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A.  Community Building in a Diverse Society

B.  https://www.si.edu/object/beatles:npg_NPG.78.TC850#

C. This artifact is an image of the Beatles in 1967 as it represents the release of their eight studio album.

D. First and foremost, "Community Building in a Diverse Society" shows an inclusive environment where everyone is contributing a piece of themselves, or in other words, working with one another. The picture above shows a band that consists of four people. Not to mention, each person has a different facial expression as one is playing the guitar in the front. This goes to show that these group of men came together to not only be apart of a band but to work with one another. A band requires participation from each member despite what instrument is being played and that is being displayed above.

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Object Details

Artist

Gerald Scarfe, born 1936

Sitter

George Harrison, 25 Feb 1943 - 29 Nov 2001

John Lennon, 9 Oct 1940 - 8 Dec 1980

Sir Paul McCartney, born 18 Jun 1942

Ringo Starr, born 7 Jul 1940

Exhibition Label

In 1967 Time covered the Beatles and "their new incarnation" after the release of their eighth studio album, Sgt. Pepper's Lonely Hearts Club Band, the first of a trend-setting genre of "concept albums." When bassist Paul McCartney gave Bob Dylan a quick preview listen, Dylan quipped, "Oh I get it, you don't want to be cute anymore." Years later, McCartney admitted as much: "We were not boys, we were men." In selecting British satirist Gerald Scarfe to make the cover art, Time magazine was undergoing its own "hip" transformation. Scarfe made life-sized sculptures of the Beatles for the cover; his smaller replicas are displayed here.

Los Beatles

En 1967 Time hizo un reportaje sobre los Beatles y "su nueva encarnación" luego de lanzar al mercado su octavo disco grabado en estudio, Sgt. Pepper's Lonely Hearts Club Band, pionero en el innovador género de los "discos temáticos". Cuando el bajista Paul McCartney invitó a Bob Dylan a escuchar un adelanto del disco, Dylan bromeó: "Ah, ya veo, no quieren seguir siendo cute". Años más tarde, McCartney le dio la razón: "No éramos niños, éramos hombres". Con la selección del satirista británico Gerald Scarfe para que hiciera la portada, Time a su vez gestionaba su transformación hacia un estilo más fresco. Scarfe creó esculturas tamaño natural; aquí presentamos sus reproducciones más pequeñas.

Gerald Scarfe (nacido en 1936)

Papel maché, tela, madera, metal y plástico, 1967

Portada de Time, 22 de septiembre de 1967

Collection Description

In 1978, Time magazine donated approximately eight hundred works of original cover art to the National Portrait Gallery. The museum is dedicated to telling the stories of individuals who have shaped the United States, and the Time Collection-featuring prominent international figures and events-enriches our understanding of the United States in a global context.

