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    <dcterms:title><![CDATA[The Raising of the Cross (Left Wing, Center Panel, and Right Wing)]]></dcterms:title>
    <dcterms:description><![CDATA[Painted for the Church of St. Walburga, Antwerp, Belgium.]]></dcterms:description>
    <dcterms:creator><![CDATA[Peter Paul Rubens]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:title><![CDATA[Charles I at the Hunt]]></dcterms:title>
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    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
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    <dcterms:title><![CDATA[St. Sebastian Tended By St. Irene]]></dcterms:title>
    <dcterms:creator><![CDATA[Hendrick ter Brugghen]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
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    <dcterms:date><![CDATA[1625]]></dcterms:date>
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    <dcterms:spatial><![CDATA[Allen Memorial Art Museum, Oberlin College, Ohio.]]></dcterms:spatial>
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    <dcterms:title><![CDATA[Catharina Hooft and Her Nurse]]></dcterms:title>
    <dcterms:creator><![CDATA[Frans Hals]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
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    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[ca. 1620]]></dcterms:date>
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    <dcterms:title><![CDATA[Officers of the Haarlem Militia Company of St. Adrian]]></dcterms:title>
    <dcterms:creator><![CDATA[Frans Hals]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:title><![CDATA[Self-Portrait]]></dcterms:title>
    <dcterms:description><![CDATA[Gift of Mr. and Mrs. Robert Woods Bliss.]]></dcterms:description>
    <dcterms:creator><![CDATA[Judith Leyster]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
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    <dcterms:title><![CDATA[The Anatomy Lesson of Dr. Nicolaes Tulp]]></dcterms:title>
    <dcterms:creator><![CDATA[Rembrandt van Rijn]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
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    <dcterms:title><![CDATA[The Company of Captain Frans Banning Cocq (The Night Watch)]]></dcterms:title>
    <dcterms:creator><![CDATA[Rembrandt van Rijn]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
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    <dcterms:title><![CDATA[Henry Iv Receiving the Portrait of Marie De Medici]]></dcterms:title>
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    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:title><![CDATA[View of Delft]]></dcterms:title>
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    <dcterms:title><![CDATA[Woman Holding a Balance]]></dcterms:title>
    <dcterms:description><![CDATA[Widener Collection 1942.9.97.]]></dcterms:description>
    <dcterms:creator><![CDATA[Johannes Vermeer]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:title><![CDATA[The Suitor&#039;s Visit]]></dcterms:title>
    <dcterms:creator><![CDATA[Gerard ter Borch]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
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    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:title><![CDATA[Portuguese Synagogue, Amsterdam]]></dcterms:title>
    <dcterms:description><![CDATA[Architects Daniel Stalpaert and Elias Bouman built the synagogue in 16711675.]]></dcterms:description>
    <dcterms:creator><![CDATA[Emanuel de Witte]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
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    <dcterms:title><![CDATA[View of Haarlem from the Dunes at Overveen]]></dcterms:title>
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    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
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    <dcterms:title><![CDATA[Flower Still Life]]></dcterms:title>
    <dcterms:creator><![CDATA[Rachel Ruysch]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:title><![CDATA[Louis XIV]]></dcterms:title>
    <dcterms:description><![CDATA[Louis XIV had ordered this portrait as a gift for his grandson, the future Philip V of Spain (r. 17001746), but when Rigaud finished the painting, Louis liked it too much to give it away and only three years later ordered a copy from Rigaud to give to his grandson. The request for copies of royal portraits was not unusual since the aristocratic families of Europe were linked through marriage. Paintings made appropriate gifts and at the same time memorialized important political alliances by recording them in visual form.]]></dcterms:description>
    <dcterms:creator><![CDATA[Hyacinthe Rigaud]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:date><![CDATA[1701]]></dcterms:date>
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    <dcterms:title><![CDATA[Mary Magdalen With the Smoking Flame]]></dcterms:title>
    <dcterms:description><![CDATA[Gift of the Ahmanson Foundation (M. 77.73).]]></dcterms:description>
    <dcterms:creator><![CDATA[Georges de La Tour]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
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    <dcterms:date><![CDATA[ca. 1640]]></dcterms:date>
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    <dcterms:title><![CDATA[A Peasant Family in an Interior]]></dcterms:title>
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    <dcterms:title><![CDATA[Dharma and the God]]></dcterms:title>
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    <dcterms:title><![CDATA[5-IV-71]]></dcterms:title>
