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  Access Rights: Public
  Partner: UNT College of Visual Arts + Design
[Palio Costumes]
Photograph of the Palio di Siena in Siena, Italy. In the foreground, multiple boys in costume are visible on the dirt race track. The massive crowd is visible behind the boys. In the background, the buildings surrounding the Piazza del Campo are visible. digital.library.unt.edu/ark:/67531/metadc10563/
[Palio Flags]
Photograph of the Palio di Siena in Siena, Italy. In the foreground, many boys in costume carry flags along the race track in front of a large crowd. The buildings surrounding the square, including the Torre del Mangia and the Palazza Pubblico, are visible in the background. digital.library.unt.edu/ark:/67531/metadc10559/
[Palio Procession]
Photograph of procession during the Palio di Siena in Siena, Italy. In the foreground, men in costumes are visible walking along the horse track. The track is lined with crowds of spectators. The buildings of the Piazza del Campo are visible in the background. digital.library.unt.edu/ark:/67531/metadc10560/
[Palio Race]
Photograph of the Palio di Siena in Siena, Italy. The dirt race track is visible in the foreground lined on both sides by the crowd. One white glove intersects the foreground on the right side. The buildings surrounding the Piazza del Campo are visible in the background. digital.library.unt.edu/ark:/67531/metadc10564/
[Palm trees and fields]
Photograph of the view from a train in Tokyo, Japan. Fields and trees are visible. Three palm trees are visible between fields in the middle ground. digital.library.unt.edu/ark:/67531/metadc10645/
[Pantanassa Convent]
Photograph of the Pantanassa Convent in Mistras, Greece. A portion of the convent and side arched passageway are visible in the foreground. This hillside is visible in the background through the passage. digital.library.unt.edu/ark:/67531/metadc10439/
[Pantanassa Convent]
Photograph of the Pantanassa Convent in Mistras, Greece. The convent is visible in the foreground. Two women stand in front of the convent on the right side. A pink flowering tree is visible on the left of the frame in front of the convent. digital.library.unt.edu/ark:/67531/metadc10442/
[Pantheon]
Photograph of the Pantheon and the Piazza della Rotonda in Rome, Italy. The piazza is visible in the foreground with people and cars scattered throughout. A fountain is visible in the center of the piazza in front of the Pantheon. digital.library.unt.edu/ark:/67531/metadc10586/
[Pantheon Doors]
Photograph of the doors to the Pantheon in Rome, Italy. A small group of women is visible in the foreground on the right side of the doors. The left door is partially open revealing a small glimpse at the interior and a few figures in the background. digital.library.unt.edu/ark:/67531/metadc10620/
[Pantheon Interior]
Photograph of the interior of the Pantheon in Rome, Italy. Two children are visible in the center foreground highlighted by the light coming in from the oculus. The doors and surrounding architectural details are visible behind the children. digital.library.unt.edu/ark:/67531/metadc10576/
Pantsuit
Evening pantsuit of ivory, blue, and black striped silk consisting of three pieces: a) Mid-length jacket of vertically striped silk with very wide, straight sleeves. Center front opening with no closure. Attached shoulder pads. (b) Pants of matching silk. Full-length, with center back snaps and hook-and-eye closure. Designed to fit loosely, with drawstring waist. (c) Short sleeved tank-style top of matching silk. Sleeveless, with round neckline. The hem, armholes, and neckline are trimmed in black. Each piece has designer's label "Oscar de la Renta". digital.library.unt.edu/ark:/67531/metadc30336/
Pantsuit
Pantsuit of orange and ivory polyester double knit. a) Blouse has Peter Pan collar and full yoke of ivory polyester. Orange knit fitted bodice has cap sleeves. Flares slightly below waist. Self fabric belt buckles around hips. Zipper CB. Designer label removed. b) Orange hip-hugger pants are straight legged, stopping above ankles. Overlapping hook and eye closure. Zipper CF. Entire suit is lined in white polysatin. Designer's label at inside center back: "Courreges / Paris" Label below designer's label: "Made in France 0" Retailer's label: "Made in France / Exclusively for / Bonwit Teller" digital.library.unt.edu/ark:/67531/metadc286883/
Pantsuit
Pantsuit of black wool. A) Jacket. Bolero-style cropped jacket has wide collar with soft edges and center front opening with no closure. Cut-away at front and with long sleeves, the jacket has inner shoulder pads and is fully lined in black silk satin. B) Pants. Full-length, high-waisted, and with tapered legs, the pants have a satin waistband and inverted pleats at top of hips at front and back. Slit pockets at sides open along edge of a black satin stripe which runs length of leg at side. The pants have a side zipper and hook-and-eye closure. Designer's label: "Yves Saint Laurent / Rive Gauche" "Made in / France" "Paris" digital.library.unt.edu/ark:/67531/metadc286820/
[Parade]
Photograph of a parade in Canterbury, England. In the foreground, men in uniforms walk down a street with their backs facing the camera. A timber framed building is visible on the right side of the street. The rows of uniformed men stretch into the background. digital.library.unt.edu/ark:/67531/metadc10323/
