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AMICO Data Specification: Data Dictionary
Version 1.3

Note: The AMICO Data Specification is comprised of:

A. Text Record Specification
B. Related Image and Multimedia File Specification
C. AMICO Data Dictionary (this page)

Introduction

The AMICO Data Dictionary defines fields used in Catalog Records and Media Metadata Records. These are outlined in the table below.

Data Dictionary Format  
  • TAG = the three letter prefix that identifies an AMICO data field
  • Field Name = the full name of the field
  • Core = fields that are required to be present in an AMICO Library Record
  • MinCite = fields that are used to create the recommended citation of the work of art
  • Repeat = whether a field can occur more than once in a record
  • Group = if a field belongs to a group (or is group tag)
  • Definition/Guidelines = what information is recorded in a field, how it is structured
  • Reference File = the name of an external file against which the data in a field is validated
  • Data Processing Requirements = any validation, verification conducted by AMICO
  • Examples = samples of the kinds of data that will be found in the field
  • Version = the version of the Data Dictionary where the field first appeared
Downloadable files  

 

Catalog Record Fields (one cataog record for each work of art)

The AMICO Catalog Record is based on the Categories for the Description of Works of Art, a project of the College Art Association and the Getty Art History Information Program

    TAG Field
Name
Min. Cite Core? Rep eat? Group Definition / Guidelines Reference
File
Data Processing Req. Examples Ver.
  Unique Identification
  AID AMICO
Identifier
* * N   A unique identifier, assigned to a work in the AMICO Library.
Comprised of a 4 letter institutional abbreviation, followed by a dot, and then a unique number such as an accession number or system record number
Prefixes are assigned to each member by AMICO.
Spaces and special characters such as ?&? should not be used here.
Member Code Value Table Validate. First 4 characters from Member Code Value Table followed by period. GEH_.74:0193:1128