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    <dcterms:spatial><![CDATA[The Wallace Collection, London.]]></dcterms:spatial>
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    <dcterms:title><![CDATA[Landscape With St. Matthew and the Angel]]></dcterms:title>
    <dcterms:creator><![CDATA[Nicolas Poussin]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1639 - 1640]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
    <dcterms:modified><![CDATA[2011-09-02]]></dcterms:modified>
    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:spatial><![CDATA[National Museums in Berlin (Berlin, Germany)]]></dcterms:spatial>
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    <dcterms:title><![CDATA[The Doge&#039;s Palace and the Riva Degli Schiavoni]]></dcterms:title>
    <dcterms:description><![CDATA[Wynn Ellis Bequest 1876 (NG 940).]]></dcterms:description>
    <dcterms:creator><![CDATA[Canaletto]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[Late 1730s]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
    <dcterms:modified><![CDATA[2011-09-02]]></dcterms:modified>
    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:title><![CDATA[The Marriage Contract]]></dcterms:title>
    <dcterms:creator><![CDATA[William Hogarth]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1743 - 1745]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
    <dcterms:modified><![CDATA[2011-09-02]]></dcterms:modified>
    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:spatial><![CDATA[From Marriage a la Mode. National Gallery, London.]]></dcterms:spatial>
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    <dcterms:title><![CDATA[Lady Sarah Bunbury Sacrificing To the Graces]]></dcterms:title>
    <dcterms:description><![CDATA[Mr. and Mrs. W. W. Kimball Collection, 1922.4468.]]></dcterms:description>
    <dcterms:creator><![CDATA[Joshua Reynolds]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1765]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
    <dcterms:modified><![CDATA[2011-09-02]]></dcterms:modified>
    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:spatial><![CDATA[Art Institute of Chicago (Chicago, Illinois)]]></dcterms:spatial>
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    <dcterms:title><![CDATA[Landscape With St. John On Patmos]]></dcterms:title>
    <dcterms:description><![CDATA[A. A. Munger Collection, 1930.5.]]></dcterms:description>
    <dcterms:creator><![CDATA[Nicolas Poussin]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1640]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
    <dcterms:modified><![CDATA[2011-09-02]]></dcterms:modified>
    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:spatial><![CDATA[Art Institute of Chicago (Chicago, Illinois)]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://digital.lib.buffalo.edu/items/show/36142">
    <dcterms:title><![CDATA[Academicians of the Royal Academy]]></dcterms:title>
    <dcterms:description><![CDATA[Zoffanys group portrait of members of the London Royal Academy reveals how mainstream artists were taught in the 1770s. The painting shows artists, all men, setting up a life-drawing class and engaging in lively conversation. The studio is decorated with the Academys study collection of Classical statues and plaster copies. Propriety prohibited the presence of women in life-drawing studios, so Zoffany includes Royal Academicians Mary Moser and Angelica Kauffmann in portraits on the wall on the right.]]></dcterms:description>
    <dcterms:creator><![CDATA[Johann Zoffany]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1771 - 1772]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
    <dcterms:modified><![CDATA[2011-09-02]]></dcterms:modified>
    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:isPartOf><![CDATA[VS001]]></dcterms:isPartOf>
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    <dcterms:identifier><![CDATA[VS4571964]]></dcterms:identifier>
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    <dcterms:spatial><![CDATA[The Royal Collection, Windsor Castle, England.]]></dcterms:spatial>
</rdf:Description><rdf:Description rdf:about="https://digital.lib.buffalo.edu/items/show/36143">
    <dcterms:title><![CDATA[The Death of General Wolfe]]></dcterms:title>
    <dcterms:description><![CDATA[Transfer from the Canadian War Memorials, 1921.  Gift of the 2nd Duke of Westminster, Eaton Hall, Cheshire, 1918.  The famous actor David Garrick was so moved by this painting that he enacted an impromptu interpretation of the dying Wolfe in front of the work when it was exhibited at the Royal Academy.]]></dcterms:description>
    <dcterms:creator><![CDATA[Benjamin West]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1770]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
    <dcterms:modified><![CDATA[2011-09-02]]></dcterms:modified>
    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:spatial><![CDATA[National Gallery of Canada (Ottawa, Ontario)]]></dcterms:spatial>
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    <dcterms:title><![CDATA[Robert Andrews and Frances Carter (Mr. and Mrs. Andrews)]]></dcterms:title>
    <dcterms:creator><![CDATA[Thomas Gainsborough]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[ca. 1748 - 1750]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
    <dcterms:modified><![CDATA[2011-09-02]]></dcterms:modified>
    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:title><![CDATA[The Nightmare]]></dcterms:title>