[parallel bars, shiny circle, and ribbon]
The red horizontal fabric artwork includes several vertical parallel lines with a ribbon floating behind to create depth. Lines and textures reminiscent of moss hanging from tree branches fill the left and lower portions of the work. digital.library.unt.edu/ark:/67531/metadc27046/
[Paris]
Photograph of a building in Paris. The green building is visible in the middle ground with a red metal ramp leading up to the entrance. Other buildings are visible in the background. digital.library.unt.edu/ark:/67531/metadc10248/
[Park of Versailles]
Photograph of the Park of Versailles in Versailles, France. In the foreground, a gravel path leads into the background. The background is lined on both sides by tall trees. A woman walks on the path in the foreground. Other people sit on park benches to the right of the path. digital.library.unt.edu/ark:/67531/metadc10267/
[Parthenon]
Photograph of the Parthenon in the Acropolis of Athens, Greece. Stone ruins fill the foreground leading up to the Parthenon. A few people are visible amongst the ruins. digital.library.unt.edu/ark:/67531/metadc10480/
Parthenon
Photograph of the Parthenon in the Acropolis of Athens, Greece. A stone colonnade spans the foreground; mountains and sky are visible in the background. digital.library.unt.edu/ark:/67531/metadc10494/
Patchwork Dress
Dress made of multiple fabrics including velvet, cotton, and silk in red, green, brown, blue, and orange multi-colored floral and Indian prints, in a patchwork of vertical strips with metallic thread trim. Applied throughout are decorative metallic ovals. The dress is full length, with a flared skirt, long bell sleeves, and a low square neckline. Unlined. Zipper at center back extending from neckline to just below waist, with a single hook-and-loop at neckline. Label sewn to inside back to left of zipper: "Sant'Angelo". Worn by singer Lena Horne (1917-2010). digital.library.unt.edu/ark:/67531/metadc30289/
[Patio}
Photograph of a patio in Mexico. Numerous plants and items of furniture are spread across the patio. The patio is paved with tiles and lined with brick planters. A man is visible in the right middle ground of the photograph. The surrounding landscape is visible in the background. digital.library.unt.edu/ark:/67531/metadc10890/
[Patmos]
Photograph of a building on the island of Patmos, Greece. In the foreground, the top of a stone building is visible; the sea and distant hills are visible in the background. digital.library.unt.edu/ark:/67531/metadc10409/
Paul Newman is Hombre
The nearly square painting is composed of several standing figures, some of whom hold weapons. The colors of the painting are primarily reds, blues and yellows. Two figures on the right side of the canvas appear to be holding microphone and a guitar. Green and red silhouettes of horses are in the background. The picture plane is filled with figures with almost no negative space. digital.library.unt.edu/ark:/67531/metadc274982/
[Pavilion overlooking the Li River]
Photograph of a pavillion overlooking the Li River in Guilin, China. The pavilion sits atop a rocky cliff by the river. Trees are visible behind the pavilion. digital.library.unt.edu/ark:/67531/metadc10072/
[Pazzi Chapel]
Photograph of the Pazzi Chapel located in the cloisters of the Basilica of Santa Croce in Florence, Italy. In the foreground, the stone path leading towards the chapel entrance is visible; the path is flanked by greenery and arched colonnades. The chapel and bell tower are visible in the background. There is a small figure in front of the chapel. The chapel was designed by Filippo Brunelleschi. digital.library.unt.edu/ark:/67531/metadc10801/
Peaceful Moment at a Canyon
The work of art depicts canyon like shapes from wavy shapes from which lines have been created vertically making the canyon like shapes. The vertical stripes gradate from pinks to blues and purples. digital.library.unt.edu/ark:/67531/metadc27078/
[Peasant Houses]
Photograph of peasant houses in Lund, Sweden. In the foreground, a low stone wall is visible on a grass lawn. Trees are interspersed with peasant houses behind the wall. The houses are constructed of wood with grass roofs. digital.library.unt.edu/ark:/67531/metadc10939/
[Penguins]
Photograph of the penguin pool in Regent's Park in London, England. In the foreground, the pool is visible. Two concrete spiral ramps lead into the pool. Penguins are visible on the ramp, in the pool, and on the side. A concrete wall surrounds the pool. People are visible behind the wall looking towards the penguins. Trees are visible in the background. digital.library.unt.edu/ark:/67531/metadc10222/
Pennsylvania House
This painting depicts one of the annexes that remain on the property. A fire long ago destroyed the building's interior, but the brick remains. The low-chroma painting features ink washes. The artist was selected by the Union Art Gallery Committee to have a one-person exhibition in the Union Gallery. This painting was exhibited in the Union Gallery, Union Building, from August 27 until September 13, 2012. digital.library.unt.edu/ark:/67531/metadc129763/
[Penshurst Place]
Photograph of Penshurst Place in Kent, England. A stone walkway is visible in the foreground. The walkway cuts through a green lawn leading to an arched doorway. The manor is visible at the end of the walkway. A group of people stands in front of the entranceway. digital.library.unt.edu/ark:/67531/metadc10210/