MMA_.46.140.767a,b

LOC_.cai96001757/PP
AGO_.90/564
ASIA.1979.058
1.0
What is it?
  OTY Object - Type   * N   The kind of work of art described; chosen from a short list of terms.
Use one of: Architecture, Audio-Video, Books, Costume and Jewelry, Decorative Arts and Utilitarian Objects, Digital Arts, Drawings and Watercolors, Installations, Mixed Media, Paintings Performance Arts, Photographs, Prints, Sculpture, Textiles, Other.
Where OTY equals CLT , CLT may be omitted.
AMICO Object Type Value Table Validate. Object Type Value Table. Drawings and Watercolors
Performance Arts
Prints
Decorative Arts and Utilitarian Objects
Audio-Video
1.2
OPP Object - Parts / Pieces     Y   The number and a description of any parts/pieces of the work of art.
A quantity of one is assumed, thus its not necessary to indicate a number unless there are multiple parts/pieces.
AAT no conditions 2 sheets
3
pair of six-panel folding screens
four leaves of a ten-leaf album
four sculptures
1.0
CLG Classification     Y Group Does not contain data; used to group fields classifying work.   Validate. Null value only.   1.0
CLT     N CLG Terms used to associate this work with other like works.
Terms should be chosen from a recognized Classification Scheme, and that scheme recorded in the CLS field.
Where CLT equals OTY, CLT may be omitted.
AAT no conditions Bronzes
Tapestries
Lithographs
architectural drawing
costume
1.0
CLS Classification - Scheme     N CLG The classification scheme from which a term was chosen, followed by the unique identifier of the term within the scheme (if available).
For the Art and Architecture Thesaurus, use AAT:
For the Library of Congress Thesaurus of Graphic Materials use LCTGM:
  no conditions. Construct Object Classification Scheme list AAT:244578
AAT:178802
AAT:204756
LCTGM I
LCTGM II
1.0
What is it called?
  OTG Object - Title / Name     Y Group Does not contain data; used to group fields documenting work's titles or names.   Validate. Null value only.   1.0
OTN Object - Title - Name * * N OTG The title or name of the work.
If work is known by various names, list primary title first.
  no conditions In the Garden
untitled
Tapestry Room from Croome Court
Unidentified portrait of a woman in costume
Child's Moccasins
1.0
OTT Title - Type     Y OTG The kind of Title or Name assigned to the work: Can include terms/phrases such as 'preferred', 'as given by artist', etc.
One title should be indicated as the ?Preferred? title, to be used when only one title for a work is displayed, and to appear first when multiple titles are shown.
The term ?Title? is assumed and need not be indicated.
  no conditions Preferred
Title variation
Exhibition
Alternate
Former
1.0
OST State     Y   For works produced in multiples, the state of this particular impression.
When the state is identified by a particular reference source or catalog raisonn?, prefix this with a short name of the referenced source.
Record the full citation to the catalog raisonn? in the Related Documents Group (RDG).
  no conditions 2nd state
work print
reissue (supervised) / project print
fine print
Delteil/Wright 26 iii/v
1.0
OEN Edition     Y   For works produced in multiples, the edition of this particular example.
Edition is often expressed as a ratio, showing the number of this impression vs the total number of works printed.
Sometimes only the size of the edition is known, and it is not possible to position this impression within the overall sequence. Record total number of works printed in the edition here.
When a work has been issued in multiple editions, and neither the sequence nor the overall number of impressions is known, record the number of the edition here.
  no conditions 6/50
2nd edition
87/100
Edition of 100
No. 4 of 6 casts
1.0
What does it look Like?
  OPD Physical Description     N   A narrative description of the physical appearance of the work including any parts or components.   no conditions The ding is a tripod vessel with a shallow lid, cabriole legs, and laterally attached, curved loop handles. Around the cauldron in five tiers are five friezes of contiguous interlacery executed in a flat two-layer relief. [This description is excerpted from the following published source: George Kuwayama, ''The Lidow Ting,'' Los Angeles County Museum of Art Bulletin 23 (1976): 7.]
The slender Buddha stands in an elegant posture, with slightly lowered head, right hand at the side, and left hand held to the chest. The thin, almost abstract rendering of the body is emphasized by attenuated arms and legs. [This description is excerpted and modified from the following published sources: 1. Lorna Price, Masterpieces from the Los Angeles County Museum of Art (Los Angeles: Los Angeles County Museum of Art, 1988), 102. 2. ?Recent Acquisitions: Crowned Buddha,' Members Bulletin, Los Angeles County Museum of Art 23, no. 2:6.]
Circular inlaid table with four footed pedestal base; central square organic motif with banding of meandering pattern and waves; circular design with harp and wind instruments crossed at center of each side of square; outer band of floral pattern on dark ground.
Jar with high waist, short collar-like neck, plain rim, plain base, and lug handles.
The mosaic contains a central scene depicting a passage from Vergil's Aeneid. The scene is surrounded by three areas of border motifs. The chevron is quite rare; however, the guilloche is standard and the leaf rinceau is typical of the third and fourth centuries CE.
1.0