    <dcterms:description><![CDATA[Gift of Mr. and Mrs. Bert Smokler and Mr. and Mrs. Lawrence A. Fleischmann.  Fuseli was not popular with the English critics. One writer said that his 1780 entry in the London Royal Academy exhibition ought to be destroyed, and Horace Walpole called another painting in 1785 shockingly mad, mad, mad, madder than ever. Even after achieving the highest official acknowledgment of his talents, Fuseli was called the Wild Swiss and Painter to the Devil. But the public appreciated his work, and The Nightmare, exhibited at the Royal Academy in 1782, was repeated in at least three more versions and its imagery was disseminated through prints published by commercial engravers. One of these prints would later hang in the office of the Austrian psychoanalyst Sigmund Freud, who believed that dreams were manifestations of the dreamers repressed desires.]]></dcterms:description>
    <dcterms:creator><![CDATA[John Henry Fuseli]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1781]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
    <dcterms:modified><![CDATA[2011-09-02]]></dcterms:modified>
    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:spatial><![CDATA[The Detroit Institute of Arts.]]></dcterms:spatial>
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    <dcterms:title><![CDATA[Watson and the Shark]]></dcterms:title>
    <dcterms:description><![CDATA[Ferdinand Lammot Belin Fund.]]></dcterms:description>
    <dcterms:creator><![CDATA[John Singleton Copley]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1778]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
    <dcterms:modified><![CDATA[2011-09-02]]></dcterms:modified>
    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:title><![CDATA[The Governess]]></dcterms:title>
    <dcterms:description><![CDATA[Purchase, 1956.  Chardin was one of the first French artists to treat the lives of women and children with sympathy and to portray the dignity of womens work in his images of young mothers, governesses, and kitchen maids. Shown at the Salon of 1739, The Governess was praised by contemporary critics, one of whom noted the graciousness, sweetness, and restraint that the governess maintains in her discipline of the young man about his dirtiness, disorder, and neglect his attention, shame, and remorse, all are expressed with great simplicity..]]></dcterms:description>
    <dcterms:creator><![CDATA[Chardin, Jean-Simeon ]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:date><![CDATA[1739]]></dcterms:date>
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    <dcterms:modified><![CDATA[2011-09-02]]></dcterms:modified>
    <dcterms:contributor><![CDATA[Easterly, Joe]]></dcterms:contributor>
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    <dcterms:title><![CDATA[The Village Bride, or The Marriage, the Moment when a Father Gives His Son-In-Law a Dowry]]></dcterms:title>
    <dcterms:creator><![CDATA[Jean-Baptiste Greuze]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:date><![CDATA[1761]]></dcterms:date>
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    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:title><![CDATA[Portrait of Marie Antoinette with Her Children]]></dcterms:title>
    <dcterms:description><![CDATA[As the favorite painter to the queen, Vigee-Lebrun escaped from Paris with her daughter on the eve of the Revolution of 1789 and fled to Rome. After a very successful self-exile working in Italy, Austria, Russia, and England, the artist finally resettled in Paris in 1805 and again became popular with Parisian art patrons. Over her long career, she painted about 800 portraits in a vibrant style that changed very little over the decades.]]></dcterms:description>
    <dcterms:creator><![CDATA[Marie-Louise-Elisabeth Vigee-Lebrun]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1787]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
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    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:spatial><![CDATA[Musee National du Chateau de Versailles.]]></dcterms:spatial>
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    <dcterms:title><![CDATA[Portrait of Jean-Baptiste Belley]]></dcterms:title>
    <dcterms:creator><![CDATA[Anne-Louis Girodet-Trioson]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:date><![CDATA[1797]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
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    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:title><![CDATA[An Experiment On a Bird in the Air-Pump]]></dcterms:title>
    <dcterms:creator><![CDATA[Joseph Wright of Derby]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1768]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
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    <dcterms:title><![CDATA[Self-Portrait With Two Pupils]]></dcterms:title>
    <dcterms:description><![CDATA[Gift of Julia A. Berwind, 1953 (53.225.5).]]></dcterms:description>
    <dcterms:creator><![CDATA[Adelaide Labille-Guiard]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:date><![CDATA[1785]]></dcterms:date>
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    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
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    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:title><![CDATA[Family of Charles IV]]></dcterms:title>
    <dcterms:creator><![CDATA[Francisco Goya]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
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    <dcterms:date><![CDATA[1800]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
