{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Art\u0026view=list","next":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Art\u0026page=2\u0026view=list","last":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Art\u0026page=5\u0026view=list"},"meta":{"pages":{"current_page":1,"next_page":2,"prev_page":null,"total_pages":5,"limit_value":10,"offset_value":0,"total_count":43,"first_page?":true,"last_page?":false}},"data":[{"id":"vifgm_repositories_2_resources_542","type":"collection","attributes":{"title":"\"Aida\" opera costume paintings","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_542#creator","type":"document_value","attributes":{"value":"George Mason University. Libraries. 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Music. 1. https://scholarsarchive.library.albany.edu/honorscollege_music/1.","Holmes, Helen. \"The Met Casts Anna Netrebko as 'Aida' Despite Her Past Controversy in the Role,\" February 13, 2020. Observer. https://observer.com/2020/02/anna-netrebko-aida-met-opera-casting-2020-2021-season-details/.","\"Synopsis: Aida.\" The Metropolitan Opera. Accessed March 15, 2021. https://www.metopera.org/user-information/synopses-archive/aida.","\"Aida\" is a four-act opera by Giuseppe Verde that premiered in 1871. Set in the Old Kingdom of Egypt and sung in Italian, it tells the story of an enslaved Ethiopian princess, the titular Aida, who is brought to the Egyptian court. Unbeknownst to the court, the Egyptian military commander Radames is in love with Aida, who also returns his love. Throughout the opera the couple struggles to assert their love, while also honoring their respective countries and dealing with the war that ensues between Egypt and Ethiopia. \"Aida\" was immensely popular when it premiered and is still considered one of the most beloved operas today. ","\"Aida\" has a performance history of brown and blackface, with white singers often performing characters of another race. This occurred as recently as early 2020, though there has been more effort in the opera world to cast racially appropriate singers in these roles, particularly that of Aida.","Processing completed by Amanda Brent in March 2021. EAD markup completed by Amanda Brent in March 2021. This item was formerly part of the Performing Arts Manuscript Materials collection, C0215.","The Special Collections Research Center also holds the   and the  , as well as other materials related to opera, costume design, and the performing arts.","Seven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" made circa early 1870s. Featured are Radames in Act I, Scene 1 and Act II, Scene 4; Ax-bearers from Act II, Scene 4; Officers of the chorus, Act I, Scene 1 and Act II, Scene 4; Amneris in Act II, Scene 4; and The King, Act II, Scene 4 and Act I, Scene 1. Notably absent are the roles of Aida, Amonasro, and Ramfis. Each painting has the name of the role written in pen on the lower left corner and the act and scene numbers on the bottom right corner. The main roles have the voice range written next to the role name. All text is written in French.","Public Domain. There are no known restrictions.","Seven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" circa early 1870s.","R 72, C 3, S 5","George Mason University. Libraries. Special Collections Research Center","Verdi, Giuseppe, 1813-1901. (Title of work: Aïda.)","French \n.    "],"unitid_tesim":["C0473","/repositories/2/resources/542"],"normalized_title_ssm":["\"Aida\" opera costume paintings"],"collection_title_tesim":["\"Aida\" opera costume paintings"],"collection_ssim":["\"Aida\" opera costume paintings"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. Libraries. Special Collections Research Center"],"creator_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creators_ssim":["George Mason University. Libraries. 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Music. 1. https://scholarsarchive.library.albany.edu/honorscollege_music/1.\u003c/p\u003e\n","\u003cp\u003eHolmes, Helen. \"The Met Casts Anna Netrebko as 'Aida' Despite Her Past Controversy in the Role,\" February 13, 2020. Observer. https://observer.com/2020/02/anna-netrebko-aida-met-opera-casting-2020-2021-season-details/.\u003c/p\u003e\n","\u003cp\u003e\"Synopsis: Aida.\" The Metropolitan Opera. Accessed March 15, 2021. https://www.metopera.org/user-information/synopses-archive/aida.\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Groenert, Kaeli, \"Blackface at the Met: An exploration of the casting of performers of color in the roles of Aida and Othello from 2007-2017\" (2019). Music. 1. https://scholarsarchive.library.albany.edu/honorscollege_music/1.","Holmes, Helen. \"The Met Casts Anna Netrebko as 'Aida' Despite Her Past Controversy in the Role,\" February 13, 2020. Observer. https://observer.com/2020/02/anna-netrebko-aida-met-opera-casting-2020-2021-season-details/.","\"Synopsis: Aida.\" The Metropolitan Opera. Accessed March 15, 2021. https://www.metopera.org/user-information/synopses-archive/aida."],"bioghist_html_tesm":["\u003cp\u003e\"Aida\" is a four-act opera by Giuseppe Verde that premiered in 1871. Set in the Old Kingdom of Egypt and sung in Italian, it tells the story of an enslaved Ethiopian princess, the titular Aida, who is brought to the Egyptian court. Unbeknownst to the court, the Egyptian military commander Radames is in love with Aida, who also returns his love. 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This item was formerly part of the Performing Arts Manuscript Materials collection, C0215."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Single 'Aida' opera costume painting (C0474)\" href=\"https://aspace.gmu.edu/repositories/2/resources/543\"\u003e\u003c/extptr\u003e and the \u003cextptr show=\"new\" title=\"'Cavalleria rusticana' opera costume paintings\" href=\"https://aspace.gmu.edu/repositories/2/resources/541\"\u003e\u003c/extptr\u003e, as well as other materials related to opera, costume design, and the performing arts.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the   and the  , as well as other materials related to opera, costume design, and the performing arts."],"scopecontent_html_tesm":["\u003cp\u003eSeven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" made circa early 1870s. Featured are Radames in Act I, Scene 1 and Act II, Scene 4; Ax-bearers from Act II, Scene 4; Officers of the chorus, Act I, Scene 1 and Act II, Scene 4; Amneris in Act II, Scene 4; and The King, Act II, Scene 4 and Act I, Scene 1. Notably absent are the roles of Aida, Amonasro, and Ramfis. Each painting has the name of the role written in pen on the lower left corner and the act and scene numbers on the bottom right corner. The main roles have the voice range written next to the role name. All text is written in French.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Seven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" made circa early 1870s. Featured are Radames in Act I, Scene 1 and Act II, Scene 4; Ax-bearers from Act II, Scene 4; Officers of the chorus, Act I, Scene 1 and Act II, Scene 4; Amneris in Act II, Scene 4; and The King, Act II, Scene 4 and Act I, Scene 1. Notably absent are the roles of Aida, Amonasro, and Ramfis. Each painting has the name of the role written in pen on the lower left corner and the act and scene numbers on the bottom right corner. The main roles have the voice range written next to the role name. All text is written in French."],"userestrict_html_tesm":["\u003cp\u003ePublic Domain. There are no known restrictions.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["Public Domain. There are no known restrictions."],"abstract_html_tesm":["\u003cabstract id=\"aspace_9576737c0c53a822d5c41ce4fcab5344\" label=\"Abstract\"\u003eSeven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" circa early 1870s.\u003c/abstract\u003e"],"abstract_tesim":["Seven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" circa early 1870s."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_1e79eb9724213e0fffe9962712ab3fa7\"\u003eR 72, C 3, S 5\u003c/physloc\u003e"],"physloc_tesim":["R 72, C 3, S 5"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Verdi, Giuseppe, 1813-1901. (Title of work: Aïda.)"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"names_coll_ssim":["Verdi, Giuseppe, 1813-1901. (Title of work: Aïda.)"],"persname_ssim":["Verdi, Giuseppe, 1813-1901. (Title of work: Aïda.)"],"language_ssim":["French \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:25:37.310Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_542","ead_ssi":"vifgm_repositories_2_resources_542","_root_":"vifgm_repositories_2_resources_542","_nest_parent_":"vifgm_repositories_2_resources_542","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_542.xml","title_ssm":["\"Aida\" opera costume paintings"],"title_tesim":["\"Aida\" opera costume paintings"],"unitdate_ssm":["circa early 1870s"],"unitdate_other_ssim":["circa early 1870s"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0473","/repositories/2/resources/542"],"text":["C0473","/repositories/2/resources/542","\"Aida\" opera costume paintings","Art","Costume design","Opera","There are no access restrictions.","This is a single folder collection.","Groenert, Kaeli, \"Blackface at the Met: An exploration of the casting of performers of color in the roles of Aida and Othello from 2007-2017\" (2019). Music. 1. https://scholarsarchive.library.albany.edu/honorscollege_music/1.","Holmes, Helen. \"The Met Casts Anna Netrebko as 'Aida' Despite Her Past Controversy in the Role,\" February 13, 2020. Observer. https://observer.com/2020/02/anna-netrebko-aida-met-opera-casting-2020-2021-season-details/.","\"Synopsis: Aida.\" The Metropolitan Opera. Accessed March 15, 2021. https://www.metopera.org/user-information/synopses-archive/aida.","\"Aida\" is a four-act opera by Giuseppe Verde that premiered in 1871. Set in the Old Kingdom of Egypt and sung in Italian, it tells the story of an enslaved Ethiopian princess, the titular Aida, who is brought to the Egyptian court. Unbeknownst to the court, the Egyptian military commander Radames is in love with Aida, who also returns his love. Throughout the opera the couple struggles to assert their love, while also honoring their respective countries and dealing with the war that ensues between Egypt and Ethiopia. \"Aida\" was immensely popular when it premiered and is still considered one of the most beloved operas today. ","\"Aida\" has a performance history of brown and blackface, with white singers often performing characters of another race. This occurred as recently as early 2020, though there has been more effort in the opera world to cast racially appropriate singers in these roles, particularly that of Aida.","Processing completed by Amanda Brent in March 2021. EAD markup completed by Amanda Brent in March 2021. This item was formerly part of the Performing Arts Manuscript Materials collection, C0215.","The Special Collections Research Center also holds the   and the  , as well as other materials related to opera, costume design, and the performing arts.","Seven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" made circa early 1870s. Featured are Radames in Act I, Scene 1 and Act II, Scene 4; Ax-bearers from Act II, Scene 4; Officers of the chorus, Act I, Scene 1 and Act II, Scene 4; Amneris in Act II, Scene 4; and The King, Act II, Scene 4 and Act I, Scene 1. Notably absent are the roles of Aida, Amonasro, and Ramfis. Each painting has the name of the role written in pen on the lower left corner and the act and scene numbers on the bottom right corner. The main roles have the voice range written next to the role name. All text is written in French.","Public Domain. 