. "Mabel Dwight, self-portrait, 1932"@en . . . . . . . . "\u0645\u0627\u0628\u0644 \u062F\u0648\u0627\u064A\u062A (\u0628\u0627\u0644\u0625\u0646\u062C\u0644\u064A\u0632\u064A\u0629: Mabel Dwight)\u200F (\u0648. 1875 \u2013 1955 \u0645) \u0647\u064A \u0641\u0646\u0627\u0646\u0629 \u0645\u0646 \u0627\u0644\u0648\u0644\u0627\u064A\u0627\u062A \u0627\u0644\u0645\u062A\u062D\u062F\u0629 \u0627\u0644\u0623\u0645\u0631\u064A\u0643\u064A\u0629 ."@ar . . . . . . . . "Mark Hopkins Institute"@en . . . . . . "Mabel Dwight"@en . . . . "30"^^ . . . . . "\u0645\u0627\u0628\u0644 \u062F\u0648\u0627\u064A\u062A"@ar . . . . . "1123435737"^^ . . . . . . . . . . . . . . . . . . . . . "1875-01-31"^^ . . . "center"@en . . "American"@en . . . . . . . . . . . . . . . . . . . . . . "Mabel Jacque Williamson"@en . . . . . . . . . . . . . . "\u0645\u0627\u0628\u0644 \u062F\u0648\u0627\u064A\u062A (\u0628\u0627\u0644\u0625\u0646\u062C\u0644\u064A\u0632\u064A\u0629: Mabel Dwight)\u200F (\u0648. 1875 \u2013 1955 \u0645) \u0647\u064A \u0641\u0646\u0627\u0646\u0629 \u0645\u0646 \u0627\u0644\u0648\u0644\u0627\u064A\u0627\u062A \u0627\u0644\u0645\u062A\u062D\u062F\u0629 \u0627\u0644\u0623\u0645\u0631\u064A\u0643\u064A\u0629 ."@ar . . . "Mabel Dwight"@en . . . . "1875-01-31"^^ . "Mabel Dwight, self-portrait"@en . . . "100.0"^^ . . . . . . . . . . . . . . . "Mabel Jacque Williamson"@en . . . "Mabel Dwight (1875\u20131955) was an American artist whose lithographs showed scenes of ordinary life with humor and tolerance. Carl Zigrosser, who had studied it carefully, wrote that \"Her work is imbued with pity and compassion, a sense of irony, and the understanding that comes of deep experience.\" Between the late 1920s and the early 1940s, she achieved both popularity and critical success. In 1936, Prints magazine named her one of the best living printmakers and a critic at the time said she was one of the foremost lithographers in the United States."@en . . "Mabel Dwight (1875\u20131955) was an American artist whose lithographs showed scenes of ordinary life with humor and tolerance. Carl Zigrosser, who had studied it carefully, wrote that \"Her work is imbued with pity and compassion, a sense of irony, and the understanding that comes of deep experience.\" Between the late 1920s and the early 1940s, she achieved both popularity and critical success. In 1936, Prints magazine named her one of the best living printmakers and a critic at the time said she was one of the foremost lithographers in the United States."@en . . . . . "1955-09-04"^^ . . . . . . "When I was a very young woman at an art student in San Francisco, some fellow students introduced me to socialism. The encounter was similar to \"getting religion.\" My fervor shocked and alarmed my parents to such an extent that I was forced to go \"underground\" with my social ideas. This of course made the heat whiter. Art, too, I thought, must be an heroic comrade. This period of my life at least gave a definite bent to my later thought, and the reading done then directed my natural impulses. I was born with a hatred for the duality of poverty and riches. An early faith in a world without underdogs is a healthy experience, even if later experiences point to a world gone to the dogs. But whatever ups and downs of political or social faith I may have passed through, I have been true to the fundamental conviction that poverty is the great evil, a form of black plague inexcusable in a scientific age. \u2014 Mabel Dwight, \"Satire in Art\""@en . . . . . . . . . "Mabel Dwight"@en . . . "45707"^^ . "Lithography, watercolors"@en . . . . "43689335"^^ . "1955-09-04"^^ . . . . .