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    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:title><![CDATA[Napoleon Crossing the Saint-Bernard]]></dcterms:title>
    <dcterms:description><![CDATA[David flattered Napoleon by reminding the viewer of two other great generals from history who had led armies across the AlpsCharlemagne and Hannibalby inscribing the names of all three in the rock in the lower left.]]></dcterms:description>
    <dcterms:creator><![CDATA[Jacques-Louis David]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1800 - 1801]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
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    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:spatial><![CDATA[Musee National du Chateau de la Malmaison, Rueil-Malmaison.]]></dcterms:spatial>
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    <dcterms:title><![CDATA[Napoleon in the Plague House at Jaffa]]></dcterms:title>
    <dcterms:creator><![CDATA[Antoine-Jean Gros]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:date><![CDATA[1804]]></dcterms:date>
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    <dcterms:title><![CDATA[Cornelia Pointing To Her Children as Her Treasures]]></dcterms:title>
    <dcterms:description><![CDATA[The Adolph D. and Wilkins C. Williams Fund.]]></dcterms:description>
    <dcterms:creator><![CDATA[Angelica Kauffmann]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[ca. 1785]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
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    <dcterms:spatial><![CDATA[Virginia Museum of Fine Arts, Richmond, Virginia.]]></dcterms:spatial>
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    <dcterms:title><![CDATA[Large Odalisque]]></dcterms:title>
    <dcterms:description><![CDATA[During Napoleons campaigns against the British in North Africa, the French discovered the exotic Near East. Upper-middle-class European men were particularly attracted to the institution of the harem, partly as a reaction against the egalitarian demands of women of their own class that had been unleashed by the French Revolution.]]></dcterms:description>
    <dcterms:creator><![CDATA[Ingres, Jean-Auguste-Dominique]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1814]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
    <dcterms:modified><![CDATA[2011-09-02]]></dcterms:modified>
    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:title><![CDATA[The Hay Wain]]></dcterms:title>
    <dcterms:description><![CDATA[Gift of Henry Vaughan, 1886.]]></dcterms:description>
    <dcterms:creator><![CDATA[John Constable]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
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    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1821]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
    <dcterms:modified><![CDATA[2011-09-02]]></dcterms:modified>
    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:title><![CDATA[The Raft of the Medusa]]></dcterms:title>
    <dcterms:creator><![CDATA[Theodore Gericault]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
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    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1818 - 1819]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
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    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:title><![CDATA[Slavers Throwing Overboard the Dead and DyingTyphoon Coming On (The Slave Ship)]]></dcterms:title>
    <dcterms:creator><![CDATA[Turner, Joseph Mallord William]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1840]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
    <dcterms:modified><![CDATA[2011-09-02]]></dcterms:modified>
    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:title><![CDATA[The Burning of the Houses of Lords and Commons, 16Th October 1834]]></dcterms:title>
    <dcterms:description><![CDATA[The John Howard McFadden Collection, 1928.]]></dcterms:description>
    <dcterms:creator><![CDATA[Turner, Joseph Mallord William]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
    <dcterms:modified><![CDATA[2011-09-02]]></dcterms:modified>
    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:title><![CDATA[The Oxbow]]></dcterms:title>
    <dcterms:description><![CDATA[Gift of Mrs. Russell Sage, 1908 (08.228).]]></dcterms:description>
    <dcterms:creator><![CDATA[Thomas Cole]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1836]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
    <dcterms:modified><![CDATA[2011-09-02]]></dcterms:modified>
    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:title><![CDATA[Monk by the Sea]]></dcterms:title>
    <dcterms:creator><![CDATA[Caspar David Friedrich]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1809]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
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    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:title><![CDATA[The Snake Charmer]]></dcterms:title>
    <dcterms:description><![CDATA[Acquired by Sterling and Francine Clark, 1942.  1955.51.]]></dcterms:description>
    <dcterms:creator><![CDATA[Jean-Leon Gerome]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[ca. 1870]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
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    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:spatial><![CDATA[Clark Art Institute, Williamstown, MA.]]></dcterms:spatial>