OPA Physical Orientation / Arrangement     N   A narrative description of the orientation of the work, or its physical arrangement or set-up. For example, used to describe how to assemble an installation, or hang an oddly shaped or abstract work.   no conditions Base: In a letter to Patterson Sims, dated June 15, 1978, the artist stated that this work could be installed directly on the floor.
This sculpture is mounted on the wall.
Terrestrial and Celestial Globes stand on corners of the carpet, on either side of a double-form desk
The polyptych was formerly arranged differently. In the upper tier, an earlier reconstruction placed Mary Magdalen on the outside left and St. Catherine on the outside right (while they are currently in reverse positions). In the lower tier, the earlier reconstruction placed St. Bartholomew to the left of the central St. James Major, and St. John the Evangelist to the right of James (while the current reconstruction has swapped the positions of Bartholomew and John)
Use distilled water in jar. The key to this installation is tomake certain the ''head'' image covers the entire stone. Eyeball the level of the projector (there is no correct distance) until it looks ''right.'' The distance of the front lens is approximate.
1.0
MET Measurements - Text * * Y   A free text display form of the work's measurements.   no conditions 152.4 x 363.8 cm (each screen)
Diameter: 50.8cm
Height: 6 3/4 in. (17.3 cm) Diameter (lip): 3 1/8 in. (7.9 cm)
H. 58-1/4, W. 76 3/4 in. (148 x 194.9 cm)
457.2 cm (diam?tre du panorama des 8 panneaux), 111.8 cm (diam?tre de la roue)
1.0
MEG Measurements     Y Group Does not contain data; used to group fields recording measurements.   Validate. Null value only.   1.0
MCM Measurement - Component - Measured     N MEG A term indicating what part of the work was measured (sheet, frame, lid, pedestal etc.). AAT no conditions sheet
each panel
frame
plate
without base
1.0
MED Measurement - Dimension   N MEG A term indicating the measurement taken.
A preferred list of terms will be established, that will include: height, width, depth, weight, diameter, circumference, duration, volume.
(other terms may be added)
  Validate. Dimensions Value Table. height
diameter
length
depth
width
1.0
MDV Measurement - Dimension - Value   N MEG The number of units that comprise the measurement (numeric only).   Validate. Numeric 11 5/8
1.1
1/4
245
81.3
1.0
MDU Measurement - Dimension - Units   N MEG The unit in which the measurement was taken.
Record the name of the measurement unit.
  Validate. Measurement Units Value Table linear measurements: inches feet mm cm meters
planar measurements: sq. ft. sq. m
volumetric measurements: cu. ft. cu. meters
seconds, minutes, hours
pounds, ounces, grams, kilograms
1.0
MEQ Measurement - Qualifier     N MEG A qualification or indication of the accuracy of a measurement.   no conditions approx
overall
assembled
before restoration
framed
1.0
OMG Materials and Techniques     Y Group Does not contain data; used to group fields documenting materials and techniques used to create the work.   Validate. Null value only.   1.0
OMD Materials and Techniques - Description   * N OMG A free text description of the materials and techniques used to create the work of art.
This description is used in displays and in the full citation of the work.
    ink and opaque watercolor on paper
limestone
gold, cloisonn? enamel
Flags, wood, springs, ropes, and pulleys (MCAS.1984.6)
silk and metal thread on linen
1.0
OMT Materials and Techniques - Process / Technique - Term     Y OMG Single terms that index the processes and techniques used to create the work.
If a work was created using multiple techniques, index each in a separate occurrence of this field.
AAT Processes/ Techniques Hierarchy look up in AAT Processes/ Techniques Hierarchy daguerreotype
aquatint
lithography
etching
embroidering
1.0
OMM Materials and Techniques - Materials - Term     Y OMG Single terms that index the materials used to create the work.
If a work was created of multiple materials, index each in a separate occurrence of this field.
AAT no conditions. look up in AAT Materials Hierarchy; may also be Objects mahogany
bronze
charcoal
acrylic
found objects
1.0
OMS Materials and Techniques - Support     Y OMG Single terms that index the support on which the work was created.
If a work has multiple supports, index each in a separate occurrence of this field.
AAT no conditions. look up in AAT Materials Hierarchy rice paper
canvas
glass
plywood
deer bone
1.0
OIN Inscriptions and / or Marks     Y   A free text description or transcription of any inscriptions or marks on the work, including their location, medium, hand, and other details.   no conditions back center in pencil: $850
Dated at upper right: 1512. Inscribed on verso, in different hands and media: Aldorfer; f13; Kat.no.24; Auct.Klinkosch, Wien/April 1889; A.Aldorfer; 4
stamped: Chevalier
back right leg incised: Zorach/1944
center right: ECHO ROCK
1.0
OCH Condition / Examination History     Y   A narrative description of the Condition or Examination history of the work of art. Cite documentation associated with Condition or Examination History in the Related Documents Group.
Cite documentation associated with Condition or Examination History in the Related Documents Group.
  no conditions The sculpture is remarkable for its good condition. Of the small number of surviving wood Buddhas from thirteenth- to fourteenth-century Burma, few are as complete as this example. The elaborate vegetal designs on both sides of the Buddha's head are almost completely intact. Only the lower part of the robe and the original lotus pedestal are missing. The traces of lacquer and gilding on the surface may have helped preserve the wood from rot and termites.