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Special Collections Research Center"],"access_terms_ssm":["Public Domain. There are no known restrictions."],"acqinfo_ssim":["Purchased by Steve Gerber from J \u0026 J Lubrano Music Antiquarians in September 2016."],"access_subjects_ssim":["Art","Costume design","Opera"],"access_subjects_ssm":["Art","Costume design","Opera"],"has_online_content_ssim":["false"],"extent_ssm":[".01 Linear Feet 7 paintings"],"extent_tesim":[".01 Linear Feet 7 paintings"],"date_range_isim":[1870],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis is a single folder collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This is a single folder collection."],"bibliography_html_tesm":["\u003cp\u003eGroenert, Kaeli, \"Blackface at the Met: An exploration of the casting of performers of color in the roles of Aida and Othello from 2007-2017\" (2019). Music. 1. https://scholarsarchive.library.albany.edu/honorscollege_music/1.\u003c/p\u003e\n","\u003cp\u003eHolmes, Helen. \"The Met Casts Anna Netrebko as 'Aida' Despite Her Past Controversy in the Role,\" February 13, 2020. Observer. https://observer.com/2020/02/anna-netrebko-aida-met-opera-casting-2020-2021-season-details/.\u003c/p\u003e\n","\u003cp\u003e\"Synopsis: Aida.\" The Metropolitan Opera. Accessed March 15, 2021. https://www.metopera.org/user-information/synopses-archive/aida.\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Groenert, Kaeli, \"Blackface at the Met: An exploration of the casting of performers of color in the roles of Aida and Othello from 2007-2017\" (2019). Music. 1. https://scholarsarchive.library.albany.edu/honorscollege_music/1.","Holmes, Helen. \"The Met Casts Anna Netrebko as 'Aida' Despite Her Past Controversy in the Role,\" February 13, 2020. Observer. https://observer.com/2020/02/anna-netrebko-aida-met-opera-casting-2020-2021-season-details/.","\"Synopsis: Aida.\" The Metropolitan Opera. Accessed March 15, 2021. https://www.metopera.org/user-information/synopses-archive/aida."],"bioghist_html_tesm":["\u003cp\u003e\"Aida\" is a four-act opera by Giuseppe Verde that premiered in 1871. Set in the Old Kingdom of Egypt and sung in Italian, it tells the story of an enslaved Ethiopian princess, the titular Aida, who is brought to the Egyptian court. Unbeknownst to the court, the Egyptian military commander Radames is in love with Aida, who also returns his love. Throughout the opera the couple struggles to assert their love, while also honoring their respective countries and dealing with the war that ensues between Egypt and Ethiopia. \"Aida\" was immensely popular when it premiered and is still considered one of the most beloved operas today. \u003c/p\u003e\n","\u003cp\u003e\"Aida\" has a performance history of brown and blackface, with white singers often performing characters of another race. This occurred as recently as early 2020, though there has been more effort in the opera world to cast racially appropriate singers in these roles, particularly that of Aida.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["\"Aida\" is a four-act opera by Giuseppe Verde that premiered in 1871. Set in the Old Kingdom of Egypt and sung in Italian, it tells the story of an enslaved Ethiopian princess, the titular Aida, who is brought to the Egyptian court. Unbeknownst to the court, the Egyptian military commander Radames is in love with Aida, who also returns his love. Throughout the opera the couple struggles to assert their love, while also honoring their respective countries and dealing with the war that ensues between Egypt and Ethiopia. \"Aida\" was immensely popular when it premiered and is still considered one of the most beloved operas today. ","\"Aida\" has a performance history of brown and blackface, with white singers often performing characters of another race. 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This item was formerly part of the Performing Arts Manuscript Materials collection, C0215."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Single 'Aida' opera costume painting (C0474)\" href=\"https://aspace.gmu.edu/repositories/2/resources/543\"\u003e\u003c/extptr\u003e and the \u003cextptr show=\"new\" title=\"'Cavalleria rusticana' opera costume paintings\" href=\"https://aspace.gmu.edu/repositories/2/resources/541\"\u003e\u003c/extptr\u003e, as well as other materials related to opera, costume design, and the performing arts.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the   and the  , as well as other materials related to opera, costume design, and the performing arts."],"scopecontent_html_tesm":["\u003cp\u003eSeven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" made circa early 1870s. 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Notably absent are the roles of Aida, Amonasro, and Ramfis. Each painting has the name of the role written in pen on the lower left corner and the act and scene numbers on the bottom right corner. The main roles have the voice range written next to the role name. All text is written in French."],"userestrict_html_tesm":["\u003cp\u003ePublic Domain. There are no known restrictions.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["Public Domain. 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The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  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Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections."],"names_ssim":["Washington and Lee University, University Library Special Collections and Archives","Rockbridge Historical Society","First Baptist Church (Lexington, Va.)","Randolph Street Methodist Church (Lexington, Va.)","Lylburn Downing School (Lexington, Va.)","Washington Post Company","African-Americans.  Staunton, Virginia","Agricultural Society of Rockbridge","Agriculture","Rockbridge Farmers Exchange","John Deere Centennial","United Way of America","Lee Memorial Association","Lexington Fire Department (Lexington, Va.)","Virginia Cooperative Extension","Rockbridge County Cooperative Extension","Southern Association of Colleges and Schools","Blue Ridge CASA for Children","Washington and Lee University. Board of Trustees","The Roanoke Times","Washington and Lee University. University Library. Special Collections and Archives","Lexington Gazette. 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Tucker Hall ","Persian Gulf War","Afghanistan","Vietnam War","World War II","Washington College (Lexington, Va.)","Mill Mountain Zoo","Natural Bridge Zoo","North River Navigation Company","Log Cabins","Ferries--Virginia","Big Spring Mill","Clifton Forge, Virginia","Shenandoah Valley Railroad","Virginia. Department of Highways","Fairfield, Virginia","Lime Kiln Theater (1984-) (Lexington, Virginia)","Beeton family","Rockbridge Area Master Gardeners Association","France. Armele. Escadrille Lafayette","First Baptist Church (Buena Vista, Virginia)","Taverns (Inns)--Rockbridge County, Virginia","African Americans. Amherst County, Virginia","Law. United States","Kerrs Creek Ruritan Club","Virginia. State Teachers College at Harrisonburg (Harrisonburg, Va.)","Virginia. State Normal School for Women. Harrisonburg, Virginia","Virginia. Eliizabethan College. Salem, Virginia","World War II. Alcohol","World War II. Gasoline","Myers Hardware Co., Inc., Lexington, Virginia","Farming. 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(Va.)","Montgomery County (Va.)","Barclay family","Boatwright Family","Brooks family","Hamilton Family","McDowell family","Johnson family","Snowden Family","Matthews Family","McCown family","Newcomb Family","Rouse Family","Ruffner family","Washington Family","Webster Family","Ailstock Family","Alexander family","Alford Family","Anderson family  ","Blair family","Borden family","Brockenbrough family","Broun family","Brubeck family","Cunningham family","Custis family","Debo family","Dold family","Doremus Family","Edmiston family","Elliott Family","Fix Family","Gaines Family","Harer family","Harman family","Houston family","Hughes family","Johnston family","Jordan Family","Kahle Family","Link family","Livingston family","McAfee family","McClintic family","McFarland family  ","Mohler family","Morrison family","Moore Family","Obenshain family","Paul family","Preston family","Rees Family","Rhea family","Richey family","Salling Family","Scott family","Shaw family","Sherrard Family","Singleton Family","Stuart family","Waddell family","Warner family","Watts family","Whitlock Family","Willson Family","Wood family","Young Family","Leyburn family","Boogher Family","Gouldman Family","Garland family","Hayslett family","Ramsey family","Rogers family","Stearns family","Drummond family","Dickinson family","Mason family","Griffin family","Grigsby family","Porter Family","McGuffin Family","Hartless family","Alphin Family","Hartbarger Family","Bennington Family","Knick Family","Teaford family","Gunn, John McKenzie, Jr.","Adamson, Emily B.","Cauthern, Leslie","Delaney, Theodore C., Jr., Dr.","Jones, Falvorees, Jr.","Morrison, Edlow","Scott, Margaret","Thompson, Irma Blake","Collins, Courtney","Thompson, Irene","African-Americans. 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S.","Ailstock, Private","Taylor, Alex","Alexander, Archibald","Alexander, Hortense","Tucker, John Randolph","Allan, William, 1837-1889","Reasons, George","Anderson, Jo","McCormick, Cyrus Hall, 1809-1884","Anderson, Mary P. , - 1885","Armstrong, George D.","Armstrong, Rick","Auden, W.H.","Auden, Constance Rosalie, 1870-1941","Ballangee, James","Barclay, Ted, II (Alexander Tedford)","Barclay, William Houston","Barclay, Elizabeth","Telford, Jane Edmondson","Barclay, Polly Culbertson","Paxton, Phebe Alexander","Moore, Andrew, 1752-1821","Turner, Charles W. (Charles Wilson)","Barkley, Alben William, 1877-1956","Johnson, Edward","Baxter, George Addison","Barton, Benjamin Smith, Dr., 1766-1815","Jefferson, Thomas","Basse, Edgar Alfred, Jr.","Blackburn, Thomas","Boatwright, Robert McDearmon","Boatwright, John G. ","Booth, Augustus Lea","Borden, Benjamin, Sr.","Brady, Douglas Ellinipsico, Jr.","Hoffmann, August Carl","Brcin, John David","Brooks, William","White, James J. 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","Davis, Jefferson, 1808-1889","Higgins, Patty","Hite, Malinda","Hobson, John Peyton","Holland, J. Gill","Hotinger, Harvey Lewis","Hotinger, Myrtle","Howe, James Lewis, Jr.","Howerton, James Robert","Howerton, Mary N.","Huber, Helmot","Hudson, Frederick","Hull, Margaret Jones","Roosevelt, Eleanor","Hutcherson, James Morrison","Ipsen, Ernest","Moor, George","Jenks, James Alley","Johnson, Porter","Johnson, W.T. , Rev.","Johnston, William Preston","Jones, John","Jordan, Harry","Jordan, John","Joynes, Edward S.","Ju, I-Hsiung","Junkin, George, 1798 - 1868","Junkin, William F. 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","Taylor, Charles Holt","Taylor, William","Telford, Robert Lee","Thompson, William M. , 1864-1955","Tilson, Warren Edward","Tracy, Betty (Elizabeth Kilbourne), 1908-1993","Tucker, Robert Henry","Turnbull, Walter Jonathan","Twombly, Cy","Valentine, Edward Virginius, 1838-1930","Vethake, Henry","Wade, Wada Phyllis","Walker, Forrest Edward","Warren, Mame (Mary Elizabeth)","Washburn, William Crane","Washington, Booker T., 1856-1915","Watkin, Lawrence Edward","Watkins, Richard","Watt, William Joseph","Weaver, William","White, Annie Jo","White, Archibald S., Jr","White, B.D.","White, Henry Alexander","Whitney, George S. (George Stephen)","Williams, Bob","Williams, Boyd H.","Williams, Charles Wiley","Williamson, Thomas Hoomes","Willis, Henry Parker","Wilson, William Lyne","Winchester, James R. ","Winston, Daniel","Wolfe, Thomas","Woods, Magdalene","Woods, Michael","Wu, Nelson I. 