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  Partner: UNT College of Visual Arts + Design
Fission
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Painting of black and white contrasted polka-dots that appear to vibrate and form three-dimensional depression at the center of the piece. In this and other early works, Riley "wanted the space between the picture plane and the spectator to be active." She later explored color contrast. digital.library.unt.edu/ark:/67531/metadc8970/
Pullet
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No Description digital.library.unt.edu/ark:/67531/metadc8971/
Inner Core 2
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This painting is a series of narrow, closely spaced, horizontal and vertical stripes. digital.library.unt.edu/ark:/67531/metadc8969/
Compact Object
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No Description digital.library.unt.edu/ark:/67531/metadc8968/
Mother and Child
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Painting of blue, green, peach and black oil paint which depicts a female figure who appears to be holding a small child above her. digital.library.unt.edu/ark:/67531/metadc8966/
Christus
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Mixed Media Painting of charcoal, watercolor, gouache, ink and oil slick on paper. Black erratic mark making throughout the plane. digital.library.unt.edu/ark:/67531/metadc8967/
Number 22: Another of the social causes of the migrants' leaving was that at times they did not feel safe, or it was not the best thing to be found on the streets late at night...
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No Description digital.library.unt.edu/ark:/67531/metadc8964/
Kitty Hawk
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No Description digital.library.unt.edu/ark:/67531/metadc8965/
Number 28: The labor agent who had been sent south by northern industry was a very familiar person in the Negro counties.
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No Description digital.library.unt.edu/ark:/67531/metadc8963/
Number 30: In every home people who had not gone North met and tried to decide if they should go North or not.
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No Description digital.library.unt.edu/ark:/67531/metadc8962/
Number 32: The railroad stations in the South were crowded with people leaving for the North.
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No Description digital.library.unt.edu/ark:/67531/metadc8961/
Number 36: In Chicago and other cities they labored in the steel mills
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No Description digital.library.unt.edu/ark:/67531/metadc8960/
Number 44: Living conditions in the North were better.
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No Description digital.library.unt.edu/ark:/67531/metadc8959/
Number 50: Race riots were very numerous all over the North because of the antagonism that was caused between the Negro and white workers.
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No Description digital.library.unt.edu/ark:/67531/metadc8958/
Number 54: One of the main forms of social and recreational activities in which migrants indulged occured in the church.
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No Description digital.library.unt.edu/ark:/67531/metadc8957/
Number 56: Among the last groups to leave the South ws the Negro professional who was forced to follow his clientele to make a living.
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No Description digital.library.unt.edu/ark:/67531/metadc8956/
Joan Miró and His Daughter Dolores
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No Description digital.library.unt.edu/ark:/67531/metadc8955/
The Seine
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No Description digital.library.unt.edu/ark:/67531/metadc8953/
The Riot
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No Description digital.library.unt.edu/ark:/67531/metadc8954/
Chartres Cathedral, Plan
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No Description digital.library.unt.edu/ark:/67531/metadc8952/
Over Vitebsk
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No Description digital.library.unt.edu/ark:/67531/metadc8951/
The Seer
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No Description digital.library.unt.edu/ark:/67531/metadc8950/
Viaduct
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No Description digital.library.unt.edu/ark:/67531/metadc8948/
Portrait of a Merchant
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No Description digital.library.unt.edu/ark:/67531/metadc8947/
Joë Bosquet in Bed
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No Description digital.library.unt.edu/ark:/67531/metadc8949/
Woman with Water Pails: Dynamic Arrangement
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This painting is composed of abstract and geometric shapes in hues of orange, yellow, red, blue, green and gray. digital.library.unt.edu/ark:/67531/metadc8944/
The False Mirror
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This surrealistic painting is a close-up view of an eye with the iris composed of a blue sky and clouds. digital.library.unt.edu/ark:/67531/metadc8945/
Exit the Ballets Russes