In 1996, LACMA submitted a chip from the Buddha to the Forestry School at UCLA for identification and authentication. The wood was determined to be teak (botanical name tectona grandis). Radiocarbon dating and growth ring calculations yielded an interval for the felling date of the tree of 1148-1380 A.D. This data supports the stylistic identification of the sculpture as thirteenth-century.

[This history is excerpted and modified from departmental records and the following published sources: 1. Lorna Price, Masterpieces from the Los Angeles County Museum of Art (Los Angeles: Los Angeles County Museum of Art,1988), 102. and 2. ?Recent Acquisitions: Crowned Buddha,' Members Bulletin, Los Angeles County Museum of Art 23, no. 2:6.]


GOOD packing foam impression atarea to one side and band opposite of table top; scratches and small dings throughout; heavy scratching at backside of each leg; old lacquer loss in large, 1 x 1-1/2 inch patch to right of one side medallion at top; circular depression in outer band, 7/16 inch in diameter; darker patches within lighter wood at top surface; new pins to hold table top in place 1997-09-10
Unsatisfactory, Not exhibitable in present state; was on donor's lanai in Hawaii and consequently connections are corroded
Surviving traces of pigment indicate that the sculpture was formerly brightly painted. There are channels carved between the upright wings, attesting to the original function of the sculpture as a support for a table.
Based upon comparison with others of the same model, it seems the chandelier was originally more profusely mounted with glass drops.
1.0
OTH Treatment / Conservation History     Y   A narrative description of the Treatment or Conservation of the Work of art. Cite Documentation associated with Treatment or Conservation in the Related Documents Group.
Cite Documentation associated with Treatment or Conservation in the Related Documents Group
  no conditions Upon acquiring the Buddha, the Department of South and Southeast Asian Art added a two-piece wall-mount.
Building has been reinforced with T-beams and buttresses while awaiting repairs made necessary due to earthquake damage.
The painting was cleaned and restored in 1949.
Despite spot tests and small poultices with increasingly strong solvents, the discolored surface coating was rendered insoluble. Consequently, in order to return sculptural balance to the relief, the coating on the lower areas of the carving, where darker, was thinned mechanically, at first, beneath a binocular microscope. The coating was ultimately thinned only sufficiently to equal in tonality its remnant at the upper part of the relief.
Aggressive intervention was necessary because of the precarious state of lower section, caused by saturation during the flood and subsequent loss of surface due to efflorescence of salts and oil. Treatment included rapid, controlled drying. Strong heat was applied to back of wall, causing water and salts to recede; process continued for 20 days. Fresco and sinopia were detached from wall by strappo technique in January, 1967; they were mounted on separate supports of polyester resin reinforced with glass fiber. Deposits of mud and oil were removed, along with nineteenth-century repaint in 1968; blistered sections of original surface were reattached, most extensively in lower right of fresco. Fresco was cleaned with solution of ammonia and distilled water in 1989.
1.0
Who made it?
  CTT Creator Display Text     N   'Display' form of all creators? names outside the CRG group that would be used as a short display text that explained the relationships between individuals. This field would appear in short lists, and captions.
When a work has complex history of creation, Creator Display Text provides a means to create a meaningful display.
Only having the display form of the Creator's name inside the Creator Group made it very difficult to construct meaningful relationships between the various contributors to a complex object. This field, outside the group, enables the creation of a display that should be used in preference to the Creator Name Text (CRT) and Creator Dates Text (CDT) fields inside the Creator (CRG) group.
  None   1.3
CRG Creator     Y Group Does not contain data; used to group the fields documenting the creator of the work.   Validate. Null value only.   1.0
CRQ Creator - Qualifier     N CRG A qualification of the attribution of the work to a particular creator.
Record the attribution status or qualifier separately from the index form of the name. Use the Creator Name Text (CRT) field to create a display version of the creator?s name and qualifier.
  no conditions After
Firm of
Attributed to
Formerly attributed to
Circle of
Manner of
Copy after
Probably
Follower of
Studio of
1.0
CRT Creator - Name - Text * * N CRG Display form (direct order) of Creator Name (and qualifier). If Creator - Name isn't known or customarily used, this is thedisplay form of Creator Culture Nationality.
Include Attribution Qualifier here, formatting the name and qualifier as you would want it to display in a listing.
Use the Creator Qualifier (CRQ) field to index the attribution status.
  no conditions Louis Comfort Tiffany
Follower of Rembrandt Harmensz. van Rijn
Meissen Porcelain Manufactory
Albrecht D?rer
Possibly Celtic
1.1
CRN Creator - Name   *or CRC N CRG Sort Form (inverted, last name first) of Creator name; used in indexing.
See the Creator Reference File for guidelines regarding creator names.
ULAN Validate presence/ or presence of CRC. Tiffany, Louis Comfort
Rembrandt Harmensz van Rijn
D?rer, Albrecht
Orozco, Jose Clemente
Utamaro, Kitagawa
1.0
CRC Creator - Culture / Nationality   * or CRN Y CRG The culture or nationality of the creator who made the work, or the cultural group to which the creation of the work is attributed.
Use the adjectival form of the place name, culture or nationality (i.e. French, not France, Venetian, not Venice).
This field is used for creating a work?s citation and should be included whenever possible.
If a creator is associated with more than one culture or nationality, record each in a separate occurrence of this field.
AAT or TGN Validate presence, or presence of CRN. Benin Culture
Egyptian
Navajo
Chinese, T'ang dynasty
Canadian
1.3
CDT Creator - Dates / Locations - Text *   N CRG A free text description of dates and places associated with the creator or culture that created the work.
This field is used for creating a work's citation and should be included whenever possible.

The individual elements of this Text display are indexed in Creator Birth Date, Creator Birth Place, Creator Death Date and Creator Death Place

Use this field to indicate uncertainty regarding the Birth or Death Place (CBP and CDP).