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Jackson, Dr.","Lincoln, Abraham, 1809-1865","Hotinger, Josephine Susan","Rice, Horace R."],"language_ssim":["Materials entirely in English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":874,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T21:51:09.176Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vilxw_repositories_5_resources_925_c107_c03"}},{"id":"vifgm_repositories_2_resources_652","type":"collection","attributes":{"title":"Art Attack records","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_652#abstract_or_scope","type":"document_value","attributes":{"value":"The Art Attack records contains materials that documented the creative process of multidisciplinary American and international artists as a part of the Art Attack collective from 1979-2009. The collection contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_652#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_652","ead_ssi":"vifgm_repositories_2_resources_652","_root_":"vifgm_repositories_2_resources_652","_nest_parent_":"vifgm_repositories_2_resources_652","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_652.xml","title_ssm":["Art Attack records"],"title_tesim":["Art Attack records"],"unitdate_ssm":["1979-2009"],"unitdate_inclusive_ssm":["1979-2009"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0507","/repositories/2/resources/652"],"text":["C0507","/repositories/2/resources/652","Art Attack records","Art","Art -- Exhibitions","Photography","Some materials are restricted due to content. Please see inventory for more details. All other materials are open to access.","The collection is arranged into two series based on the content of the materials.","Series Series 1: Installations and Events Subseries 1.1: Installations in the United States  Subseries 1.2: International Installations  Series 2: Art Attack Organization Records ","\nArt Attack was a guerilla art collective founded in Los Angeles in 1979, by Lynn McCary and Billy Burns. The group relocated to Washington, D.C. in 1981, and again to New York City shortly after. Initially, Art Attack did not have any official members. Participants joined and left sporadically; however, it eventually formed a core group of four artists: Lynn McCary, Evan Hughes, Jared (Hendrickson) Louche, and Alberto Gaitán. This core group worked with multiple select artists on projects in the United States and Europe. Their creative process aimed to reflect the \"'real world' interactive systems\" to create discussion of differing interpretations of their work. The core group, alongside collaborating artists, worked towards utilizing their adaptability to address problems that many artists are confronted with. You can read more about Art Attack at ","Lynn McCary studied at American University, graduating with a double major in Graphic Design and Visual Communications. She co-founded Art Attack in 1979 and has worked with many institutions, including Artist Space, the Washington Project of the Arts, and the National Institute for Music Theatre. McCary currently works as an event planner in New York City, primarily planning fundraising events for cultural and educational nonprofits.","Evan Hughes graduated from the School of American Craftsmen at Rochester Institute of Technology, and his work specialized in designing and creating unique furniture and sculptures. His work has been featured in the Franz Bader Gallery and has been involved in Art Attack since 1984. Hughes continues to collaborate professionally with architects and artists, such as 1100 Architect and constructing sculptural work for Frank Stella. He also worked extensively with the late Richard Artschwager, including the commissioned artist interiors of the elevators at the Whitney Museum of American Art.","\nJared (Hendrickson) Louche is a musician, primarily know as founder and frontman of the Washington, D.C. industrial rock band Chemlab, which he has intermittently performed with from 1989 through the present. In 1997 when Chemlab initially broke up, Louche worked as an investment banker on Wall Street. Louche has released solo music outside of Chemlab, and is also one of the founders of the electro-industrial music supergroup H3llb3nt. Louche's work with Art Attack included performance poetry.\n","Alberto Gaitán studied multiple creative fields throughout his professional and academic career. He received a Bachelor's degree in Biology from the University of Miami but also pursued music theory, composition, programming, and photography studies. He joined Art Attack in 1985 and has performed and had his work featured at institutions such as the Corcoran Gallery of Arts, The National Theatre, and many others. Gaitán passed away in 2022.","Processing completed by Vilma Chicas Garcia from September-December 2023. Additional processing completed by Amanda Menjivar in February 2024. Finding aid completed by Vilma Chicas Garcia in December 2024. Finding aid edited and uploaded by Amanda Menjivar in February 2024.","An oral history with Art Attack members Lynn McCary, Evan Hughes, and Peter Winant is available to access in the ","\nThe Special Collections Research Center holds other collections focused on ","The Art Attack records contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective. This collection is arranged into two series.  ","Series 1: Art Installations and Events consists of correspondence, planning documents, trip expenses, and reviews, and is separated into two subseries. Subseries 1: Installations in the United States contains materials of projects created or displayed in the United States. Subseries 2: International installations contains materials from projects conducted and displayed in European countries, including Germany, Austria, the Czech Republic, Poland, and France. ","Series 2: Art Attack Organization Records contains materials that have to do specifically with Art Attack as an organization, including articles, correspondence, their mission statement, portfolios, press reviews, and trip information that was not explicitly tied to any installation.  ","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Art Attack records contains materials that documented the creative process of multidisciplinary American and international artists as a part of the Art Attack collective from 1979-2009. 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"],"unitid_tesim":["C0507","/repositories/2/resources/652"],"normalized_title_ssm":["Art Attack records"],"collection_title_tesim":["Art Attack records"],"collection_ssim":["Art Attack records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Art Attack co-founder Lynn McCary in 2018 and 2023."],"access_subjects_ssim":["Art","Art -- Exhibitions","Photography"],"access_subjects_ssm":["Art","Art -- Exhibitions","Photography"],"has_online_content_ssim":["false"],"extent_ssm":["21 Linear Feet 43 boxes, 1 map case"],"extent_tesim":["21 Linear Feet 43 boxes, 1 map case"],"date_range_isim":[1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009],"accessrestrict_html_tesm":["\u003cp\u003eSome materials are restricted due to content. Please see inventory for more details. All other materials are open to access.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Some materials are restricted due to content. Please see inventory for more details. All other materials are open to access."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into two series based on the content of the materials.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Installations and Events\u003c/item\u003e\n      \u003citem\u003eSubseries 1.1: Installations in the United States \u003c/item\u003e\n      \u003citem\u003eSubseries 1.2: International Installations \u003c/item\u003e\n      \u003citem\u003eSeries 2: Art Attack Organization Records \u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into two series based on the content of the materials.","Series Series 1: Installations and Events Subseries 1.1: Installations in the United States  Subseries 1.2: International Installations  Series 2: Art Attack Organization Records "],"bioghist_html_tesm":["\u003cp\u003e\nArt Attack was a guerilla art collective founded in Los Angeles in 1979, by Lynn McCary and Billy Burns. The group relocated to Washington, D.C. in 1981, and again to New York City shortly after. Initially, Art Attack did not have any official members. Participants joined and left sporadically; however, it eventually formed a core group of four artists: Lynn McCary, Evan Hughes, Jared (Hendrickson) Louche, and Alberto Gaitán. This core group worked with multiple select artists on projects in the United States and Europe. Their creative process aimed to reflect the \"'real world' interactive systems\" to create discussion of differing interpretations of their work. The core group, alongside collaborating artists, worked towards utilizing their adaptability to address problems that many artists are confronted with. You can read more about Art Attack at \u003cextptr show=\"new\" title=\"their website.\" href=\"http://artattackinternational.org/mission.html\"\u003e\u003c/extptr\u003e\n\u003c/p\u003e","\u003cp\u003eLynn McCary studied at American University, graduating with a double major in Graphic Design and Visual Communications. She co-founded Art Attack in 1979 and has worked with many institutions, including Artist Space, the Washington Project of the Arts, and the National Institute for Music Theatre. McCary currently works as an event planner in New York City, primarily planning fundraising events for cultural and educational nonprofits.\u003c/p\u003e","\u003cp\u003eEvan Hughes graduated from the School of American Craftsmen at Rochester Institute of Technology, and his work specialized in designing and creating unique furniture and sculptures. His work has been featured in the Franz Bader Gallery and has been involved in Art Attack since 1984. Hughes continues to collaborate professionally with architects and artists, such as 1100 Architect and constructing sculptural work for Frank Stella. He also worked extensively with the late Richard Artschwager, including the commissioned artist interiors of the elevators at the Whitney Museum of American Art.\u003c/p\u003e","\u003cp\u003e\nJared (Hendrickson) Louche is a musician, primarily know as founder and frontman of the Washington, D.C. industrial rock band Chemlab, which he has intermittently performed with from 1989 through the present. In 1997 when Chemlab initially broke up, Louche worked as an investment banker on Wall Street. Louche has released solo music outside of Chemlab, and is also one of the founders of the electro-industrial music supergroup H3llb3nt. Louche's work with Art Attack included performance poetry.\n\u003c/p\u003e","\u003cp\u003eAlberto Gaitán studied multiple creative fields throughout his professional and academic career. He received a Bachelor's degree in Biology from the University of Miami but also pursued music theory, composition, programming, and photography studies. He joined Art Attack in 1985 and has performed and had his work featured at institutions such as the Corcoran Gallery of Arts, The National Theatre, and many others. Gaitán passed away in 2022.