel Dorsky Museum.]]></dcterms:rights>
    <dcterms:relation><![CDATA[http://hvvacc.org/cdm/singleitem/collection/sdma/id/4896]]></dcterms:relation>
    <dcterms:format><![CDATA[56/60 [portfolio]]]></dcterms:format>
    <dcterms:extent><![CDATA[50.8 x 40.64 cm (20 x 16 inches)]]></dcterms:extent>
    <dcterms:extent><![CDATA[33.97 x 26.35 cm (13 1/2 x 10 3/8 inches)]]></dcterms:extent>
    <dcterms:extent><![CDATA[50.8 x 40.64 cm (20 x 16 inches)]]></dcterms:extent>
    <dcterms:extent><![CDATA[cloth-cover portfolio case 55.09 x 43.18 x 5.4 cm (21 11/16 x 17 x 2 1/8 inches)]]></dcterms:extent>
    <dcterms:medium><![CDATA[photographic gelatin; silver halide]]></dcterms:medium>
    <dcterms:medium><![CDATA[photographic paper]]></dcterms:medium>
    <dcterms:medium><![CDATA[gelatin silver process]]></dcterms:medium>
    <dcterms:type><![CDATA[gelatin silver print; black-and-white photograph]]></dcterms:type>
    <dcterms:type><![CDATA[work]]></dcterms:type>
    <dcterms:identifier><![CDATA[2015.071.007]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2015.071.007]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2015.071.007_Gide.jpg]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Modern (styles and periods)]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[Modern (styles and periods)]]></dcterms:coverage>
    <dcterms:provenance><![CDATA[Gift of Marcuse Pfeifer]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://omeka.hvvacc.org/items/show/8237">
    <dcterms:title><![CDATA[Gikhoko Initiation Mask]]></dcterms:title>
    <dcterms:description><![CDATA[The masks of the Bapende peoples can be classified into two styles, the western, or Kwilu and the eastern, or Kasai style. This mask, or more properly badge, reflects the Kwilu style. It is a smaller version of the crested mbuya initiation mask and would have been worn as a pendant, or gikhoko, by an initiate into a secret society as a badge of honor. It also served as protection against illness and hardship. The three-pointed crown of this mask indicates that it refers to the pumbu, or chief, type of mbuya mask.]]></dcterms:description>
    <dcterms:creator><![CDATA[unknown Pende]]></dcterms:creator>
    <dcterms:creator><![CDATA[carver (person in crafts)]]></dcterms:creator>
    <dcterms:creator><![CDATA[Pende]]></dcterms:creator>
    <dcterms:publisher><![CDATA[Samuel Dorsky Museum of Art, State University of New York at New Paltz (New Paltz, New York, United States)]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[Decorative Arts Collection. Samuel Dorsky Museum of Art]]></dcterms:publisher>
    <dcterms:rights><![CDATA[To request permission to reproduce this work, please contact the Samuel Dorsky Museum of Art]]></dcterms:rights>
    <dcterms:relation><![CDATA[http://hvvacc.org/cdm/singleitem/collection/sdma/id/1943]]></dcterms:relation>
    <dcterms:extent><![CDATA[10.16 x 5.08 x 3.81 cm (4 x 2 x 1 1/2 inches)]]></dcterms:extent>
    <dcterms:medium><![CDATA[bone (material)]]></dcterms:medium>
    <dcterms:medium><![CDATA[carving (process)]]></dcterms:medium>
    <dcterms:type><![CDATA[mask (costume)]]></dcterms:type>
    <dcterms:type><![CDATA[work]]></dcterms:type>
    <dcterms:identifier><![CDATA[1970.004.002]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[1970.004.002]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[1970.004.002.jpg]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://omeka.hvvacc.org/items/show/8230">
    <dcterms:title><![CDATA[910 Adirondack Sanitarium]]></dcterms:title>
    <dcterms:description><![CDATA[Seneca Ray Stoddard was born at Wilton, Saratoga County, New York,  May 13, 1844, and died at his home Glens Falls April 26, 1917.   He had done more than any other person, probably, towards making the Adirondack region known to the outside world and to be admired and loved by nature lovers the world over; and in return, that region had been the means of making him known and admired by multitudes of people who never saw his face. By pen and pencil, by published books and spoken address he had for many years proclaimed the charm of the great north woods and he had his reward in seeing the Empire State assume the protection of this wilderness and the region become one of the nation&#039;s play grounds and sanitariums.   