Credit Line

National Portrait Gallery, Smithsonian Institution; gift of Time magazine

Object number

NPG.78.TC850

Restrictions & Rights

Usage conditions apply

Copyright

© Gerald Scarfe

Medium

Papier mache and cloth over fiberglass and steel wire

Dimensions

121.9cm x 55.9cm x 45.7cm (48" x 22" x 18"), Accurate

See more items in

National Portrait Gallery Collection

National Portrait Gallery

Topic

Music\Musical instrument

Costume\Dress Accessory\Eyeglasses

Personal Attribute\Facial Hair\Mustache

Personal Attribute\Teeth

Sir Paul McCartney: Male

Sir Paul McCartney: Performing Arts\Performer\Musician\Composer

Sir Paul McCartney: Performing Arts\Performer\Musician\Songwriter

Sir Paul McCartney: Performing Arts\Performer\Musician\Singer

Sir Paul McCartney: Performing Arts\Performer\Musician\Pianist

Sir Paul McCartney: Performing Arts\Performer\Musician\Guitarist

Sir Paul McCartney: Oscar

George Harrison: Male

George Harrison: Performing Arts\Producer

George Harrison: Performing Arts\Performer\Musician\Songwriter

George Harrison: Performing Arts\Performer\Musician\Singer

George Harrison: Performing Arts\Performer\Musician\Guitarist

George Harrison: Oscar

John Lennon: Male

John Lennon: Performing Arts\Performer\Musician\Songwriter

John Lennon: Performing Arts\Performer\Musician\Guitarist

John Lennon: Performing Arts\Performer\Musician\Singer\Rock

John Lennon: Oscar

Ringo Starr: Male

Ringo Starr: Performing Arts\Performer\Musician\Songwriter

Ringo Starr: Performing Arts\Performer\Musician\Singer

Ringo Starr: Performing Arts\Performer\Musician\Drummer

Ringo Starr: Oscar

Portrait

Record ID

npg_NPG.78.TC850

GUID (Link to Original Record)

http://n2t.net/ark:/65665/sm4497de6d1-2c0d-4f77-8f1f-87a97205e124

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Artist Gerald Scarfe, born 1936 Sitter George Harrison, 25 Feb 1943 - 29 Nov 2001 John Lennon, 9 Oct 1940 - 8 Dec 1980 Sir Paul McCartney, born 18 Jun 1942 Ringo Starr, born 7 Jul 1940 Exhibition Label In 1967 Time covered the Beatles and "their new incarnation" after the release of their eighth studio album, Sgt.

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A.  Community Service Learning

B.  https://www.si.edu/object/navajo-chicken-fight:saam_1979.144.30#

C. This artifact is a painting of people on the back of horses having a chicken fight.

D. According to the caption provided, one would think having a "Navajo Chicken Fight" is a practice from Pueblo communities. With that being said, being apart of the community and engaging in acts with one another, such as throwing chicken and riding horses is a practice as well as it is a service. An activity of this nature requires one to learn how to ride a horse and have the skill of throwing live chicken in the air while being in motion. Therefore, this represents community service learning as these people are given the opportunity to engage with each other.

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Object Details

Artist

Awa Tsireh, born San Ildefonso Pueblo, NM1898-died San Ildefonso Pueblo, NM ca. 1955

Exhibition Label

The paintings of Awa Tsireh (1898-1955), who was also known by his Spanish name, Alfonso Roybal, represent an encounter between the art traditions of native Pueblo peoples in the southwestern United States and the American modernist art style begun in New York in the early twentieth century. The son of distinguished potters, Awa Tsireh translated geometic pottery designs into stylized watercolors that feature the ceremonial dancers and practices of Pueblo communities. But Awa Tsireh's work is more than an amalgam of traditional and modernist design. At a time when the U.S. Office of Indian Affairs attempted to restrict Pueblo cultural and religious practices, the watercolors of Awa Tsireh and other Pueblo artists helped to affirm the importance of ceremonial dance and tirual to cultural survival.

Awa Tsireh's paintings quickly found an audience among the artists, writers, and archaeologists who descended on Santa Fe in great numbers in the late 1910s and 1920s. Painter John Sloan and poet Alice Corbin Henderson took a particular interest and arranged for his watercolors to be exhibited in New York, Chicago, and elsewhere. Henderson shared with the young Pueblo painter books on European and American modernism and Japanese woodblock prints, as well as South Asian miniatures and ancient Egyptian art that provided soure material for his stylized paintings. In this way, he redefined contemporary Pueblo art and created a new, pan-Pueblo style.

The paintings in this exhibition were donated to the Smithsonian American Art Museum in 1979 by the Hendersons' daughter, Alice H. Rossin.