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical and Historical Information"],"bioghist_tesim":["\nArt Attack was a guerilla art collective founded in Los Angeles in 1979, by Lynn McCary and Billy Burns. The group relocated to Washington, D.C. in 1981, and again to New York City shortly after. Initially, Art Attack did not have any official members. Participants joined and left sporadically; however, it eventually formed a core group of four artists: Lynn McCary, Evan Hughes, Jared (Hendrickson) Louche, and Alberto Gaitán. This core group worked with multiple select artists on projects in the United States and Europe. Their creative process aimed to reflect the \"'real world' interactive systems\" to create discussion of differing interpretations of their work. The core group, alongside collaborating artists, worked towards utilizing their adaptability to address problems that many artists are confronted with. You can read more about Art Attack at ","Lynn McCary studied at American University, graduating with a double major in Graphic Design and Visual Communications. She co-founded Art Attack in 1979 and has worked with many institutions, including Artist Space, the Washington Project of the Arts, and the National Institute for Music Theatre. McCary currently works as an event planner in New York City, primarily planning fundraising events for cultural and educational nonprofits.","Evan Hughes graduated from the School of American Craftsmen at Rochester Institute of Technology, and his work specialized in designing and creating unique furniture and sculptures. His work has been featured in the Franz Bader Gallery and has been involved in Art Attack since 1984. Hughes continues to collaborate professionally with architects and artists, such as 1100 Architect and constructing sculptural work for Frank Stella. He also worked extensively with the late Richard Artschwager, including the commissioned artist interiors of the elevators at the Whitney Museum of American Art.","\nJared (Hendrickson) Louche is a musician, primarily know as founder and frontman of the Washington, D.C. industrial rock band Chemlab, which he has intermittently performed with from 1989 through the present. In 1997 when Chemlab initially broke up, Louche worked as an investment banker on Wall Street. Louche has released solo music outside of Chemlab, and is also one of the founders of the electro-industrial music supergroup H3llb3nt. Louche's work with Art Attack included performance poetry.\n","Alberto Gaitán studied multiple creative fields throughout his professional and academic career. He received a Bachelor's degree in Biology from the University of Miami but also pursued music theory, composition, programming, and photography studies. He joined Art Attack in 1985 and has performed and had his work featured at institutions such as the Corcoran Gallery of Arts, The National Theatre, and many others. Gaitán passed away in 2022."],"prefercite_html_tesm":["\u003cp\u003eArt Attack records, C0507, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Art Attack records, C0507, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Vilma Chicas Garcia from September-December 2023. Additional processing completed by Amanda Menjivar in February 2024. Finding aid completed by Vilma Chicas Garcia in December 2024. Finding aid edited and uploaded by Amanda Menjivar in February 2024.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Vilma Chicas Garcia from September-December 2023. Additional processing completed by Amanda Menjivar in February 2024. Finding aid completed by Vilma Chicas Garcia in December 2024. Finding aid edited and uploaded by Amanda Menjivar in February 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eAn oral history with Art Attack members Lynn McCary, Evan Hughes, and Peter Winant is available to access in the \u003cextptr show=\"new\" title=\"George Mason University oral history collection.\" href=\"https://aspace.gmu.edu/resources/r0121\"\u003e\u003c/extptr\u003e\u003c/p\u003e\n","\u003cp\u003e\nThe Special Collections Research Center holds other collections focused on \u003cextptr show=\"new\" title=\"art and artists.\" href=\"https://aspace.gmu.edu/search?q[]=art\u0026amp;op[]=\u0026amp;field[]=keyword\u0026amp;from_year[]=\u0026amp;to_year[]=\u0026amp;filter_fields[]=subjects\u0026amp;filter_values[]=Art\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["An oral history with Art Attack members Lynn McCary, Evan Hughes, and Peter Winant is available to access in the ","\nThe Special Collections Research Center holds other collections focused on "],"scopecontent_html_tesm":["\u003cp\u003eThe Art Attack records contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective. This collection is arranged into two series.  \u003c/p\u003e\n","\u003cp\u003eSeries 1: Art Installations and Events consists of correspondence, planning documents, trip expenses, and reviews, and is separated into two subseries. Subseries 1: Installations in the United States contains materials of projects created or displayed in the United States. Subseries 2: International installations contains materials from projects conducted and displayed in European countries, including Germany, Austria, the Czech Republic, Poland, and France. \u003c/p\u003e\n","\u003cp\u003eSeries 2: Art Attack Organization Records contains materials that have to do specifically with Art Attack as an organization, including articles, correspondence, their mission statement, portfolios, press reviews, and trip information that was not explicitly tied to any installation.  \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Art Attack records contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective. This collection is arranged into two series.  ","Series 1: Art Installations and Events consists of correspondence, planning documents, trip expenses, and reviews, and is separated into two subseries. Subseries 1: Installations in the United States contains materials of projects created or displayed in the United States. Subseries 2: International installations contains materials from projects conducted and displayed in European countries, including Germany, Austria, the Czech Republic, Poland, and France. ","Series 2: Art Attack Organization Records contains materials that have to do specifically with Art Attack as an organization, including articles, correspondence, their mission statement, portfolios, press reviews, and trip information that was not explicitly tied to any installation.  "],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_fa6f7a17953458efeb9ed412bc005d67\"\u003eThe Art Attack records contains materials that documented the creative process of multidisciplinary American and international artists as a part of the Art Attack collective from 1979-2009. The collection contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective.\u003c/abstract\u003e"],"abstract_tesim":["The Art Attack records contains materials that documented the creative process of multidisciplinary American and international artists as a part of the Art Attack collective from 1979-2009. The collection contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_5bf20a5fa74f6054415961374b783aa7\"\u003eR 74, C 4, S 1-6\u003c/physloc\u003e"],"physloc_tesim":["R 74, C 4, S 1-6"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"language_ssim":["English \n,        German \n,        Polish \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":399,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:28:45.771Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_652","ead_ssi":"vifgm_repositories_2_resources_652","_root_":"vifgm_repositories_2_resources_652","_nest_parent_":"vifgm_repositories_2_resources_652","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_652.xml","title_ssm":["Art Attack records"],"title_tesim":["Art Attack records"],"unitdate_ssm":["1979-2009"],"unitdate_inclusive_ssm":["1979-2009"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0507","/repositories/2/resources/652"],"text":["C0507","/repositories/2/resources/652","Art Attack records","Art","Art -- Exhibitions","Photography","Some materials are restricted due to content. Please see inventory for more details. All other materials are open to access.","The collection is arranged into two series based on the content of the materials.","Series Series 1: Installations and Events Subseries 1.1: Installations in the United States  Subseries 1.2: International Installations  Series 2: Art Attack Organization Records ","\nArt Attack was a guerilla art collective founded in Los Angeles in 1979, by Lynn McCary and Billy Burns. The group relocated to Washington, D.C. in 1981, and again to New York City shortly after. Initially, Art Attack did not have any official members. Participants joined and left sporadically; however, it eventually formed a core group of four artists: Lynn McCary, Evan Hughes, Jared (Hendrickson) Louche, and Alberto Gaitán. This core group worked with multiple select artists on projects in the United States and Europe. Their creative process aimed to reflect the \"'real world' interactive systems\" to create discussion of differing interpretations of their work. The core group, alongside collaborating artists, worked towards utilizing their adaptability to address problems that many artists are confronted with. You can read more about Art Attack at ","Lynn McCary studied at American University, graduating with a double major in Graphic Design and Visual Communications. She co-founded Art Attack in 1979 and has worked with many institutions, including Artist Space, the Washington Project of the Arts, and the National Institute for Music Theatre. McCary currently works as an event planner in New York City, primarily planning fundraising events for cultural and educational nonprofits.","Evan Hughes graduated from the School of American Craftsmen at Rochester Institute of Technology, and his work specialized in designing and creating unique furniture and sculptures. His work has been featured in the Franz Bader Gallery and has been involved in Art Attack since 1984. Hughes continues to collaborate professionally with architects and artists, such as 1100 Architect and constructing sculptural work for Frank Stella. He also worked extensively with the late Richard Artschwager, including the commissioned artist interiors of the elevators at the Whitney Museum of American Art.","\nJared (Hendrickson) Louche is a musician, primarily know as founder and frontman of the Washington, D.C. industrial rock band Chemlab, which he has intermittently performed with from 1989 through the present. In 1997 when Chemlab initially broke up, Louche worked as an investment banker on Wall Street. Louche has released solo music outside of Chemlab, and is also one of the founders of the electro-industrial music supergroup H3llb3nt. Louche's work with Art Attack included performance poetry.\n","Alberto Gaitán studied multiple creative fields throughout his professional and academic career. He received a Bachelor's degree in Biology from the University of Miami but also pursued music theory, composition, programming, and photography studies. He joined Art Attack in 1985 and has performed and had his work featured at institutions such as the Corcoran Gallery of Arts, The National Theatre, and many others. Gaitán passed away in 2022.","Processing completed by Vilma Chicas Garcia from September-December 2023. Additional processing completed by Amanda Menjivar in February 2024. Finding aid completed by Vilma Chicas Garcia in December 2024. Finding aid edited and uploaded by Amanda Menjivar in February 2024.","An oral history with Art Attack members Lynn McCary, Evan Hughes, and Peter Winant is available to access in the ","\nThe Special Collections Research Center holds other collections focused on ","The Art Attack records contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective. This collection is arranged into two series.  ","Series 1: Art Installations and Events consists of correspondence, planning documents, trip expenses, and reviews, and is separated into two subseries. Subseries 1: Installations in the United States contains materials of projects created or displayed in the United States. Subseries 2: International installations contains materials from projects conducted and displayed in European countries, including Germany, Austria, the Czech Republic, Poland, and France. ","Series 2: Art Attack Organization Records contains materials that have to do specifically with Art Attack as an organization, including articles, correspondence, their mission statement, portfolios, press reviews, and trip information that was not explicitly tied to any installation.  ","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","The Art Attack records contains materials that documented the creative process of multidisciplinary American and international artists as a part of the Art Attack collective from 1979-2009. The collection contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective.","R 74, C 4, S 1-6","George Mason University. Libraries. Special Collections Research Center","English \n,        German \n,        Polish \n.    "],"unitid_tesim":["C0507","/repositories/2/resources/652"],"normalized_title_ssm":["Art Attack records"],"collection_title_tesim":["Art Attack records"],"collection_ssim":["Art Attack records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by Art Attack co-founder Lynn McCary in 2018 and 2023."],"access_subjects_ssim":["Art","Art -- Exhibitions","Photography"],"access_subjects_ssm":["Art","Art -- Exhibitions","Photography"],"has_online_content_ssim":["false"],"extent_ssm":["21 Linear Feet 43 boxes, 1 map case"],"extent_tesim":["21 Linear Feet 43 boxes, 1 map case"],"date_range_isim":[1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009],"accessrestrict_html_tesm":["\u003cp\u003eSome materials are restricted due to content. Please see inventory for more details. All other materials are open to access.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Some materials are restricted due to content. Please see inventory for more details. All other materials are open to access."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into two series based on the content of the materials.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Installations and Events\u003c/item\u003e\n      \u003citem\u003eSubseries 1.1: Installations in the United States \u003c/item\u003e\n      \u003citem\u003eSubseries 1.2: International Installations \u003c/item\u003e\n      \u003citem\u003eSeries 2: Art Attack Organization Records \u003c/item\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into two series based on the content of the materials.","Series Series 1: Installations and Events Subseries 1.1: Installations in the United States  Subseries 1.2: International Installations  Series 2: Art Attack Organization Records "],"bioghist_html_tesm":["\u003cp\u003e\nArt Attack was a guerilla art collective founded in Los Angeles in 1979, by Lynn McCary and Billy Burns. The group relocated to Washington, D.C. in 1981, and again to New York City shortly after. Initially, Art Attack did not have any official members. Participants joined and left sporadically; however, it eventually formed a core group of four artists: Lynn McCary, Evan Hughes, Jared (Hendrickson) Louche, and Alberto Gaitán. This core group worked with multiple select artists on projects in the United States and Europe. Their creative process aimed to reflect the \"'real world' interactive systems\" to create discussion of differing interpretations of their work. The core group, alongside collaborating artists, worked towards utilizing their adaptability to address problems that many artists are confronted with. You can read more about Art Attack at \u003cextptr show=\"new\" title=\"their website.\" href=\"http://artattackinternational.org/mission.html\"\u003e\u003c/extptr\u003e\n\u003c/p\u003e","\u003cp\u003eLynn McCary studied at American University, graduating with a double major in Graphic Design and Visual Communications. She co-founded Art Attack in 1979 and has worked with many institutions, including Artist Space, the Washington Project of the Arts, and the National Institute for Music Theatre. McCary currently works as an event planner in New York City, primarily planning fundraising events for cultural and educational nonprofits.\u003c/p\u003e","\u003cp\u003eEvan Hughes graduated from the School of American Craftsmen at Rochester Institute of Technology, and his work specialized in designing and creating unique furniture and sculptures. His work has been featured in the Franz Bader Gallery and has been involved in Art Attack since 1984. Hughes continues to collaborate professionally with architects and artists, such as 1100 Architect and constructing sculptural work for Frank Stella. He also worked extensively with the late Richard Artschwager, including the commissioned artist interiors of the elevators at the Whitney Museum of American Art.\u003c/p\u003e","\u003cp\u003e\nJared (Hendrickson) Louche is a musician, primarily know as founder and frontman of the Washington, D.C. industrial rock band Chemlab, which he has intermittently performed with from 1989 through the present. In 1997 when Chemlab initially broke up, Louche worked as an investment banker on Wall Street. Louche has released solo music outside of Chemlab, and is also one of the founders of the electro-industrial music supergroup H3llb3nt. Louche's work with Art Attack included performance poetry.\n\u003c/p\u003e","\u003cp\u003eAlberto Gaitán studied multiple creative fields throughout his professional and academic career. He received a Bachelor's degree in Biology from the University of Miami but also pursued music theory, composition, programming, and photography studies. He joined Art Attack in 1985 and has performed and had his work featured at institutions such as the Corcoran Gallery of Arts, The National Theatre, and many others. Gaitán passed away in 2022.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical and Historical Information"],"bioghist_tesim":["\nArt Attack was a guerilla art collective founded in Los Angeles in 1979, by Lynn McCary and Billy Burns. The group relocated to Washington, D.C. in 1981, and again to New York City shortly after. Initially, Art Attack did not have any official members. Participants joined and left sporadically; however, it eventually formed a core group of four artists: Lynn McCary, Evan Hughes, Jared (Hendrickson) Louche, and Alberto Gaitán. This core group worked with multiple select artists on projects in the United States and Europe. Their creative process aimed to reflect the \"'real world' interactive systems\" to create discussion of differing interpretations of their work. The core group, alongside collaborating artists, worked towards utilizing their adaptability to address problems that many artists are confronted with. You can read more about Art Attack at ","Lynn McCary studied at American University, graduating with a double major in Graphic Design and Visual Communications. She co-founded Art Attack in 1979 and has worked with many institutions, including Artist Space, the Washington Project of the Arts, and the National Institute for Music Theatre. McCary currently works as an event planner in New York City, primarily planning fundraising events for cultural and educational nonprofits.","Evan Hughes graduated from the School of American Craftsmen at Rochester Institute of Technology, and his work specialized in designing and creating unique furniture and sculptures. His work has been featured in the Franz Bader Gallery and has been involved in Art Attack since 1984. Hughes continues to collaborate professionally with architects and artists, such as 1100 Architect and constructing sculptural work for Frank Stella. He also worked extensively with the late Richard Artschwager, including the commissioned artist interiors of the elevators at the Whitney Museum of American Art.","\nJared (Hendrickson) Louche is a musician, primarily know as founder and frontman of the Washington, D.C. industrial rock band Chemlab, which he has intermittently performed with from 1989 through the present. In 1997 when Chemlab initially broke up, Louche worked as an investment banker on Wall Street. Louche has released solo music outside of Chemlab, and is also one of the founders of the electro-industrial music supergroup H3llb3nt. Louche's work with Art Attack included performance poetry.\n","Alberto Gaitán studied multiple creative fields throughout his professional and academic career. He received a Bachelor's degree in Biology from the University of Miami but also pursued music theory, composition, programming, and photography studies. He joined Art Attack in 1985 and has performed and had his work featured at institutions such as the Corcoran Gallery of Arts, The National Theatre, and many others. Gaitán passed away in 2022."],"prefercite_html_tesm":["\u003cp\u003eArt Attack records, C0507, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Art Attack records, C0507, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Vilma Chicas Garcia from September-December 2023. Additional processing completed by Amanda Menjivar in February 2024. Finding aid completed by Vilma Chicas Garcia in December 2024. Finding aid edited and uploaded by Amanda Menjivar in February 2024.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Vilma Chicas Garcia from September-December 2023. Additional processing completed by Amanda Menjivar in February 2024. Finding aid completed by Vilma Chicas Garcia in December 2024. Finding aid edited and uploaded by Amanda Menjivar in February 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eAn oral history with Art Attack members Lynn McCary, Evan Hughes, and Peter Winant is available to access in the \u003cextptr show=\"new\" title=\"George Mason University oral history collection.\" href=\"https://aspace.gmu.edu/resources/r0121\"\u003e\u003c/extptr\u003e\u003c/p\u003e\n","\u003cp\u003e\nThe Special Collections Research Center holds other collections focused on \u003cextptr show=\"new\" title=\"art and artists.\" href=\"https://aspace.gmu.edu/search?q[]=art\u0026amp;op[]=\u0026amp;field[]=keyword\u0026amp;from_year[]=\u0026amp;to_year[]=\u0026amp;filter_fields[]=subjects\u0026amp;filter_values[]=Art\"\u003e\u003c/extptr\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["An oral history with Art Attack members Lynn McCary, Evan Hughes, and Peter Winant is available to access in the ","\nThe Special Collections Research Center holds other collections focused on "],"scopecontent_html_tesm":["\u003cp\u003eThe Art Attack records contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective. This collection is arranged into two series.  \u003c/p\u003e\n","\u003cp\u003eSeries 1: Art Installations and Events consists of correspondence, planning documents, trip expenses, and reviews, and is separated into two subseries. Subseries 1: Installations in the United States contains materials of projects created or displayed in the United States. Subseries 2: International installations contains materials from projects conducted and displayed in European countries, including Germany, Austria, the Czech Republic, Poland, and France. \u003c/p\u003e\n","\u003cp\u003eSeries 2: Art Attack Organization Records contains materials that have to do specifically with Art Attack as an organization, including articles, correspondence, their mission statement, portfolios, press reviews, and trip information that was not explicitly tied to any installation.  \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Art Attack records contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective. This collection is arranged into two series.  ","Series 1: Art Installations and Events consists of correspondence, planning documents, trip expenses, and reviews, and is separated into two subseries. Subseries 1: Installations in the United States contains materials of projects created or displayed in the United States. Subseries 2: International installations contains materials from projects conducted and displayed in European countries, including Germany, Austria, the Czech Republic, Poland, and France. ","Series 2: Art Attack Organization Records contains materials that have to do specifically with Art Attack as an organization, including articles, correspondence, their mission statement, portfolios, press reviews, and trip information that was not explicitly tied to any installation.  "],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_fa6f7a17953458efeb9ed412bc005d67\"\u003eThe Art Attack records contains materials that documented the creative process of multidisciplinary American and international artists as a part of the Art Attack collective from 1979-2009. The collection contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective.\u003c/abstract\u003e"],"abstract_tesim":["The Art Attack records contains materials that documented the creative process of multidisciplinary American and international artists as a part of the Art Attack collective from 1979-2009. The collection contains audience feedback, cassette tapes, contact sheets, correspondence, mixed-media artwork, notes, oversized blueprints, photographs, photo negatives, photo slides, contact sheets, and press and reviews created by and related to the Art Attack collective."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_5bf20a5fa74f6054415961374b783aa7\"\u003eR 74, C 4, S 1-6\u003c/physloc\u003e"],"physloc_tesim":["R 74, C 4, S 1-6"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"language_ssim":["English \n,        German \n,        Polish \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":399,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:28:45.771Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_652"}},{"id":"viw_repositories_2_resources_9742","type":"collection","attributes":{"title":"Asian Centennial collection","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9742#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viw_repositories_2_resources_9742","ead_ssi":"viw_repositories_2_resources_9742","_root_":"viw_repositories_2_resources_9742","_nest_parent_":"viw_repositories_2_resources_9742","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9742.xml","title_filing_ssi":"Asian Centennial Collection","title_ssm":["Asian Centennial collection"],"title_tesim":["Asian Centennial collection"],"unitdate_ssm":["2021-2022"],"unitdate_inclusive_ssm":["2021-2022"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["UA 396","/repositories/2/resources/9742"],"text":["UA 396","/repositories/2/resources/9742","Asian Centennial collection","Asia","Asian American college students","Art","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"unitid_tesim":["UA 396","/repositories/2/resources/9742"],"normalized_title_ssm":["Asian Centennial collection"],"collection_title_tesim":["Asian Centennial collection"],"collection_ssim":["Asian Centennial collection"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"geogname_ssm":["Asia"],"geogname_ssim":["Asia"],"places_ssim":["Asia"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"access_subjects_ssim":["Asian American college students","Art"],"access_subjects_ssm":["Asian American college students","Art"],"has_online_content_ssim":["false"],"extent_ssm":["1 Linear Feet"],"extent_tesim":["1 Linear Feet"],"date_range_isim":[2021,2022],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"names_ssim":["Special Collections Research Center"],"corpname_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":9,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:30:57.042Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9742","ead_ssi":"viw_repositories_2_resources_9742","_root_":"viw_repositories_2_resources_9742","_nest_parent_":"viw_repositories_2_resources_9742","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9742.xml","title_filing_ssi":"Asian Centennial Collection","title_ssm":["Asian Centennial collection"],"title_tesim":["Asian Centennial collection"],"unitdate_ssm":["2021-2022"],"unitdate_inclusive_ssm":["2021-2022"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["UA 396","/repositories/2/resources/9742"],"text":["UA 396","/repositories/2/resources/9742","Asian Centennial collection","Asia","Asian American college students","Art","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"unitid_tesim":["UA 396","/repositories/2/resources/9742"],"normalized_title_ssm":["Asian Centennial collection"],"collection_title_tesim":["Asian Centennial collection"],"collection_ssim":["Asian Centennial collection"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"geogname_ssm":["Asia"],"geogname_ssim":["Asia"],"places_ssim":["Asia"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"access_subjects_ssim":["Asian American college students","Art"],"access_subjects_ssm":["Asian American college students","Art"],"has_online_content_ssim":["false"],"extent_ssm":["1 Linear Feet"],"extent_tesim":["1 Linear Feet"],"date_range_isim":[2021,2022],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. 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The drawing was created by a person named Zora Simeunović.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_516#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_516","ead_ssi":"vifgm_repositories_2_resources_516","_root_":"vifgm_repositories_2_resources_516","_nest_parent_":"vifgm_repositories_2_resources_516","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_516.xml","title_ssm":["Caricature drawing of Nazi officers and onlookers singing around a piano by Zora Simeunović"],"title_tesim":["Caricature drawing of Nazi officers and onlookers singing around a piano by Zora Simeunović"],"unitdate_ssm":["circa 1940"],"unitdate_other_ssim":["circa 1940"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0456"],"text":["C0456","Caricature drawing of Nazi officers and onlookers singing around a piano by Zora Simeunović","Art","Nazis","World War, 1939-1945","World politics -- Caricatures and cartoons","There are no access restrictions.","This is a single item collection.","\"The Nazi Party: Background \u0026 Overview.\" Background \u0026 Overview of the Nazi Party (NSDAP). https://www.jewishvirtuallibrary.org/background-and-overview-of-the-nazi-party-nsdap. ","The Editors of Encyclopaedia Britannica. \"Serbia in World War II.\" Encyclopædia Britannica. Encyclopædia Britannica, inc. https://www.britannica.com/place/Serbia/Serbia-in-World-War-II.","The Editors of Encyclopaedia Britannica. \"Third Reich.\" Encyclopædia Britannica. Encyclopædia Britannica, inc. https://www.britannica.com/place/Third-Reich.","The Nazi Party was a German far-right political party that came to power in 1920, and held that power until 1945. Led by Adolf Hitler, the Nazi Party held National Socialist beliefs, and sought the extermination of anybody without \"pure\" German heritage. This belief led to the genocide of millions of Jews, as well as other marginalized groups, such as homosexual men and women, Romani people, and people of non-German nationalities. 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The seated man on the left holding a dog appears to be an emaciated Adolf Hitler, while the standing male figure, sweating profusely, sings in German. The first words of his song appear to be \"Ach Gott, ich bin so wüd\" which may be a misspelled lyrics translated to \"Oh god, I am so dignified.\" The drawing was created by a person named Zora Simeunović. Simeunović is a Serbian surname.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","A caricature of three men in military uniforms, presumably members of the Nazi Party, and two women making music around a piano with small dogs. The drawing was created by a person named Zora Simeunović.","R 72, C 3, S 1","George Mason University. Libraries. Special Collections Research Center","Simeunović, Zora","German \n.    "],"unitid_tesim":["C0456"],"normalized_title_ssm":["Caricature drawing of Nazi officers and onlookers singing around a piano by Zora Simeunović"],"collection_title_tesim":["Caricature drawing of Nazi officers and onlookers singing around a piano by Zora Simeunović"],"collection_ssim":["Caricature drawing of Nazi officers and onlookers singing around a piano by Zora Simeunović"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Simeunović, Zora"],"creator_ssim":["Simeunović, Zora"],"creator_persname_ssim":["Simeunović, Zora"],"creators_ssim":["Simeunović, Zora"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Purchased by Steve Gerber from Schubertiade Music on March 5, 2012."],"access_subjects_ssim":["Art","Nazis","World War, 1939-1945","World politics -- Caricatures and cartoons"],"access_subjects_ssm":["Art","Nazis","World War, 1939-1945","World politics -- Caricatures and cartoons"],"has_online_content_ssim":["false"],"extent_ssm":[".01 Linear Feet 1 item"],"extent_tesim":[".01 Linear Feet 1 item"],"date_range_isim":[1940],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis is a single item collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This is a single item collection."],"bibliography_html_tesm":["\u003cp\u003e\"The Nazi Party: Background \u0026amp; Overview.\" Background \u0026amp; Overview of the Nazi Party (NSDAP). https://www.jewishvirtuallibrary.org/background-and-overview-of-the-nazi-party-nsdap. \u003c/p\u003e\n","\u003cp\u003eThe Editors of Encyclopaedia Britannica. \"Serbia in World War II.\" Encyclopædia Britannica. Encyclopædia Britannica, inc. https://www.britannica.com/place/Serbia/Serbia-in-World-War-II.\u003c/p\u003e\n","\u003cp\u003eThe Editors of Encyclopaedia Britannica. \"Third Reich.\" Encyclopædia Britannica. Encyclopædia Britannica, inc. https://www.britannica.com/place/Third-Reich.\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["\"The Nazi Party: Background \u0026 Overview.\" Background \u0026 Overview of the Nazi Party (NSDAP). https://www.jewishvirtuallibrary.org/background-and-overview-of-the-nazi-party-nsdap. ","The Editors of Encyclopaedia Britannica. \"Serbia in World War II.\" Encyclopædia Britannica. Encyclopædia Britannica, inc. https://www.britannica.com/place/Serbia/Serbia-in-World-War-II.","The Editors of Encyclopaedia Britannica. \"Third Reich.\" Encyclopædia Britannica. 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Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"arrangement_html_tesm":["\u003cp\u003eCollection is arranged by accession with items listed under accession.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Collection is arranged by accession with items listed under accession."],"prefercite_html_tesm":["\u003cp\u003eCartelistas Cubanos por el Futuro collection, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e"],"prefercite_tesim":["Cartelistas Cubanos por el Futuro collection, Special Collections Research Center, William \u0026 Mary Libraries."],"scopecontent_html_tesm":["\u003cp\u003e28 Black and white posters with themes of the environment and climate change. Also included in the collection is a sheet with information on the collection, and a brown paper portfolio entitled Cartelistas Cubanos Por El Futuro on one side and the name of artists on the other.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["28 Black and white posters with themes of the environment and climate change. Also included in the collection is a sheet with information on the collection, and a brown paper portfolio entitled Cartelistas Cubanos Por El Futuro on one side and the name of artists on the other."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"names_ssim":["Special Collections Research Center"],"corpname_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":30,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:29:35.274Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9971"}},{"id":"vifgm_repositories_2_resources_695","type":"collection","attributes":{"title":"\"Chaucers Canterbury Pilgrims\" print by J.G. 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Charlton of 1810 engraving by William Blake.