TGN no conditions. Parse Numeric years to identify begin and end dates, BC., and qualifiers 1775-1851
active first half 16th century
American; 1885-1930; b. Bulgaria
Died 1990
Reign of Shah Jahan (1628-1658)
1.0
CBD Creator - Birth - Date     N CRG The index form of the date of birth of the creator.
Enter the date as precisely as possible; if you do not know month and day, enter only four numbers.
Record BC dates as negative numbers.
Use Creator-Birth Qualifier to indicate uncertainty regarding the Birth Date.
numeric Validate. Numeric: Parse to Validate. YYYYMMDD; remove any non-numeric characters, such as / or - 1957
190206
16130224
1245
-0520
1.0
CBP Creator - Birth - Place     N CRG The place the creator was born.
Use Creator-Dates / Locations-Text to indicate uncertainty regarding the Birth Place.
TGN no conditions. Lille, France
Hoboken, New Jersey, United States
Paisley, Scotland
Acton Vale, Qu?bec, Canada
M?laga, Spain
1.0
CBQ Creator - Birth - Qualifier     N CRG A free text qualifier of the date of birth of the creator.
Use this field to indicate uncertainty regarding the Birth Date.
  Validate. Date Qualifier Value Table circa
no later than
not after
before
c.
1.0
CDD Creator - Death - Date     N CRG The date the creator of the work died.
Enter the date as precisely as possible; if you do not know month and day, enter only four numbers.
Record BC dates as negative numbers.
Use Creator-Death Qualifier to indicate uncertainty regarding the Death Date.
numeric Validate. Numeric: Parse to Validate. YYYYMMDD; remove any non-numeric characters, such as / or - 1320
19380914
-0510
14940811
1963
1.0
CDP Creator - Death - Place     N CRG The place of death of the creator.
Use Creator-Dates / Locations-Text to indicate uncertainty regarding the Death Place.
TGN or local geographic thesaurus no conditions. Avignon, France
French Polynesia: Marquesas Islands
North Vietnam, Thai Binh
Netherlands, Haarlem
New Orleans, Louisiana, United States
1.0
CDQ Creator - Death - Qualifier     N CRG A free text qualifier of the date of death of the creator.
Use this field to indicate uncertainty regarding the Death Date.
  Validate. Date Qualifier Value Table c.
circa
before
not after
no later than
1.0
CAD Creator - Active - Date     N CRG The creator's dates of activity; may be known when birth and death are not.
Enter the date as precisely as possible; if you do not know month and day, enter only four numbers.
Record BC dates as negative numbers.
See the Creator Reference File for guidelines regarding creator dates.
numeric no conditions 1897-1909
1298-1328
Early 15th century
1960?s
mid-19th c
1.0
CAP Creator - Active - Place     Y CRG The place where the creator was active. May repeat with multiple places. TGN no conditions Africa, West Africa, Ghana
Flanders
Asia, South Asia, Bangladesh
Peru
Phoenicia
1.0
CGN Creator - Gender     N CRG The gender of the creator.
Enter M for Male, F for Female.
M / F Validate. M or F M
F
1.2
CRB Creator - Biography     N CRG A free text biography of the creator of the work.   no conditions Henry Raeburn was largely self-taught. He began his career by painting portrait miniatures, after which he progressed to full-scale portraits. He moved to London from his native Edinburgh in 1784, but returned to Scotland in 1787 after a trip to Italy. His portraits of leading literary and legal figures and Highland chiefs were painted without preliminarydrawings in an original, bold, and direct style. (CMA_.1991.133)
Josef Albers came to the U.S. in 1933. He became a U.S. citizen in 1939.
[for Josefa Roybal[ Does not seem to be related to the artistic Roybal family. (SAAM.1979.144.87)
A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin.
A traditional Navajo sheepherder, Charlie Willeto began carving in the early 1960s, only a few years before his death.
1.0
CRR Creator - Role   Y CRG A term or terms describing the role played by the creator in the making of this work of art.
This is not a record of the many roles played by an individual over the course of his or her lifetime. These are recorded in the Creator Reference File.
The term ?Artist? is assumed, and need not be indicated.
AAT no conditions. Construct Role Values list sculptor
cabinetmaker (TFC_.19145047)
designer
printer
manufacturer
1.0
CNO Creator - Notes     N CRG A free text note about the creator, and the relationship between the creator or culture and the work of art.   no conditions

The Burmese temple city of Pagan underwent a spectacular flowering during the eleventh to thirteenth centuries. The Pagan kings, some of the greatest rulers of their era, left inscriptions indicating that they considered themselves enlightened Buddhist sovereigns who had acquired exceptional merit during past lives and would eventually be reborn as Buddhas. To embellish the city's numerous brick temples, Buddhist images were created in paint, metal, stone, and wood. This carved teak figure is one of a small group that survives from the period. [This history is excerpted and modified from the following published sources: 1. Lorna Price. Masterpieces from the Los Angeles County Museum of Art. (Los Angeles: Los Angeles County Museum of Art, 1988), 102. 2. ’Recent Acquisitions: Crowned Buddha.' Members Bulletin, Los Angeles County Museum of Art. Vol. 23, no. 2: 6.]


The picture is one of several portraits commissioned by the Altamiras after Goya was appointed painter to the king (1786).


Galle stated in a document from 1820 that he included the glass bowl at the bottom of the chandelier for small gold fish, whose continuous movement would be pleasing to the eye ("le mouvement continu récrée l'oeil agréablement").


"My video is not:
- Accompanied by a 'pink sludge' rock and roll soundtrack.
- Documentation of a conceptual performance in which I jump out of a 13th story window to test the laws of chance.
- Synthetic images created with rebuilt surplus World War I airplane parts.
- Shot with two cameras attached under each armpit and one between my legs.
- A group therapy encounter between the Neo-Nazi Anarchists and the Bowery Satanists.
- An underground sex-opera starring all my beautiful friends.
- A presentation about the 3rd coming of the Punjab of Mysore to bless his freebies in America.
- Product with future marketing potential.