Credit Line

Smithsonian American Art Museum, Corbin-Henderson Collection, gift of Alice H. Rossin

Object number

1979.144.30

Restrictions & Rights

Usage conditions apply

Medium

watercolor and ink on paperboard

Dimensions

sheet: 11 1/4 x 14 1/4 in. (28.5 x 36.2 cm)

See more items in

Smithsonian American Art Museum Collection

Department

Graphic Arts

Smithsonian American Art Museum

Topic

Ethnic\Indian\Navajo

Animal\bird\chicken

Ceremony\Indian

Equestrian

Record ID

saam_1979.144.30

GUID (Link to Original Record)

http://n2t.net/ark:/65665/vk71f8cd547-4cff-4c89-a743-c7575a696892

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Artist Awa Tsireh, born San Ildefonso Pueblo, NM1898-died San Ildefonso Pueblo, NM ca. 1955 Exhibition Label The paintings of Awa Tsireh (1898-1955), who was also known by his Spanish name, Alfonso Roybal, represent an encounter between the art traditions of native Pueblo peoples in the southwestern United States and the American modernist art style begun in New York in the early twentieth century.

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A.  Leadership

B.  https://www.si.edu/object/photograph-suffragist-banner:nmah_1117276#

C. This artifact is a photo of a woman named Lucy Branham who is holding up a banner protesting for women.

D. This picture entails a woman fighting for the rights of all women. Without a doubt, this picture represents leadership due to advocating how important it is for women to have freedom. The lady in this photo, Lucy Branham is asking for proper treatment on behalf of all women, especially Alice Paul, who was treated unfairly and fell victim to being a suffrage prisoner. Lucy is exemplifying leadership skills by deciding to protest and bring awareness to a cause/problem.

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Object Details

associated institution

National Woman's Party

depicted

Branham, Lucy

photographer

Edmonston

Description

This photograph shows Lucy Branham with a banner protesting the treatment of suffrage leader Alice Paul.

In January 1917, discouraged by President Wilson's continued opposition to the suffrage amendment, Alice Paul, the leader of the National Woman's Party NWP) posted pickets at the White House gates-the first people to ever picket the White House. These "silent sentinels" stayed on duty in all weather and in the face of threats, taunts, and physical violence. Using their banners and their quiet courage they asked,""Mr. President How Long Must Women Wait for their Liberty?" and "Mr. President What Will you do for Woman Suffrage?" Hoping to provoke a response, the language on the banners became more inflammatory. They used the president's own words against him and pointed out the hypocrisy of his leading the country into the First World War to defend freedom while denying it to the women of his own country. Crowds who believed the pickets' activities were disloyal in a time of war attacked the suffragists and destroyed their banners. In July the police began arresting the pickets for "obstruction of traffic." When they refused to pay fines they were imprisoned. When they went on hunger strikes to demand the rights of political prisoners they were forcibly fed-a painful and invasive procedure. The pickets continued despite the risk. Paul had endured such treatment while she was in England. Although she knew what lay ahead and that she, as the organizer of the picketing, would receive a harsher sentence, she insisted on taking her place on the picket line. She was arrested in October. While in jail she was forcibly fed and threatened with commitment to an insane asylum. Reports of the long sentences, abuse, and the courage of the suffragists became public and all prisoners were released in November.

Lucy Branham, a leader of the National Woman's Party, was arrested while picketing the White House in September 1917 and served two months in the Occoquan Workhouse and District of Columbia Jail.

Location

Currently not on view

Credit Line

Alice Paul Centennial Foundation, Inc.

ID Number

1991.3016.110

catalog number

1991.3016.110

nonaccession number

1991.3016

Object Name

photograph

Physical Description

paper (overall material)

Measurements

average spatial: 6 1/2 in x 4 1/2 in; 16.51 cm x 11.43 cm

place made

United States: District of Columbia, Washington

made at

United States: District of Columbia

See more items in

Political and Military History: Political History, Women's History Collection

Government, Politics, and Reform

Woman Suffrage

National Museum of American History

subject

Equal Rights Amendment

Voting Rights

Women's Suffrage

Women's History

Prisons

GUID (Link to Original Record)

http://n2t.net/ark:/65665/ng49ca746b4-4bd4-704b-e053-15f76fa0b4fa

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associated institution National Woman's Party depicted Branham, Lucy photographer Edmonston Description This photograph shows Lucy Branham with a banner protesting the treatment of suffrage leader Alice Paul. In January 1917, discouraged by President Wilson's continued opposition to the suffrage amendment, Alice Paul, the leader of the National Woman's Party NWP) posted pickets at the White House gates-the first people to ever picket the White House.