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_695#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_695","ead_ssi":"vifgm_repositories_2_resources_695","_root_":"vifgm_repositories_2_resources_695","_nest_parent_":"vifgm_repositories_2_resources_695","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_695.xml","title_ssm":["\"Chaucers Canterbury Pilgrims\" print by J.G. Charlton of 1810 engraving by William Blake"],"title_tesim":["\"Chaucers Canterbury Pilgrims\" print by J.G. Charlton of 1810 engraving by William Blake"],"unitdate_ssm":["circa 1900s"],"unitdate_inclusive_ssm":["circa 1900s"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0421","/repositories/2/resources/695"],"text":["C0421","/repositories/2/resources/695","\"Chaucers Canterbury Pilgrims\" print by J.G. Charlton of 1810 engraving by William Blake","Engraving","Art","Reproductions","Photographic prints","There are no access restrictions.","This is a single item collection.","Bentley, G.E. 2024. \"William Blake - Poet, Painter, Visionary.\" Britannica. January 3, 2024. https://www.britannica.com/biography/William-Blake.","\"Chaucers Canterbury Pilgrims / Painted in Fresco by William Blake \u0026 by Him Engraved \u0026 Published October 8, 1810.\" n.d. Library of Congress. Accessed January 24, 2024. https://lccn.loc.gov/2015646330.","\"J G Charlton, John Charlton, Canterbury.\" 2016. Historic Canterbury. 2016. http://www.machadoink.com/J%20G%20Charlton.htm.","\"The Canterbury Tales | Summary, Characters, \u0026 Facts.\" 2023. Britannica. 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","William Blake was an English engraver, artist, and poet, perhaps best known for his collections \"Songs of Innocence\" (1789) and \"Songs of Experience\" (1794). Born in London on November 28, 1757, as a child Blake wanted to be an artist, so his father enrolled him in Henry Pars' Drawing School where he studied from 1767-1772. Following his studies, Blake was taken on as an apprentice by engraver James Basire (1730-1802) with whom he studied and lived for seven years, from 1772-1779, before beginning work as an independent engraver. Among his best known and most critically acclaimed engravings are his large-scale design of Geoffrey Chaucer's \"Canterbury Pilgrims\" in 1810, his 22 folio designs for the Book of Job in 1826, and his 7 large unfinished plates for Dante (1826-1827). Blake passed away on August 12, 1827 and is buried in London's Bunhill Fields, a burial ground for \"Nonconformists.\"","John Charlton, known professionally at J.G. Charlton, was a photographer and publisher based in Canterbury, England from circa 1893 through the 1920s, likely serving for some time as the official photographer of Canterbury Cathedral. Charlton initially took over the shop of fellow photographer John Bateman at 54 St. George's Street, before moving to 14 Mercery Lane circa the early 1900s. Charlton's studio specialized in portrait photography, reproduction prints of popular engravings of Chaucer's  The Canterbury Tales  by both William Blake and Thomas Stothard, and a variety of other Canterbury-based souvenirs.","Processing and finding aid completed by Meghan Glasbrenner from January-February 2024.","Printed, possible collotype, reproduction of \"Chaucers Canterbury Pilgrims\" by J.G. Charlton of 1810 engraving by William Blake. On the back of the print is a stamp attributing printing to \"J.G. Charlton, Cathedral Studios, 14 Mercery Lane, Canterbury\".","The print depicts Geoffrey Chaucer, seen on the far left riding a dark horse, and the pilgrims as they depart the Tabard Inn in Southwark on their way to Canterbury. The names of the pilgrims are identified directly below the image and read, from left to right, as follows: \"Reeve. Chaucer. Clerk of Oxenford. Cook. Miller. Wife of Bath. Merchant. Parson. Man of Law. Plowman. Physician. Franklin. 2 Citizens. Shipman. The Host. Sompnour. Manciple. Pardoner. Monk. Friar. A Citizen. Lady Abbess. Nun. 3 Priests. Squires. Yeoman. Knight. Squire.\"","Public Domain. There are no known restrictions.","Printed reproduction of \"Chaucers Canterbury Pilgrims\" by J.G. Charlton of 1810 engraving by William Blake.","Map Case 16.2","George Mason University. Libraries. Special Collections Research Center","Morowitz, Harold J.","Charlton, J.G. (John G. Charlton)","Blake, William, 1757-1827","Chaucer, Geoffrey, -1400.","English \n.    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There are no known restrictions."],"acqinfo_ssim":["Donated by Harold Morowitz in 2015."],"access_subjects_ssim":["Engraving","Art","Reproductions","Photographic prints"],"access_subjects_ssm":["Engraving","Art","Reproductions","Photographic prints"],"has_online_content_ssim":["false"],"extent_ssm":["0.1 Linear Feet 1 print"],"extent_tesim":["0.1 Linear Feet 1 print"],"genreform_ssim":["Reproductions","Photographic prints"],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis is a single item collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This is a single item collection."],"bibliography_html_tesm":["\u003cp\u003eBentley, G.E. 2024. \"William Blake - Poet, Painter, Visionary.\" Britannica. 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Chaucer establishes the identities of these 30 pilgrims in \"The General Prologue\" where they gather at the Tabard Inn in Southwark, across the Thames from London, and agree to engage in a storytelling contest to pass the time during their journey to Canterbury. The use of pilgrims, who by design come together from a variety of backgrounds and social standings, as the storytellers allows for the inclusion of a wide variety of story genres. Chaucer's full plan for the book remains incomplete, with both some pilgrims' stories and the return journey missing from the existing version. \u003c/p\u003e\n","\u003cp\u003eWilliam Blake was an English engraver, artist, and poet, perhaps best known for his collections \"Songs of Innocence\" (1789) and \"Songs of Experience\" (1794). Born in London on November 28, 1757, as a child Blake wanted to be an artist, so his father enrolled him in Henry Pars' Drawing School where he studied from 1767-1772. Following his studies, Blake was taken on as an apprentice by engraver James Basire (1730-1802) with whom he studied and lived for seven years, from 1772-1779, before beginning work as an independent engraver. Among his best known and most critically acclaimed engravings are his large-scale design of Geoffrey Chaucer's \"Canterbury Pilgrims\" in 1810, his 22 folio designs for the Book of Job in 1826, and his 7 large unfinished plates for Dante (1826-1827). Blake passed away on August 12, 1827 and is buried in London's Bunhill Fields, a burial ground for \"Nonconformists.\"\u003c/p\u003e\n","\u003cp\u003eJohn Charlton, known professionally at J.G. Charlton, was a photographer and publisher based in Canterbury, England from circa 1893 through the 1920s, likely serving for some time as the official photographer of Canterbury Cathedral. Charlton initially took over the shop of fellow photographer John Bateman at 54 St. George's Street, before moving to 14 Mercery Lane circa the early 1900s. Charlton's studio specialized in portrait photography, reproduction prints of popular engravings of Chaucer's \u003ctitle\u003eThe Canterbury Tales\u003c/title\u003e by both William Blake and Thomas Stothard, and a variety of other Canterbury-based souvenirs.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical and Historical Information"],"bioghist_tesim":["Written by Geoffrey Chaucer in Middle English between 1387-1400,  The Canterbury Tales  is a collection of stories set within a frame narrative centered around a pilgrimage to the shrine of Thomas Becket in Canterbury, Kent. Chaucer establishes the identities of these 30 pilgrims in \"The General Prologue\" where they gather at the Tabard Inn in Southwark, across the Thames from London, and agree to engage in a storytelling contest to pass the time during their journey to Canterbury. The use of pilgrims, who by design come together from a variety of backgrounds and social standings, as the storytellers allows for the inclusion of a wide variety of story genres. Chaucer's full plan for the book remains incomplete, with both some pilgrims' stories and the return journey missing from the existing version. ","William Blake was an English engraver, artist, and poet, perhaps best known for his collections \"Songs of Innocence\" (1789) and \"Songs of Experience\" (1794). Born in London on November 28, 1757, as a child Blake wanted to be an artist, so his father enrolled him in Henry Pars' Drawing School where he studied from 1767-1772. Following his studies, Blake was taken on as an apprentice by engraver James Basire (1730-1802) with whom he studied and lived for seven years, from 1772-1779, before beginning work as an independent engraver. Among his best known and most critically acclaimed engravings are his large-scale design of Geoffrey Chaucer's \"Canterbury Pilgrims\" in 1810, his 22 folio designs for the Book of Job in 1826, and his 7 large unfinished plates for Dante (1826-1827). Blake passed away on August 12, 1827 and is buried in London's Bunhill Fields, a burial ground for \"Nonconformists.\"","John Charlton, known professionally at J.G. Charlton, was a photographer and publisher based in Canterbury, England from circa 1893 through the 1920s, likely serving for some time as the official photographer of Canterbury Cathedral. Charlton initially took over the shop of fellow photographer John Bateman at 54 St. George's Street, before moving to 14 Mercery Lane circa the early 1900s. Charlton's studio specialized in portrait photography, reproduction prints of popular engravings of Chaucer's  The Canterbury Tales  by both William Blake and Thomas Stothard, and a variety of other Canterbury-based souvenirs."],"prefercite_html_tesm":["\u003cp\u003e\"Chaucers Canterbury Pilgrims\" print by J.G. Charlton of 1810 engraving by William Blake, C0421, Special Collections Research Center, George Mason University Libraries\u003c/p\u003e"],"prefercite_tesim":["\"Chaucers Canterbury Pilgrims\" print by J.G. Charlton of 1810 engraving by William Blake, C0421, Special Collections Research Center, George Mason University Libraries"],"processinfo_html_tesm":["\u003cp\u003eProcessing and finding aid completed by Meghan Glasbrenner from January-February 2024.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing and finding aid completed by Meghan Glasbrenner from January-February 2024."],"scopecontent_html_tesm":["\u003cp\u003ePrinted, possible collotype, reproduction of \"Chaucers Canterbury Pilgrims\" by J.G. Charlton of 1810 engraving by William Blake. On the back of the print is a stamp attributing printing to \"J.G. Charlton, Cathedral Studios, 14 Mercery Lane, Canterbury\".\u003c/p\u003e\n","\u003cp\u003eThe print depicts Geoffrey Chaucer, seen on the far left riding a dark horse, and the pilgrims as they depart the Tabard Inn in Southwark on their way to Canterbury. 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The names of the pilgrims are identified directly below the image and read, from left to right, as follows: \"Reeve. Chaucer. Clerk of Oxenford. Cook. Miller. Wife of Bath. Merchant. Parson. Man of Law. Plowman. Physician. Franklin. 2 Citizens. Shipman. The Host. Sompnour. Manciple. Pardoner. Monk. Friar. A Citizen. Lady Abbess. Nun. 3 Priests. Squires. Yeoman. Knight. Squire.\""],"userestrict_html_tesm":["\u003cp\u003ePublic Domain. There are no known restrictions.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["Public Domain. There are no known restrictions."],"abstract_html_tesm":["\u003cabstract id=\"aspace_279e6c6d8ba4a0a1fe753fd8777635c7\"\u003ePrinted reproduction of \"Chaucers Canterbury Pilgrims\" by J.G. Charlton of 1810 engraving by William Blake.