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    <dcterms:title><![CDATA[Study of Hands and Feet (Bottom)]]></dcterms:title>
    <dcterms:creator><![CDATA[Theodore Gericault]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1818 - 1819]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
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    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:spatial><![CDATA[Musee Fabre (Montpellier, France)]]></dcterms:spatial>
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    <dcterms:title><![CDATA[The Stone Breakers]]></dcterms:title>
    <dcterms:creator><![CDATA[Courbet, Gustave]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1849]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
    <dcterms:modified><![CDATA[2011-09-02]]></dcterms:modified>
    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:spatial><![CDATA[Formerly Gemaldegalerie, Dresden. Destroyed in World War II.]]></dcterms:spatial>
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    <dcterms:title><![CDATA[A Burial at Ornans]]></dcterms:title>
    <dcterms:description><![CDATA[A Burial at Ornans was inspired by the 1848 funeral of Courbets maternal grandfather, Jean-Antoine Oudot, a veteran of the Revolution of 1789.The painting is not meant as a record of that particular funeral, however, since Oudot is shown alive in profile at the extreme left of the canvas, his image adapted by Courbet from an earlier portrait. The two men to the right of the open grave, dressed not in contemporary but in late eighteenth-century clothing, are also revolutionaries of Oudots generation. Their proximity to the grave suggests that one of their peers is being buried. Courbets picture may be interpreted as linking the revolutions of 1789 and 1848, both of which sought to advance the cause of democracy in France.]]></dcterms:description>
    <dcterms:creator><![CDATA[Courbet, Gustave]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1849]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
    <dcterms:modified><![CDATA[2011-09-02]]></dcterms:modified>
    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:title><![CDATA[The Gleaners]]></dcterms:title>
    <dcterms:creator><![CDATA[Millet, Jean-Francois]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1857]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
    <dcterms:modified><![CDATA[2011-09-02]]></dcterms:modified>
    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:title><![CDATA[Liberty Leading the People: July 28, 1830]]></dcterms:title>
    <dcterms:creator><![CDATA[Delacroix, Eugene]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1830]]></dcterms:date>
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    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
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    <dcterms:spatial><![CDATA[Louvre (Paris, France)]]></dcterms:spatial>
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    <dcterms:title><![CDATA[First Leaves, Near Mantes]]></dcterms:title>
    <dcterms:creator><![CDATA[Jean-Baptiste-Camille Corot]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
    <dcterms:publisher><![CDATA[Department of Visual Studies]]></dcterms:publisher>
    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[ca. 1855]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
    <dcterms:modified><![CDATA[2011-09-02]]></dcterms:modified>
    <dcterms:contributor><![CDATA[Joe Easterly]]></dcterms:contributor>
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    <dcterms:spatial><![CDATA[Carnegie Museum of Art (Pittsburgh, Pennsylvania)]]></dcterms:spatial>
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    <dcterms:title><![CDATA[The Horse Fair]]></dcterms:title>
    <dcterms:creator><![CDATA[Rosa Bonheur]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1853 - 1855]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
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    <dcterms:title><![CDATA[Le Dejeuner Sur LHerbe (The Luncheon On the Grass)]]></dcterms:title>
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    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:title><![CDATA[Heart of the Andes]]></dcterms:title>
    <dcterms:description><![CDATA[Bequest of Margaret E. Dows, 1909.]]></dcterms:description>
    <dcterms:creator><![CDATA[Frederic Church]]></dcterms:creator>
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    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:title><![CDATA[Bargehaulers on the Volga]]></dcterms:title>
    <dcterms:creator><![CDATA[Ilya Repin]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
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    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
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    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
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    <dcterms:title><![CDATA[The Gross Clinic]]></dcterms:title>
    <dcterms:description><![CDATA[Eakins, who taught anatomy and figure drawing at the Pennsylvania Academy of the Fine Arts, disapproved of the academic technique of drawing from plaster casts. In 1879, he said, At best, they are only imitations, and an imitation of an imitation cannot have so much life as an imitation of nature itself. He added, The Greeks did not study the antique  the draped figures in the Parthenon pediment were modeled from life, undoubtedly.]]></dcterms:description>
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    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