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A.  Scholarship

B.  https://www.si.edu/object/harmony-blue-and-gold-peacock-room:fsg_F1904.61#

C. This artifact consists of 'The Peacock Room' as it is surrounded with artistic vases and a huge painting in the middle.

D. Scholarship stands out in the image above because the room itself is enriched with multiple forms of art. Each vase has a unique color and pattern as to why the artist chose to create it. Having a painting of 'The Princess from the Land of Porcelain' indicates that there is a significance of her presence and why it was placed in the center of the room. Thus, scholarship is being displayed because there is a lot of hidden knowledge behind these pieces and once can study this work to learn more.

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Object Details

Artist

James McNeill Whistler (1834-1903)

Previous custodian or owner

Frederick Richards Leyland (1831-1892)

Mrs. James Watney I

Obach & Co. (C.L. Freer source)

Charles Lang Freer (1854-1919)

Provenance

From 1877 to 1892

Frederick Richards Leyland (1831-1892), London, from 1877 [1]

From 1892 to 1894

Estate of Frederick Richards Leyland, London, from 1892 [2]

From 1894 to 1904

Mrs. James Watney, London, purchased from the Estate of Frederick Richards Leyland in 1894 [3]

1904

Obach & Co., London, purchased from Mrs. James Watney, through Messrs. Brown and Phillips of the Leicester Galleries, London, in 1904 [4]

From 1904 to 1919

Charles Lang Freer (1854-1919), purchased from Obach & Co. in 1904 [5]

From 1920

Freer Gallery of Art, gift of Charles Lang Freer in 1920 [6]

Notes:

[1] The Peacock Room was once the dining room in the London home, 49 Prince's Gate, of Frederick Richard Leyland. When Frederick Richard Leyland died in 1892, 49 Prince's Gate - and its contents - was offered for sale.

Leyland's porcelains and other treasures were sold. Whistler's painting The Princess from the Land of Porcelain (F19023.91) was removed from the Peacock Room and sold at Christie's in London on May 28, 1892, to Alexander Reid, a Glasgow dealer. The house - which still contained the Peacock Room - did not bring a high enough offer and it was withdrawn from sale. It was finally purchased in 1894 by Mrs. James (Blanche) Watney. Upon discovering that the Peacock Room could be taken apart and reassembled, Mrs. Watney decided to sell the room. In 1903, Mrs. Watney set the price at 10,000 guineas and engaged Messrs. Brown and Phillips of the Leicester Galleries in Leicester Square as agents. Unable to purchase, dismantle, and reassemble the room on their own, Ernest Brown, one of principals, enlisted the cooperation of Obach & Co., a larger gallery on New Bond Street. Although Gustave Mayer, the managing partner of Obach & Co., offered the room to Charles Lang Freer on January 26, 1904, a sale did not take place at this time, as Mrs. Watney withdrew the offer. On February 6, 1904, Mayer wrote to Freer that "the present owner, a lady of extraordinary changeableness, has changed her mind three times in ten days, completely reversing her decision in each case" (see Mayer to Freer, February 6, 1904, CLF Papers/Obach). Mrs. Watney changed her mind yet again several weeks later, and on February 17, 1904, Mayer offered the room to Freer for 8,500 guineas, including the cost of disassembly and packing for shipment to Detroit.

[2] See note 1.

[3] See note 1.

[4] See note 1. Also, the exact nature of the transactions between Mrs. Watney, Messrs. Brown and Phillips of the Leicester Galleries, and Obach & Co. is somewhat unclear. Messrs. Brown and Phillips appear to have acted simply as agents for Mrs. Watney, facilitating the sale of the Peacock Room from Mrs. Watney to Obach & Co. Obach & Co. appear to have been full owners of the Peacock Room, having purchased it from Mrs. Watney before immediately selling it to Freer.

