{"object":[{"sourceId":{"label":"Source ID","value":"2263"},"altNumsArchivespace":{"label":"ArchiveSpace","value":"1995.23.1A,B"},"creditline":{"label":"Credit Line","value":"Gift of Nathan and Kiyoko Lerner© Kiyoko Lerner"},"endDate":{"label":"End Date","value":"1970"},"sortNumber":{"label":"Sort Number","value":"1995    23    1a"},"invno":{"label":"Accession number","value":"1995.23.1a"},"description":{"label":"Description","value":"two sided painting.  Paper label in center top of one side \"Episode 3 Place not mentioned  Escape during violent storm, still fighting though 'pessed' for long distance\" Side with inscription is considered Side I. Inscription is on top of second panel from left.  Each side is four sheets of paper glued together. All figures are nude unless stated otherwise.  Side one:  Left to Right:  1st panel:  2 small figures with guns LL corner.  Large flowers and sunflowers.  2nd panel: 2 meium size figures with rifles and green bird.  Edge of 2nd panel into 3rd-- several (5) large figures in foreground and large bushy trees in background with colorful birds and flowers in the trees.  4th panel:  4 medium size figures with rifles.  Above them 6 figures (3 girls in dresses, 3 naked ) running toward the left.  SIDE II--Left Panel:  LL medium size girl in dress with red hair and firing a rifle toward the right.  9 figures running and three girls in dresses.  Storm clouds with lightning above. Sunflowers in foreground, 2nd panel - 2 trees at top. Dozen figures, several with blood and 2 with large rifles and bayonets.  3rd panel - figure in large tree at top, 3 prone figures with blood and 2 medium figures running , one with rifle.  Large figure with red braided hair shooting rifle toward right.  4th panel: UR house with flowers and tree. Center: 7 figures, 1 with blood on the chest, Bottom: 3 larger figures with rifles shooting toward right.  LR corner flowers. Side A: Untitled (Episode 3 Place Not Mentioned) Side B: Untitled (Battle Scene and Approaching Storm) Plate I A,B in book"},"medium":{"label":"Medium","value":"Watercolor, pencil, and carbon tracing on pieced paper (double-sided)"},"geographyPlaceregion":{"label":"Place/Region","value":"Chicago"},"media":{"label":"Media","value":{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/2603/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"2603"}},"title":{"label":"Title","value":"6 Episode 3 Place Not Mentioned. Escape during violent storm, still fighting though persed for long distance."},"geographyCity":{"value":"Chicago"},"textEntriesWebsitedisplaytext":{"value":["While twentieth-century folk art objects that are made for utilitarian purposes exist, much of the contemporary work by untrained artists is rendered in painting and sculpture, so its utility is less clear. But what about the creative act itself? Does it not have a utility in the life of these untrained artists? How are these contemporary artworks, on paper and canvas, in wood and stone, utilitarian? Perhaps for the self-taught artist the act of artmaking itself is useful. In other words, the creative act serves as a means for some of these artists to engage in the world and in their communities, to document moments or people or places worthy of our collective memo.Henry Darger\u2019s artwork isn\u2019t usually described as utilitarian. But it was useful\u2014necessary\u2014to Darger himself. Darger created more than three hundred paintings of an impressive scale to illustrate his otherworldly tale of a disastrous war. With its incomprehensible size, its rich and complex cast of characters, its fictionalized nations and battle sights, and its ultimate victory for seven young girls (the Vivian Girls), In The Realms of the Unreal is a life\u2019s work, and perhaps can be seen as a survival mechanism for the artist. Perhaps Darger lived so fully in this imaginary world of wars and battles that he didn\u2019t need to engage in conflict with the real world outside. Perhaps his interior world was so mined and explored by the artist through his writing and painting that the exterior world appeared mundane and pointless to him. Through his writings we know Darger viewed the world with great skepticism. Perhaps this was the usefulness\u2014his artmaking enhanced his own interior landscape and preoccupied him for most of his otherwise lonely and solitary life.","PAINTING","Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　To help improve this record, please email photoservices@folkartmuseum.org","watercolor"]},"collections":{"label":"Collections","value":["Works on Paper","eMuseum - Collection Highlights"]},"geography":{"label":"Geography","value":"Chicago"},"id":{"label":"Id","value":"153746"},"geographyState":{"value":"Illinois"},"geographyCountry":{"value":"United States"},"onview":{"label":"On View","value":"0"},"people":{"label":"Artist / Maker","value":{"displayOrder":"1","personRole":"Artist","personID":"492","content":"Henry Darger"}},"classifications":{"label":"Classification(s)","value":"Drawings"},"textEntries":{"label":"Text Entries","value":["While twentieth-century folk art objects that are made for utilitarian purposes exist, much of the contemporary work by untrained artists is rendered in painting and sculpture, so its utility is less clear. But what about the creative act itself? Does it not have a utility in the life of these untrained artists? How are these contemporary artworks, on paper and canvas, in wood and stone, utilitarian? Perhaps for the self-taught artist the act of artmaking itself is useful. In other words, the creative act serves as a means for some of these artists to engage in the world and in their communities, to document moments or people or places worthy of our collective memo.Henry Darger\u2019s artwork isn\u2019t usually described as utilitarian. But it was useful\u2014necessary\u2014to Darger himself. Darger created more than three hundred paintings of an impressive scale to illustrate his otherworldly tale of a disastrous war. With its incomprehensible size, its rich and complex cast of characters, its fictionalized nations and battle sights, and its ultimate victory for seven young girls (the Vivian Girls), In The Realms of the Unreal is a life\u2019s work, and perhaps can be seen as a survival mechanism for the artist. Perhaps Darger lived so fully in this imaginary world of wars and battles that he didn\u2019t need to engage in conflict with the real world outside. Perhaps his interior world was so mined and explored by the artist through his writing and painting that the exterior world appeared mundane and pointless to him. Through his writings we know Darger viewed the world with great skepticism. Perhaps this was the usefulness\u2014his artmaking enhanced his own interior landscape and preoccupied him for most of his otherwise lonely and solitary life.","PAINTING","Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　To help improve this record, please email photoservices@folkartmuseum.org","watercolor"]},"beginDate":{"label":"Begin Date","value":"1930"},"displayDate":{"label":"Date","value":"Mid-20th century"},"exhibitions":{"label":"Exhibitions","value":{"exhibitionDisplayDate":"Saturday, January 18, 1997 - Sunday, April 27, 1997","exhibitionEndISODate":"1997-04-27","exhibitionID":"86","exhibitionISOBeginDate":"1997-01-18","exhibitionBeginDate":"1997","exhibitionTitle":"Henry Darger","exhibitionEndDate":"1997"}},"altNums":{"label":"Alternative Numbers","value":"1995.23.1A,B"},"dimensions":{"label":"Dimensions","value":"24 x 74 3/4 \"Frame: 31 3/4 x 83 1/2 x 1 1/2 \""}}]}