This picture was painted while the artist was in exile in Brussels. The work's eroticism is a departure from David's earlier sober and moralizing pictures.
1.0
CID Creator - Authority - ID     N CRG A foreign key into an authority table describing this creator.
This number links the work to an entry in the AMICO Creator Reference File.
Is added by AMICO when a relation is made between a work and the creator?s entry in the Creator Reference File.
If this is known, it should be included by the AMICO member.
AMICO Creator Reference File Validate. AUTHNAME': 'authid AMICO: 42367
ULAN: 11289
AMICO: 44132
AMICO: 43982
AMICO: 43878
1.3
OCG Creation - Dates     Y Group Does not contain data; used to group fields dating work's creation.   Validate. Null value only.   1.0
OCT Creation - Date - Text * * N OCG The date on which a work was created, or a range of dates during which it could have been created
Enter a free-text range of dates in a form which describes the creation of the work.

If the creation date is unknown, the artist's life dates may be used to provide a date range: add 10 years to the birth date and use the actual death date.

Parsing file contains rules to generate Numeric equivalents no conditions. Parse based on reference file into numeric years to create begin and end dates, BC., and qualifiers 100 B.C. - 100 A.D.
1557
16th century
1725 - 1726; 20th century additions
mid-to-late 1820's
1.0
OCS Creation - Date - Start   N OCG A number, indicating the earliest possible date a work could have been created; BC dates are recorded as negative integers
Enter the date as precisely as possible.

Do not provide month and day data if you do not know this for certain.

BC dates are recorded as negative numbers

If the creation date is unknown, use the artist's birth date plus 10 years.

numeric Validate. Numeric, Parse to Validate. YYYYMMDD. Remove any punctuation 1956
141408
12950101
-0100
-04110101
1.0
OCE Creation - Date - End   N OCG A number, indicating the latest possible date a work could have been created; BC dates are recorded as negative integers.
Enter the date as precisely as possible.

Do not provide month and day data if you do not know this for certain.

BC dates are recorded as negative numbers.

If the creation date is unknown, use the artist's death date.

numeric Validate. Numeric, Parse to Validate. YYYYMMDD. Remove any punctuation. -00451231
-1788
1415
18991231
0099
1.0
OCQ Creation - Date - Qualifier     N OCG A qualifier, that indicates approximation in the earliest or latest date.     attributed date
circa
before
after
no later than
1.0
OCP Creation - Place     Y   A place or places where the work was created. TGN no conditions. Lookup in TGN Africa, West Africa, Nigeria, Ogun (state), Ijebu de
Canada, British Columbia, Vancouver
France, Bordeaux
Roman Empire
Burkina Faso
1.0
STG Style / Period     Y Group Does not contain data; used to group fields describing work's style or period.   Validate. Null value only.   1.0
STD Style / Period - Description     N STG A narrative description of the style or period of the work of art.   no conditions. Parse terms from AAT Style and Periods to Style & Period Terms (SUT) Etruscan
18th century (Qing dynasty, Qianlong mark and period)
early Mannerist
Korea, Koryo period (918-1392)
20th-18th century B.C. (late Neolithic period or early Bronze Age) (LACM.M.89.156.5)
1.0
STT Style / Period - Terms     Y STG Index terms that characterize the style and/or period of the work of art.
Enter terms, one per occurrence, that index the style or period description provided in STD.
AAT no conditions. Look up in AAT Style & Periods Romanesque
Surrealist
Benin
Pre-Raphaelite
Bronze Age
1.0
SUG Subject Matter     Y Group Does not contain data; used to group fields documenting work's subject matter.   Validate. Null value only.   1.0
SUP Subject Matter - Pre - Iconographic Description     N SUG A free text description of the generic subject of the work of art.
Of-ness
AAT no conditions Stylized, simplified design of five birds and three horizontal stripes with step motif; on back, design consists of five birds, two cats, two fish and a wave motif border on top.
Seated attendant right leg crossed over left, missing right arm, left arm has bracelets and a hoop over his right shoulder and across his chest.
Four men and a woman seated in a cafe
Rear facade of Gaiety Theatre from Way's Wellington Street Studio, London.
light glinting on sand, shallow water, distant mountains
1.0
SUI Subject Matter - Iconography     Y SUG A free text description of the specific, named subject of the work of art.
About-ness
  no conditions Diana and hounds
Queen of Sheba
The iconic gesture of the Buddha's lowered right hand indicates the granting of a wish.
The story of the denial of St. Peter depicted here follows the text of Matthew 26:69-70; "And as Peter was below in the courtyard, one of the maids of the high priest came;...?
This box tells the Old Testament story of Queen Esther.
1.0
SUT Subject Matter - Index Terms     Y SUG Index terms that characterize the subject of the work of art.
Enter one term per occurrence to index the Subject matter descriptions provided in SUI and SUP.
AAT; IconClass no conditions Heraldry
Tombs & sepulchral monuments
Stringed instruments
Archaeological sites
Fourth of July
1.0
CXG Context     Y Group Does not contain data; used to group fields documenting work's context.   Validate. Null value only.   1.0
CXD Context - Description     N CXG A narrative description of the historical context of the work of art, including its creation, display, excavation, or other history.   no conditions Needlework has always been an important art for of England. In the 17th century, a unique style of raised work embroidery was developed and in its most elaborate form was used to pictorially embellish decorative boxes used to store one's personal treasures. This piece, one of the finest of its kind, tells the Old Testament story of Queen Esther, whose intelligence and diplomacy saved her people from persecution.
According to the Roman historian Livy, Lucretia, the wife of a Roman nobleman, was known for her virtue and loyalty. Sextus Tarquinius, the son of the ruling tyrant, raped her while her husband was away. The next day Lucretia told her husband and father what had happened and, in their presence, took her own life, choosing death over dishonor. No artist before Rembrandt told the story quite like this. He portrayed a poignant moment: Lucretia's profound sadness after she stabbed herself. Using a close vantage point, Rembrandt depicted the blood seeping from her wound, the tears filling her eyes.