His interest in this section of the State began nearly fifty years ago, when it was yet a genuine wilderness, and thenceforth he gave his best efforts to make its charms known. His published works include &quot;Chart of Lake George,&quot; &quot;In Mediterranean Lands,&quot; &quot; Lake Champlain,&quot; &quot;Map of Lake George,&quot; &quot;Map of Adirondack Wilderness&quot; and &quot;The Midnight Sun,&quot; and a series of guides to the Adirondacks published annually from 1873 to and including 1915.   Mr. Stoddard&#039;s preparation for his life work was obtained like that of so many useful and even eminent Americans in our public schools. He had a keen, artistic sense which was cultivated and developed by the business, or &quot;trade&quot; which he learned that of an &quot;interior decorator.&quot; In mature life he became something of a traveler, faring north as far as to Alaska on one trip, to Palestine on another and to the land of the midnight sun - Norway - on a third voyage.   He was twice married, first to Miss Helen A. Potter and after her death to Miss Emily Doty, who survived him, as do also his two sons by the first wife, namely Charles H., a lawyer, and LeRoy R., a physician, both of New York City.]]></dcterms:description>
    <dcterms:creator><![CDATA[Stoddard, Seneca Ray]]></dcterms:creator>
    <dcterms:creator><![CDATA[photographer]]></dcterms:creator>
    <dcterms:creator><![CDATA[1844 - 1917]]></dcterms:creator>
    <dcterms:creator><![CDATA[American]]></dcterms:creator>
    <dcterms:source><![CDATA[New York State Historical Association.  “The Nineteenth Annual Meeting, with Constitution, By-Laws and List of Members,” Proceedings, no. XVIII (1919): 226.]]></dcterms:source>
    <dcterms:publisher><![CDATA[Samuel Dorsky Museum of Art, State University of New York at New Paltz (New Paltz, New York, United States)]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[Photography Collection. Samuel Dorsky Museum of Art]]></dcterms:publisher>
    <dcterms:date><![CDATA[ca. 1891]]></dcterms:date>
    <dcterms:rights><![CDATA[To request permission to publish or reproduce this work, please contact the Samuel Dorsky Museum of Art.]]></dcterms:rights>
    <dcterms:relation><![CDATA[http://hvvacc.org/cdm/singleitem/collection/sdma/id/328]]></dcterms:relation>
    <dcterms:extent><![CDATA[16.51 x 21.59 cm (6 1/2  x 8 1/2 inches)]]></dcterms:extent>
    <dcterms:medium><![CDATA[albumen (egg white)]]></dcterms:medium>
    <dcterms:medium><![CDATA[photographic paper]]></dcterms:medium>
    <dcterms:medium><![CDATA[albumen process]]></dcterms:medium>
    <dcterms:type><![CDATA[photograph; albumen print]]></dcterms:type>
    <dcterms:type><![CDATA[work]]></dcterms:type>
    <dcterms:identifier><![CDATA[2008.035.289]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2008.035.289]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2008.035.289.jpg]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://omeka.hvvacc.org/items/show/8220">
    <dcterms:title><![CDATA[Child-god]]></dcterms:title>
    <dcterms:subject><![CDATA[Egypt; children; gods]]></dcterms:subject>
    <dcterms:description><![CDATA[The relief sculpture of a Child-god is a particularly fine example of a ‘sculptor’s model’ or ‘votive object,’ a piece appearing to be a fragment but actually a fully realized object in itself. It is probably Harpokrates, Horus the Child, often found in ‘birthing’ temples, or in artisans workshops associated with the temples, of the Ptolemaic period. Harpokrates is often portrayed sucking his finger, possibly seen here in unfinished form to the right of his mouth. Also common to Harpokrates is the child’s side-lock which curls elegantly down the side of his head. The curling lock is echoed in the smaller curl of the uraeus (upright cobra) on his skullcap, which signifies divine sovereignty. The full cheeks and neck creases suggest a very young child, also common to portrayals of Harpokrates. The carving demonstrates assurance in the delicate quality of the beautifully shaped eyes and mouth, the lovely fullness of the eyebrow and the slight, beneficent smile.<br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[unknown Egyptian]]></dcterms:creator>
    <dcterms:creator><![CDATA[Egyptian]]></dcterms:creator>