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    <dcterms:title><![CDATA[The Life Line]]></dcterms:title>
    <dcterms:description><![CDATA[The George W. Elkins Collection.  In the early sketches for this work, the mans face was visible. The decision to cover it focuses more attention not only on the victim, but also on the true hero, the mechanical apparatus known as the breeches buoy..]]></dcterms:description>
    <dcterms:creator><![CDATA[Winslow Homer]]></dcterms:creator>
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    <dcterms:title><![CDATA[On the Bank of the Seine, Bennecourt]]></dcterms:title>
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    <dcterms:title><![CDATA[Paris Street, Rainy Day]]></dcterms:title>
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    <dcterms:title><![CDATA[A Sunday Afternoon on the Island of La Grande Jatte]]></dcterms:title>
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    <dcterms:title><![CDATA[The Starry Night]]></dcterms:title>
    <dcterms:description><![CDATA[Acquired through the Lillie P. Bliss Bequest (472.1941).]]></dcterms:description>
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    <dcterms:title><![CDATA[La Pia De Tolomei]]></dcterms:title>
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    <dcterms:title><![CDATA[Mother and Child]]></dcterms:title>
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    <dcterms:title><![CDATA[The Intrigue]]></dcterms:title>
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    <dcterms:title><![CDATA[Mont Sainte-Victoire]]></dcterms:title>
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    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
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    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[ca. 1885 - 87]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
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    <dcterms:title><![CDATA[The Large Bathers]]></dcterms:title>
    <dcterms:description><![CDATA[The W. P. Wilstach Collection.]]></dcterms:description>
    <dcterms:creator><![CDATA[Cezanne, Paul]]></dcterms:creator>
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    <dcterms:source><![CDATA[ Art History, 4th ed., Upper Saddle River, N. J.: Pearson Education, 2010  (9780205800377)]]></dcterms:source>
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    <dcterms:date><![CDATA[1906]]></dcterms:date>
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    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
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    <dcterms:title><![CDATA[Map of Central Park, New York City]]></dcterms:title>
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    <dcterms:date><![CDATA[Revised and extended park layout as shown in a map of 1873]]></dcterms:date>
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    <dcterms:title><![CDATA[Mountains at Collioure]]></dcterms:title>
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    <dcterms:title><![CDATA[Le Bonheur de Vivre (The Joy of Life)]]></dcterms:title>
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    <dcterms:creator><![CDATA[Emil Nolde]]></dcterms:creator>
    <dcterms:source><![CDATA[Stokstad, Marilyn]]></dcterms:source>
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    <dcterms:date><![CDATA[1911]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
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    <dcterms:title><![CDATA[Street, Berlin]]></dcterms:title>
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    <dcterms:title><![CDATA[The Large Blue Horses]]></dcterms:title>
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    <dcterms:creator><![CDATA[Franz Marc]]></dcterms:creator>
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    <dcterms:title><![CDATA[Improvisation 28 (Second Version)]]></dcterms:title>
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    <dcterms:title><![CDATA[Family of Saltimbanques]]></dcterms:title>
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    <dcterms:title><![CDATA[Armored Train in Action]]></dcterms:title>
    <dcterms:description><![CDATA[Gift of Richard S. Zeisler.  287.86.]]></dcterms:description>
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    <dcterms:title><![CDATA[Electric Light]]></dcterms:title>
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    <dcterms:title><![CDATA[La Reine Mora]]></dcterms:title>
    <dcterms:description><![CDATA[Museum purchase from the Jere Abbott Acquisitions Fund.]]></dcterms:description>
    <dcterms:creator><![CDATA[Robert Henri]]></dcterms:creator>
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    <dcterms:title><![CDATA[City Night]]></dcterms:title>
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    <dcterms:date><![CDATA[1926]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
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    <dcterms:title><![CDATA[Portrait of a German Officer]]></dcterms:title>
    <dcterms:description><![CDATA[The Alfred Stieglitz Collection, 1949 (49.70.42).]]></dcterms:description>
    <dcterms:creator><![CDATA[Marsden Hartley,]]></dcterms:creator>
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    <dcterms:publisher><![CDATA[University at Buffalo]]></dcterms:publisher>
    <dcterms:date><![CDATA[1914]]></dcterms:date>
    <dcterms:date><![CDATA[CE]]></dcterms:date>
    <dcterms:created><![CDATA[2011-09-02]]></dcterms:created>
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