\u003c/abstract\u003e"],"abstract_tesim":["Printed reproduction of \"Chaucers Canterbury Pilgrims\" by J.G. 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Historic Canterbury. 2016. http://www.machadoink.com/J%20G%20Charlton.htm.","\"The Canterbury Tales | Summary, Characters, \u0026 Facts.\" 2023. Britannica. November 6, 2023. https://www.britannica.com/topic/The-Canterbury-Tales.","Written by Geoffrey Chaucer in Middle English between 1387-1400,  The Canterbury Tales  is a collection of stories set within a frame narrative centered around a pilgrimage to the shrine of Thomas Becket in Canterbury, Kent. Chaucer establishes the identities of these 30 pilgrims in \"The General Prologue\" where they gather at the Tabard Inn in Southwark, across the Thames from London, and agree to engage in a storytelling contest to pass the time during their journey to Canterbury. The use of pilgrims, who by design come together from a variety of backgrounds and social standings, as the storytellers allows for the inclusion of a wide variety of story genres. 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There are no known restrictions."],"acqinfo_ssim":["Donated by Harold Morowitz in 2015."],"access_subjects_ssim":["Engraving","Art","Reproductions","Photographic prints"],"access_subjects_ssm":["Engraving","Art","Reproductions","Photographic prints"],"has_online_content_ssim":["false"],"extent_ssm":["0.1 Linear Feet 1 print"],"extent_tesim":["0.1 Linear Feet 1 print"],"genreform_ssim":["Reproductions","Photographic prints"],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis is a single item collection.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This is a single item collection."],"bibliography_html_tesm":["\u003cp\u003eBentley, G.E. 2024. \"William Blake - Poet, Painter, Visionary.\" Britannica. January 3, 2024. https://www.britannica.com/biography/William-Blake.\u003c/p\u003e\n","\u003cp\u003e\"Chaucers Canterbury Pilgrims / Painted in Fresco by William Blake \u0026amp; by Him Engraved \u0026amp; Published October 8, 1810.\" n.d. Library of Congress. Accessed January 24, 2024. https://lccn.loc.gov/2015646330.\u003c/p\u003e\n","\u003cp\u003e\"J G Charlton, John Charlton, Canterbury.\" 2016. Historic Canterbury. 2016. http://www.machadoink.com/J%20G%20Charlton.htm.\u003c/p\u003e\n","\u003cp\u003e\"The Canterbury Tales | Summary, Characters, \u0026amp; Facts.\" 2023. Britannica. November 6, 2023. https://www.britannica.com/topic/The-Canterbury-Tales.\u003c/p\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Bentley, G.E. 2024. \"William Blake - Poet, Painter, Visionary.\" Britannica. January 3, 2024. https://www.britannica.com/biography/William-Blake.","\"Chaucers Canterbury Pilgrims / Painted in Fresco by William Blake \u0026 by Him Engraved \u0026 Published October 8, 1810.\" n.d. Library of Congress. Accessed January 24, 2024. https://lccn.loc.gov/2015646330.","\"J G Charlton, John Charlton, Canterbury.\" 2016. Historic Canterbury. 2016. http://www.machadoink.com/J%20G%20Charlton.htm.","\"The Canterbury Tales | Summary, Characters, \u0026 Facts.\" 2023. Britannica. November 6, 2023. https://www.britannica.com/topic/The-Canterbury-Tales."],"bioghist_html_tesm":["\u003cp\u003eWritten by Geoffrey Chaucer in Middle English between 1387-1400, \u003ctitle\u003eThe Canterbury Tales\u003c/title\u003e is a collection of stories set within a frame narrative centered around a pilgrimage to the shrine of Thomas Becket in Canterbury, Kent. Chaucer establishes the identities of these 30 pilgrims in \"The General Prologue\" where they gather at the Tabard Inn in Southwark, across the Thames from London, and agree to engage in a storytelling contest to pass the time during their journey to Canterbury. The use of pilgrims, who by design come together from a variety of backgrounds and social standings, as the storytellers allows for the inclusion of a wide variety of story genres. Chaucer's full plan for the book remains incomplete, with both some pilgrims' stories and the return journey missing from the existing version. \u003c/p\u003e\n","\u003cp\u003eWilliam Blake was an English engraver, artist, and poet, perhaps best known for his collections \"Songs of Innocence\" (1789) and \"Songs of Experience\" (1794). Born in London on November 28, 1757, as a child Blake wanted to be an artist, so his father enrolled him in Henry Pars' Drawing School where he studied from 1767-1772. Following his studies, Blake was taken on as an apprentice by engraver James Basire (1730-1802) with whom he studied and lived for seven years, from 1772-1779, before beginning work as an independent engraver. Among his best known and most critically acclaimed engravings are his large-scale design of Geoffrey Chaucer's \"Canterbury Pilgrims\" in 1810, his 22 folio designs for the Book of Job in 1826, and his 7 large unfinished plates for Dante (1826-1827). Blake passed away on August 12, 1827 and is buried in London's Bunhill Fields, a burial ground for \"Nonconformists.\"\u003c/p\u003e\n","\u003cp\u003eJohn Charlton, known professionally at J.G. Charlton, was a photographer and publisher based in Canterbury, England from circa 1893 through the 1920s, likely serving for some time as the official photographer of Canterbury Cathedral. Charlton initially took over the shop of fellow photographer John Bateman at 54 St. George's Street, before moving to 14 Mercery Lane circa the early 1900s. Charlton's studio specialized in portrait photography, reproduction prints of popular engravings of Chaucer's \u003ctitle\u003eThe Canterbury Tales\u003c/title\u003e by both William Blake and Thomas Stothard, and a variety of other Canterbury-based souvenirs.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical and Historical Information"],"bioghist_tesim":["Written by Geoffrey Chaucer in Middle English between 1387-1400,  The Canterbury Tales  is a collection of stories set within a frame narrative centered around a pilgrimage to the shrine of Thomas Becket in Canterbury, Kent. Chaucer establishes the identities of these 30 pilgrims in \"The General Prologue\" where they gather at the Tabard Inn in Southwark, across the Thames from London, and agree to engage in a storytelling contest to pass the time during their journey to Canterbury. The use of pilgrims, who by design come together from a variety of backgrounds and social standings, as the storytellers allows for the inclusion of a wide variety of story genres. Chaucer's full plan for the book remains incomplete, with both some pilgrims' stories and the return journey missing from the existing version. ","William Blake was an English engraver, artist, and poet, perhaps best known for his collections \"Songs of Innocence\" (1789) and \"Songs of Experience\" (1794). Born in London on November 28, 1757, as a child Blake wanted to be an artist, so his father enrolled him in Henry Pars' Drawing School where he studied from 1767-1772. Following his studies, Blake was taken on as an apprentice by engraver James Basire (1730-1802) with whom he studied and lived for seven years, from 1772-1779, before beginning work as an independent engraver. Among his best known and most critically acclaimed engravings are his large-scale design of Geoffrey Chaucer's \"Canterbury Pilgrims\" in 1810, his 22 folio designs for the Book of Job in 1826, and his 7 large unfinished plates for Dante (1826-1827). Blake passed away on August 12, 1827 and is buried in London's Bunhill Fields, a burial ground for \"Nonconformists.\"","John Charlton, known professionally at J.G. Charlton, was a photographer and publisher based in Canterbury, England from circa 1893 through the 1920s, likely serving for some time as the official photographer of Canterbury Cathedral. Charlton initially took over the shop of fellow photographer John Bateman at 54 St. George's Street, before moving to 14 Mercery Lane circa the early 1900s. Charlton's studio specialized in portrait photography, reproduction prints of popular engravings of Chaucer's  The Canterbury Tales  by both William Blake and Thomas Stothard, and a variety of other Canterbury-based souvenirs."],"prefercite_html_tesm":["\u003cp\u003e\"Chaucers Canterbury Pilgrims\" print by J.G. Charlton of 1810 engraving by William Blake, C0421, Special Collections Research Center, George Mason University Libraries\u003c/p\u003e"],"prefercite_tesim":["\"Chaucers Canterbury Pilgrims\" print by J.G. Charlton of 1810 engraving by William Blake, C0421, Special Collections Research Center, George Mason University Libraries"],"processinfo_html_tesm":["\u003cp\u003eProcessing and finding aid completed by Meghan Glasbrenner from January-February 2024.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing and finding aid completed by Meghan Glasbrenner from January-February 2024."],"scopecontent_html_tesm":["\u003cp\u003ePrinted, possible collotype, reproduction of \"Chaucers Canterbury Pilgrims\" by J.G. Charlton of 1810 engraving by William Blake. On the back of the print is a stamp attributing printing to \"J.G. Charlton, Cathedral Studios, 14 Mercery Lane, Canterbury\".\u003c/p\u003e\n","\u003cp\u003eThe print depicts Geoffrey Chaucer, seen on the far left riding a dark horse, and the pilgrims as they depart the Tabard Inn in Southwark on their way to Canterbury. The names of the pilgrims are identified directly below the image and read, from left to right, as follows: \"Reeve. Chaucer. Clerk of Oxenford. Cook. Miller. Wife of Bath. Merchant. Parson. Man of Law. Plowman. Physician. Franklin. 2 Citizens. Shipman. The Host. Sompnour. Manciple. Pardoner. Monk. Friar. A Citizen. Lady Abbess. Nun. 3 Priests. Squires. Yeoman. Knight. Squire.\"\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Printed, possible collotype, reproduction of \"Chaucers Canterbury Pilgrims\" by J.G. Charlton of 1810 engraving by William Blake. On the back of the print is a stamp attributing printing to \"J.G. Charlton, Cathedral Studios, 14 Mercery Lane, Canterbury\".","The print depicts Geoffrey Chaucer, seen on the far left riding a dark horse, and the pilgrims as they depart the Tabard Inn in Southwark on their way to Canterbury. The names of the pilgrims are identified directly below the image and read, from left to right, as follows: \"Reeve. Chaucer. Clerk of Oxenford. Cook. Miller. Wife of Bath. Merchant. Parson. Man of Law. Plowman. Physician. Franklin. 2 Citizens. Shipman. The Host. Sompnour. Manciple. Pardoner. Monk. Friar. A Citizen. Lady Abbess. Nun. 3 Priests. Squires. Yeoman. Knight. Squire.\""],"userestrict_html_tesm":["\u003cp\u003ePublic Domain. There are no known restrictions.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["Public Domain. There are no known restrictions."],"abstract_html_tesm":["\u003cabstract id=\"aspace_279e6c6d8ba4a0a1fe753fd8777635c7\"\u003ePrinted reproduction of \"Chaucers Canterbury Pilgrims\" by J.G. Charlton of 1810 engraving by William Blake.\u003c/abstract\u003e"],"abstract_tesim":["Printed reproduction of \"Chaucers Canterbury Pilgrims\" by J.G. Charlton of 1810 engraving by William Blake."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_83e827db9e78fc79e74fa3a38db4fc17\"\u003eMap Case 16.2\u003c/physloc\u003e"],"physloc_tesim":["Map Case 16.2"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Morowitz, Harold J.","Charlton, J.G. (John G. Charlton)","Blake, William, 1757-1827","Chaucer, Geoffrey, -1400."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"names_coll_ssim":["Morowitz, Harold J.","Blake, William, 1757-1827","Chaucer, Geoffrey, -1400."],"persname_ssim":["Morowitz, Harold J.","Charlton, J.G. (John G. Charlton)","Blake, William, 1757-1827","Chaucer, Geoffrey, -1400."],"language_ssim":["English \n.    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