{"@context":"http:\/\/iiif.io\/api\/presentation\/3\/context.json","id":"https:\/\/gallerycollections.courtauld.ac.uk\/api\/iiif\/O43902\/manifest.json","type":"Manifest","label":{"none":["Mary Mandala"]},"summary":{"none":["D.2021.XX.1"]},"navDate":"1973-01-01","requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["<a href=\"https:\/\/courtauld.ac.uk\/\">The Courtauld Institute of Art<\/a>"]}},"provider":[{"id":"https:\/\/courtauld.ac.uk\/","type":"Agent","label":{"en":["The Courtauld Institute of Art"]},"homepage":[{"id":"https:\/\/gallerycollections.courtauld.ac.uk\/home","type":"Text","label":{"en":["The Courtauld Gallery Collection Online"]},"format":"text\/html"}],"logo":[{"id":"https:\/\/gallerycollections.courtauld.ac.uk\/static\/img\/col_courtauld_cms\/The_Courtauld_logo.png","type":"Image","format":"image\/png","height":122,"width":1004}]}],"rendering":[{"id":"https:\/\/gallerycollections.courtauld.ac.uk\/object-d-2021-xx-1","type":"Text","label":{"en":["Full record view"]},"format":"text\/html"}],"metadata":[{"label":{"none":["Title"]},"value":{"none":["Mary Mandala"]}},{"label":{"none":["Maker"]},"value":{"none":[" Deanna Petherbridge"]}},{"label":{"none":["Production date"]},"value":{"none":["1973"]}},{"label":{"none":["Accession number"]},"value":{"none":["D.2021.XX.1"]}},{"label":{"none":["Dimensions"]},"value":{"none":["Height: 50 cm<br>Width: 50 cm"]}},{"label":{"none":["Mode of acquisition"]},"value":{"none":["Deanna Petherbridge, gift, 2021<br>"]}},{"label":{"none":["Object type"]},"value":{"none":["Drawings"]}},{"label":{"none":["Institution"]},"value":{"none":["The Courtauld Institute of Art"]}},{"label":{"none":["Credit"]},"value":{"none":["Courtauld Gallery, London (Samuel Courtauld Trust)"]}},{"label":{"none":["Copyright statement"]},"value":{"none":["© The Estate of Deanna Petherbridge"]}},{"label":{"none":["Label text"]},"value":{"none":["In the 1970s, when Deanna Petherbridge worked primarily in pen and ink, she explored the threshold between figuration and abstraction and perspective and patterning, taking inspiration from the geometries of Islamic architecture and Asian mandalas (geometric configurations of symbols used in various spiritual traditions). The repetitive pen work produced forms which spin outward from the centre and which could be hung in any orientation. Adopting such imagery allowed her to experiment with an alternative to the narrow formal preoccupations of Pop Art and Minimalism, which dominated British art at the time."]}},{"label":{"none":["License"]},"value":{"none":["<a href=\"https:\/\/creativecommons.org\/licenses\/by-nc\/4.0\/\">BY-NC 4.0 Creative Commons Attribution-NonCommercial 4.0<\/a>"]}}],"items":[{"id":"https:\/\/gallerycollections.courtauld.ac.uk\/api\/iiif\/O43902\/canvas\/1","type":"Canvas","label":{"none":["D.2021.XX.1"]},"height":6147,"width":6600,"format":"image\/jpeg","items":[{"id":"https:\/\/gallerycollections.courtauld.ac.uk\/api\/iiif\/O43902\/canvas\/1\/page","type":"AnnotationPage","items":[{"id":"https:\/\/gallerycollections.courtauld.ac.uk\/api\/iiif\/O43902\/canvas\/1\/page\/annotation","type":"Annotation","motivation":"painting","target":"https:\/\/gallerycollections.courtauld.ac.uk\/api\/iiif\/O43902\/canvas\/1","body":{"id":"https:\/\/gallerycollections.courtauld.ac.uk\/iiif\/3\/80453\/full\/max\/0\/default.jpg","type":"Image","format":"image\/jpeg","height":6147,"width":6600}}]}]}]}