    <dcterms:source><![CDATA[http://www.metmuseum.org/art/collection/search/551360?sortBy=Relevance&amp;ft=child-god&amp;pg=1&amp;rpp=20&amp;pos=22; http://www.metmuseum.org/art/collection/search/551316?sortBy=Relevance&amp;ft=child-god&amp;pg=1&amp;rpp=20&amp;pos=40; http://www.mfa.org/collections/object/plaque-of-a-prince-or-child-god-137975]]></dcterms:source>
    <dcterms:publisher><![CDATA[Samuel Dorsky Museum of Art. State University of New York at New Paltz (New Paltz, New York, United States)]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[World Art Collection. Samuel Dorsky Museum of Art]]></dcterms:publisher>
    <dcterms:date><![CDATA[380-342 BCE (circa)]]></dcterms:date>
    <dcterms:rights><![CDATA[To request permission to publish or reproduce this work, please contact the Samuel Dorsky Museum of Art.]]></dcterms:rights>
    <dcterms:relation><![CDATA[http://hvvacc.org/cdm/singleitem/collection/sdma/id/336]]></dcterms:relation>
    <dcterms:extent><![CDATA[12.7 x 13.97 cm (5 x 5 1/2 inches) [irregular]]]></dcterms:extent>
    <dcterms:medium><![CDATA[plaster]]></dcterms:medium>
    <dcterms:medium><![CDATA[relief (sculpture technique)]]></dcterms:medium>
    <dcterms:type><![CDATA[relief (sculpture)]]></dcterms:type>
    <dcterms:type><![CDATA[work]]></dcterms:type>
    <dcterms:identifier><![CDATA[1957.005.011]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[1957.005.011]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[1957.005.011.jpg]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[Ptolemaic]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[Dynasty XXX: Sebennytic Dynasty [?]]]></dcterms:coverage>
    <dcterms:provenance><![CDATA[Arts and Crafts Honor Society, SUNY New Paltz]]></dcterms:provenance>
</rdf:Description><rdf:Description rdf:about="https://omeka.hvvacc.org/items/show/8218">
    <dcterms:title><![CDATA[Amy &amp; Wes]]></dcterms:title>
    <dcterms:title><![CDATA[Living off the Land]]></dcterms:title>
    <dcterms:description><![CDATA[Raised in Western Pa., Dana Duke was fascinated by the images in LIFE and Look Magazines and received his first camera at the age of fourteen.  While still a teenager, Duke was exposed to the fine art photography of Robert Frank at the “Americans” exhibit in Philadelphia, plus the unique still life and portrait photography of Irving Penn in Vogue Magazine.  He attended a workshop by noted nature photographer, Paul Caponigro, which had a profound effect on his future. Duke majored in photography at R.I.S.D. (Rhode Island School of Design), where he studied with photographers, Harry Callahan and Aaron Siskind.  Upon graduation, he went to New York City to assist Arnold Newman and then Magnum photographer, Bruce Davidson. Duke is influenced by all things visual. He is primarily inspired by the work of many photographers and painters such as Ellsworth Kelly, Agnes Martin, and Francis Bacon. While his fine art work has changed over time, it is still the patterns that arise out of nature and urban scenes that intrigue him most. The simplest lines against a field of just the right values and textures pull his attention. “I try to go beyond the obvious, there is so much that is overlooked”. Duke has had a successful career shooting commercially with a studio in New York City for 25 years before moving to Sullivan County.  He has photographed portraits and industrial situations for magazines such as Life, Discover, Time, and Fortune, and has traveled the world shooting for major Fortune 500 companies.  He has also taught at the Maine Photographic Workshop in Rockport, Maine.  In addition to his photography studio, Dana Duke is the owner and audio engineer of Big Twig Recording Studio.]]></dcterms:description>
    <dcterms:creator><![CDATA[Duke, Dana]]></dcterms:creator>
    <dcterms:creator><![CDATA[photographer]]></dcterms:creator>
    <dcterms:creator><![CDATA[born 1954]]></dcterms:creator>
    <dcterms:creator><![CDATA[American]]></dcterms:creator>
    <dcterms:publisher><![CDATA[Samuel Dorsky Museum of Art, State University of New York at New Paltz (New Paltz, New York, United States)]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[Photography Collection. Samuel Dorsky Museum of Art]]></dcterms:publisher>
    <dcterms:date><![CDATA[2007]]></dcterms:date>
    <dcterms:rights><![CDATA[Copyright. 2007. Dana Duke]]></dcterms:rights>
    <dcterms:relation><![CDATA[http://hvvacc.org/cdm/singleitem/collection/sdma/id/1039]]></dcterms:relation>