Rembrandt painted this work late in his career, using a variety of techniques. In places he applied the colors thickly with a palette knife; elsewhere he painted more thinly with a brush, creating dramatic contrasts of light and dark. The shadows on Lucretia's face, for instance, accentuate her tragic expression. By expertly manipulating paint and glazes, Rembrandt created the illusion of light emanating from Lucretia's inner soul.


Acquired in 1934 34.19
In 1785 Mary Elizabeth Milles, only daughter and heiress of Richard Milles, married the Hon. Mr. Watson, later second baron Sondes. For this fashionable portrait Reynolds was paid one hundred five pounds in two installments in May and July 1789.
Venus, her jealousy inflamed by Psyche's beauty, sent Cupid to make Psyche fall in love with the most despicable man she might happen to meet. But Cupid himself fell in love with Psyche and brought her to his palace, where he made love to her every night. The painting shows Cupid leaving at dawn so that the sleeping Psyche could never know his identity. This picture was painted while the artist was in exile in Brussels. The work's eroticism is a departure from David's earlier sober and moralizing pictures.
Baked clay vessels decorated with mythological and genre scenes were used by Greeks as dinner party ware, prizes, gifts, and grave offerings. During the High Classical Period Athens was the leading center in vase production, as well as the intellectual and political leader of the Greek mainland and the Ionian coast. Philosophers Socrates, Plato, and Aristotle, playwrights Aeschylus, Sophocles, Euripides, and Aristophanes, and the politician Pericles worked at this time in the city that was restoring the ruined Acropolis with building such as the Parthenon.
1.0
CXP Context - Related - Person     Y CXG Index forms of the names of any people contextually related to the work of art. ULAN; LC Name Authority no conditions. Marie Antoinette
Beatrice of Aragon
Pope Julius II
Shearer, Norma
Morris, William
1.0
CXS Context - Related Site / Place     Y CXG The names of any places that are contextually related to the work of art. TGN no conditions. Sistine Chapel
Angkor Wat
Mesa Verde
Avignon, France
Pompeii, Italy
1.0
CXT Context - Time Period / Dates     N CXG The dates, times or periods of a particular context.   no conditions. 945 - 715 B.C.
11th century
Bronze Age
19th Dynasty
1914-1918
1.0
What does it mean?
  OCR Critical Responses     Y       no conditions Peter Mellen, The Group of Seven (Toronto and Montreal: McClelland and Stewart Ltd., 1970), p. 66.
"Michelangelo was, of course, a homosexual. If Leonardo was the painter of the blissful maternal smile, then Michelangelo was the sculptor of the male body in struggle, or paternal power, and the father-son relationship. Many of his best-known images -- David, God creating Adam on the Sistine ceiling, the representations of the prophets, the slaves, the Moses and the Son of Man returning in the Last Judgement -- spring from this nexus. At differing moments of his life, the focus shifted from son to father and back again. The male nude became for him the instrument of expression; he was notoriously uneasy with the unclothed female body. Thus the haunting statue of Night is transparently that of a youth with female elements less than lovingly added on... The sub-theme of Michelangelo's iconography -- as manifested in the piet?s and sculptures of the Virgin and Child -- is that of his longing for the lost or absent mother. Peter Fuller, Art and Psychoanalysis (London: Writers and Readers Publishing Cooperative, 1980), p. 41.
1.0
Who showed it ?
  OEH Exhibition or Loan History     Y   A record of when and where the work has been exhibited.
Record each exhibition in which the work appeared in a separate occurrence of Exhibition or Loan History.
    Chicago, The Art Institute of Chicago, Rembrandt After Three Hundred Years, (1969); subsequently The Minneapolis Institute of Arts (1969-1970), and The Detroit Institute of Arts (1970), No. 21, illus.
[Weston/Modotti show]; 22nd Rencontres internationales de la photographie (Arles); July 1991.
The Power of Place; Museum of Fine Arts, Museum of New Mexico (Santa Fe); Oct 15, 1998 - Jan 25, 1999.