[Penshurst Place]
Photograph of Penshurst Place in Kent, England. A grass lawn fills the foreground. The manor is visible in the background. A parking lot is visible to the left of the manor. digital.library.unt.edu/ark:/67531/metadc10207/
[Penshurst Place]
Photograph of Penshurst Place in Kent, England. In the foreground, the garden is visible complete with roses and sculpted hedges. The manor is visible in the background. digital.library.unt.edu/ark:/67531/metadc10208/
[Penshurst Place Gardens]
Photograph of the gardens of Penshurst Place in Kent, England. A gravel pathway beside a stone wall leads from the foreground to background. The pathway is lined with red flowers. Trees and hedges are visible in the background. digital.library.unt.edu/ark:/67531/metadc10209/
[Peristyle]
Photograph of the S├╝leymaniye Mosque in Istanbul, Turkey. The peristyle of the mosque is visible in the foreground. The dome rises up in the back with three minarets visible. digital.library.unt.edu/ark:/67531/metadc10957/
[Peristyle Court]
Photograph of the peristyle court of the Temple of Ramses III in Medinet Habu, Egypt. A row of columns is visible in the foreground. Each column is preceded by a stone figure. Each figure is in various states of deterioration. digital.library.unt.edu/ark:/67531/metadc10114/
Personal Response to Digital Frontiers Roundtable: Allison Jarek
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Allison Jarek. digital.library.unt.edu/ark:/67531/metadc109707/
Personal Response to Digital Frontiers Roundtable: Ann Howington
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Ann Howington. digital.library.unt.edu/ark:/67531/metadc109706/
Personal Response to Digital Frontiers Roundtable: Caleb Zouhary
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Caleb Zouhary. digital.library.unt.edu/ark:/67531/metadc109721/
Personal Response to Digital Frontiers Roundtable: Cassie Phan
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Cassie Phan. digital.library.unt.edu/ark:/67531/metadc109718/
Personal Response to Digital Frontiers Roundtable: Chance Dunlap
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Chance Dunlap. digital.library.unt.edu/ark:/67531/metadc109702/
Personal Response to Digital Frontiers Roundtable: Justin Strickland Hoff
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Justin Strickland Hoff. digital.library.unt.edu/ark:/67531/metadc109705/
Personal Response to Digital Frontiers Roundtable: Madeleine Fitzgerald
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Madeleine Fitzgerald. digital.library.unt.edu/ark:/67531/metadc109703/
Personal Response to Digital Frontiers Roundtable: Marseille Moon
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Marseille Moon. digital.library.unt.edu/ark:/67531/metadc109709/
Personal Response to Digital Frontiers Roundtable: Michael Blair
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Michael Blair. digital.library.unt.edu/ark:/67531/metadc109699/
Personal Response to Digital Frontiers Roundtable: Rachel Christensen
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Rachel Christensen. digital.library.unt.edu/ark:/67531/metadc109701/
Personal Response to Digital Frontiers Roundtable: Sean Miller
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, Sean Miller. digital.library.unt.edu/ark:/67531/metadc109708/
Personal Response to Digital Frontiers Roundtable: XuHao Yang
This response paper is for Dr. Jennifer Way's graduate art history seminar on 20th-21st century art. Students in Way's seminar attended 'Social Media and Digital Communities: A Roundtable Discussion,' a session featured at the Digital Frontiers 2012 conference. Way charged her students with writing a short paper to explore connections between the roundtable and their seminar studies. What follows is a short paper by graduate student, XuHao Yang. digital.library.unt.edu/ark:/67531/metadc109720/
Petti-Hoop
Petti-hoop of steel hoops within a white cotton petticoat. A modified form of cage crinoline consisting of three graduated steel hoops that open with snaps that fit within horizontal pockets of the full-length petticoat. Petticoat has gathered waist and eyelet lace at hem. Maker's label sewn in: "Petti-hoop / Created by / Ru-Nell / Pat Pend #494517" Size label, "10". The Ru-Nell Manufacturing Co. was founded by Fred Poole in 1935 in Yorkville, Georgia, USA. The company was named after his wife Ruby, and his oldest daughter Nell. Originally producing chenille bedspreads, they began to manufacturing "Petti-hoops" after their daughter Dorothy was unable to find a petticoat/hoop set to wear for a Southern Bell Ball in the 1950's. Ruby Poole designed the first one, and it became so popular that they went into production. Later they were produced as wedding gown underpinnings. digital.library.unt.edu/ark:/67531/metadc87029/
[Piazza]
Photograph of the side of a piazza in Siena, Italy. In the foreground, multiple people and a small child are visible . Behind the people, and series of arches are visible on one wall and a row of flags is visible on the other. digital.library.unt.edu/ark:/67531/metadc10567/
[Piazza Capranica]
Photograph of the Piazza Capranica in Rome, Italy. In the foreground, parked cars are visible in front of a church. The church has a dark green door with a red curtain. digital.library.unt.edu/ark:/67531/metadc10690/