    <dcterms:extent><![CDATA[81.28 x 101.6 cm (32 x 40 inches)]]></dcterms:extent>
    <dcterms:medium><![CDATA[printing ink]]></dcterms:medium>
    <dcterms:medium><![CDATA[photographic paper]]></dcterms:medium>
    <dcterms:medium><![CDATA[inkjet processes]]></dcterms:medium>
    <dcterms:type><![CDATA[photograph; giclee print]]></dcterms:type>
    <dcterms:type><![CDATA[work]]></dcterms:type>
    <dcterms:identifier><![CDATA[2009.023.002]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2009.023.002]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2009.023.002.jpg]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://omeka.hvvacc.org/items/show/8214">
    <dcterms:title><![CDATA[Soldiers in trenches, North Africa]]></dcterms:title>
    <dcterms:description><![CDATA[photographer&#039;s stamp on verso; notations in pencil and notations typed in Russian on labek affixed to print]]></dcterms:description>
    <dcterms:description><![CDATA[At the age of 22 Capa was in Paris, an unknown photographer with no money and little prospect of any success. Within a few months, he was on his way to Spain armed with one 35mm camera. From then on until 1954, when he was killed by a landmine in Vietnam, he was seldom far away from one of the major theaters of war. It was in Spain that Capa was to produce the photograph, &quot;Moment of Death&quot;, that was to fashion his future and which has often been described as the greatest war picture of all times. From Spain he went to Hankow in 1938 to photograph the war between the Chinese and Japanese invaders. With the outbreak of World War II, Capa went to London, North Africa, Sicily, Salerno and Anzio with E Company and then to St. Laurent-sur-Mer, the Normandy beaches on D-Day, and across France with Patton to Berlin. In 1946 he was a founding member together with David Seymour, George Rodger and Henri Cartier-Bresson of the photo-journalistic group Magnum. In 1948 Capa covered the first Arab-Israeli War. This was followed by assignments in Vietnam which ended abruptly when he was killed by the explosion of a landmine on May 25, 1954.]]></dcterms:description>
    <dcterms:creator><![CDATA[Capa, Robert]]></dcterms:creator>
    <dcterms:creator><![CDATA[photographer]]></dcterms:creator>
    <dcterms:creator><![CDATA[1913 - 1954]]></dcterms:creator>
    <dcterms:creator><![CDATA[Hungarian]]></dcterms:creator>
    <dcterms:source><![CDATA[http://www.getty.edu/vow/ULANFullDisplay?find=robert+capa&amp;role=&amp;nation=&amp;prev_page=1&amp;subjectid=500063842]]></dcterms:source>
    <dcterms:publisher><![CDATA[Samuel Dorsky Museum of Art. State University of New York at New Paltz (New Paltz, New York, United States)]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[Photography Collection. Samuel Dorsky Museum of Art]]></dcterms:publisher>
    <dcterms:date><![CDATA[1943; printed  1970s]]></dcterms:date>
    <dcterms:rights><![CDATA[Copyright. Estate of Robert Capa. This image is presented as a &quot;thumbnail&quot; because it is protected by copyright. The Samuel Dorsky Museum of Art respects the rights of artists who retain the copyright to their work.]]></dcterms:rights>
    <dcterms:relation><![CDATA[https://collections.hvvacc.org/cdm/singleitem/collection/sdma/id/3033]]></dcterms:relation>
    <dcterms:extent><![CDATA[28.42 x 28.1 cm (11 3/16 x 11 1/16 inches)]]></dcterms:extent>
    <dcterms:medium><![CDATA[photographic gelatin; silver halide]]></dcterms:medium>
    <dcterms:medium><![CDATA[photographic paper]]></dcterms:medium>
    <dcterms:medium><![CDATA[gelatin silver process; black-and-white photography]]></dcterms:medium>
    <dcterms:type><![CDATA[gelatin silver print; black-and-white photograph]]></dcterms:type>
    <dcterms:type><![CDATA[work]]></dcterms:type>
    <dcterms:identifier><![CDATA[2002.076.002]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2002.076.002]]></dcterms:identifier>
    <dcterms:identifier><![CDATA[2002.076.002.jpg]]></dcterms:identifier>
    <dcterms:coverage><![CDATA[contemporary (generic time frame)]]></dcterms:coverage>
    <dcterms:coverage><![CDATA[Contemporary (style of art)]]></dcterms:coverage>
    <dcterms:provenance><![CDATA[Gift of Greenberg, Howard &amp; Howard Greenberg Gallery]]></dcterms:provenance>
</rdf:Description></rdf:RDF>