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No Description digital.library.unt.edu/ark:/67531/metadc8946/
The Red Studio
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This painting has a main background of red with numerous paintings of various sizes both hanging on the wall and sitting on the floor, leaning against the wall of the studio. On the right side of the painting, two sculptures sit on stools. In the left foreground of the painting is a table with a ceramic plate, a glass, a glass container with a vine, and a set of drawing tools. digital.library.unt.edu/ark:/67531/metadc8943/
Dying Slave
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No Description digital.library.unt.edu/ark:/67531/metadc8942/
Dutch Interior I
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No Description digital.library.unt.edu/ark:/67531/metadc8941/
Reclining Figure
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No Description digital.library.unt.edu/ark:/67531/metadc8940/
Synchromy
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The abstract oil painting includes hues of red, blue, yellow, orange, brown, green and black. digital.library.unt.edu/ark:/67531/metadc8939/
Still Life
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The painting is a still life of various bottles, vases, and containers in hues of blue, red, and brown with white. digital.library.unt.edu/ark:/67531/metadc8937/
Allies Day, May 1917
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No Description digital.library.unt.edu/ark:/67531/metadc8938/
Green Leaves
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No Description digital.library.unt.edu/ark:/67531/metadc8936/
A Lady Writing
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Portrait of a young lady seated in a chair at a table, visible from the waist up. She is wearing a yellow jacket with spotted fur trim and decorative headdress. There is a wooden box on the table and the woman is writing in a book. digital.library.unt.edu/ark:/67531/metadc8935/
Rouen Cathedral
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No Description digital.library.unt.edu/ark:/67531/metadc8934/
Dome of the Rock
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No Description digital.library.unt.edu/ark:/67531/metadc8933/
Greed's Trophy
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Sculpture of rust colored thin steel and wire domed grid with a small solid shapes at the bottom of the piece. digital.library.unt.edu/ark:/67531/metadc8932/
Washington Crossing the Delaware
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Drawing of dark gray, blue-gray, gold and white oil graphite on on line. Various gestural figures depicted throughout piece. Several figures are appear to be on horseback while other are standing in water. The scene is a loose rendering of the President George Washington Crossing the Delaware. digital.library.unt.edu/ark:/67531/metadc8930/
Butterflies
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No Description digital.library.unt.edu/ark:/67531/metadc8931/
Double Portrait of Frank O'Hara
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Painting of dark and light brown, blue-gray and peach oil painting. Loose gestural double-portrait of a male figure (i.e. Frank O' Hara). The left figure is quarter view while the figure on the right is full-frontal. digital.library.unt.edu/ark:/67531/metadc8929/
Empress of India
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Painting of burgundy, burnt sienna and brown irregular joined triangle shapes with parallel white lines across. digital.library.unt.edu/ark:/67531/metadc8927/
Armored Train in Action,
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Cubist style painting of green, yellow, blue and white schema. Various abstract shapes layered upon another. digital.library.unt.edu/ark:/67531/metadc8928/
I See Again in Memory my Dear Udnie
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No Description digital.library.unt.edu/ark:/67531/metadc8926/
Walking Man
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No Description digital.library.unt.edu/ark:/67531/metadc8924/
Bauhaus Stairway
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Bauhaus Stairway depicts the Bauhaus, a school founded in 1919 by architect Walter Gropius, famous for its visionary integration of technology, art, and design. Although Schlemmer made this painting three years after he left his teaching position at the Bauhaus, the works gridded structure, streamlined modular bodies and predominant palette of primary colors capture the schools vibrant design spirit. The carefully choreographed arrangement of the figures and the man en pointe at the top of the stairs reflects Schlemmers role as the creator of many important dance and theatrical productions at the Bauhaus. Schlemmer painted this work as Hitler assumed power, shortly before the Nazis closed the Bauhaus for good. He was among many artists persecuted by the Nazis, whose work they deemed "degenerate" and often destroyed. digital.library.unt.edu/ark:/67531/metadc8925/
Pair of Stone Chairs
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No Description digital.library.unt.edu/ark:/67531/metadc8923/
First Theme,
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No Description digital.library.unt.edu/ark:/67531/metadc8921/