[5] See notes 1 and 4.

[6] The original deed of Charles Lang Freer's gift was signed in 1906. The collection was received in 1920 upon the completion of the Freer Gallery.

Credit Line

Gift of Charles Lang Freer

Accession Number

F1904.61

Restrictions & Rights

CC0

Type

Architectural Element

Medium

Oil paint and gold leaf on canvas, leather, mosaic tile, glass, and wood

Dimensions

H x W x D (overall): 421.6 x 613.4 x 1026.2 cm (166 x 241 1/2 x 404 in)

Related Online Resources

Google Cultural Institute

See more items in

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

On View

Freer Gallery 12: The Peacock Room in Blue and White

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID (Link to Original Record)

http://n2t.net/ark:/65665/ye36811224c-ed63-482f-b9a8-cf431bcc2557

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Harmony in Blue and Gold: The Peacock Room

# data[].attributes.attachment_link.description
Artist James McNeill Whistler (1834-1903) Previous custodian or owner Frederick Richards Leyland (1831-1892) Mrs. James Watney I Obach & Co. (C.L. Freer source) Charles Lang Freer (1854-1919) Provenance From 1877 to 1892 Frederick Richards Leyland (1831-1892), London, from 1877 [1] From 1892 to 1894 Estate of Frederick Richards Leyland, London, from 1892 [2] From 1894 to 1904 Mrs.

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A.  Citizenship

B.  https://www.si.edu/object/statue-liberty-souvenir-new-york-new-york-1885:nmah_492499#

C.  This artifact is the famous Statue of Liberty.

D.  When it comes to citizenship, we think of words like community, state, status, and rights. The sculpture above is the embodiment of allegiance and citizenship. Most importantly, the 'Statue of Liberty' is a symbol of freedom, which dates back to the American Revolution. As a citizen, we have our basic human rights and have freedom as an individual. As our rights are in the U.S. Constitution, the Statue of Liberty represents the justice and freedom of America. Not to mention, the Statue of Liberty was a gift from the people of France while citizenship is an assured gift from a country.

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Object Details

associated institution

Statue of Liberty

Description

This is one of the first models of Liberty cast in the United States. Often described as the American Committee Model, this statuette was produced in the tens of thousands. It was sold to subscribers to finance the construction of a pedestal for the full-size statue in New York Harbor.

Based upon the design of the French sculptor Frédéric-Auguste Bartholdi, with Bartholdi's full cooperation, the miniature statues were produced in six- and twelve-inch sizes. A national newspaper campaign advertised statuettes at one dollar for the six-inch model seen here or five dollars for a twelve-inch version. Richard Butler, a New York-based rubber manufacturer, chaired the American Committee of the Statue of Liberty and oversaw the models' production.

The campaign disseminated likenesses of Liberty throughout the United States and the world, turning the figure into a household souvenir while raising more than enough money for the construction of the monumental stone pedestal. The finished monument, Liberty Enlightening the World, was dedicated October 28, 1886.

Gift of Richard Butler, Secretary of the American Committee on the Statue of Liberty, 1885

Credit Line

Richard Butler

Physical Description

metal (overall material)

Measurements

overall: 6 in; 15.24 cm

See more items in

Political and Military History: Political History, General History Collection

Souvenir Nation

Government, Politics, and Reform

Many Voices, One Nation

National Museum of American History

GUID (Link to Original Record)

http://n2t.net/ark:/65665/ng49ca746a2-e56f-704b-e053-15f76fa0b4fa

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Statue of Liberty souvenir, New York, New York, 1885

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associated institution Statue of Liberty Description This is one of the first models of Liberty cast in the United States. Often described as the American Committee Model, this statuette was produced in the tens of thousands. It was sold to subscribers to finance the construction of a pedestal for the full-size statue in New York Harbor.