South of the Border: Mexico in the American Imagination, 1914-1947; Yale University Art Gallery (New Haven, CT); Sep 10 - Nov 21, 1993 (traveling until Nov 1994) Edward Weston: Photographs; Museo Fortuny (Venice); Sep 22 - Dec 2, 1990 (traveling to Fratelli Alinari, Florence; Jan 24 - Apr 7, 1991) Supreme Instants: The Photography of Edward Weston; San Francisco Museum of Modern Art; Nov 7, 1986 - Jan 4, 1987 (traveling, organized by CCP; concluded at CCP Jan 21 - Mar 4, 1990).
Il secondo paradiso: Natura e giardino nelle immagini dei grandi fotografi; Citta di Torino, Assessorato per la Cultura (Italy); Oct 27, 1992 - Jan 10, 1993.
1.0
Who owned it?
  OOG Owner     Y Group Does not contain data; used to group fields documenting works ownership.   Validate. Null value only.   1.0
OON Owner Name * * N OOG The name of the institution or individual who owns the work now [e.g. the AMICO member]. Can repeat if multiple/part owners.   no conditions San Francisco Museum of Modern Art
The Asia Society
George Eastman House
Mus?e des beaux-arts de Montr?al
The Frick Collection
1.0
OOP Owner - Place * * Y OOG The place where the work is owned.
Considering the International use of the database, it would be helpful to consistently include Member country.
TGN no conditions Los Angeles, California, USA
Minneapolis, Minnesota, USA
Washington, DC, USA
Toronto, Ontario, Canada
Philadelphia, Pennsylvania, USA
1.3
OOA Owner - Accession - Number   * Y OOG The accession or inventory number assigned to the work by this owner.
Record the number used internally to identify this work.
This may be the same value as appears as the AMICO Identifier (AID) -- where it is prefaced by the AMICO Members Abbreviation -- but does not have to be.
  no conditions 1929.739
1940.465.a
94:057:038
1992.2.1
6750
1.3
OOC Owner - Credit - Line * * if applicable Y OOG The Credit Line, or any required mention or acknowledgement of the ownership of the work of art.
Do not include the name of your museum here, as it is acknowledged as the owner of the work in Owner Name (OON).
  no conditions. Purchased, 1918
Gift of the Marcia Israel Collection
Gift of John Goelet
Achenbach Foundation for Graphic Arts
Edward Weston Archive
1.0
OPO Provenance / Prior
Owners - Text
    Y   A record of the past owners of the work of art.   no conditions A. Vollard, Paris); H. Gonzalez, Mexico City; Van der Velde coll., Le Havre; (London sale 1978); (E. V. Thaw)
Sale: Sotheby's, New York, November 24, 1997, Sale 7057, lot 57
Sir Watkin Williams-Wynn, Wynnstay, Denbighshire, Wales (sale: Wyngetts Auction Galleries, Wrexem, Wales, May 12, 1971, cat. no. 489, as "Anonymous: Man Reading with Human Skull at Side); [Trafalgar Galleries, London]. (CMA_.1977.2)
formerly in the J. Pierpont Morgan collection; (Arnold Seligmann, Rey & Co., New York).
Purchased from Mohammed Mohasseb, Luxor, through Howard Carter, May 7, 1918.
1.0
ORG Rights / Copyright     Y Group Does not contain data; used to group fields documenting work's copyright or restrictions.   Validate. Null value only.   1.0
ORS Copyright - Statement * * if applicable N ORG The copyright of the work of art, including any known rights holders, encumbrances or restrictions.
With the exception of works represented by Rights Societies with which AMICO has agreements, Members are responsible for obtaining permissions to include copyrighted works in The AMICO Library.
Format the copyright statement according to your institutional guidelines and in conformance with your agreement with the copyright holder of the work.
Do not include copyright of the reproduction of a work of art here. This should be recorded in the Media Rights (XRS) statement of the Metadata Record for the image.
  no conditions Copyright - John Baldessari
Artists Rights Society (ARS), New York
? Estate of Roy Lichtenstein
1.0
ORL Copyright - Link   * N ORG A URL that links to the AMICO member, indicating where and how a user can acquire further information or rights to use the work.
Link should be to as specific a page as possible on the site.
If you are unable to supply this kind of a reference on your web site, AMICO can create this page for you. See the MACM Rights Statement for an example
This could be the URL of an individual artist?s web site, if the artist requests this at the time permission is granted. Artists should be cautioned about the need to maintain a persistent URL if they request direct linking to their own site.
  Validate. Must be a URL. http://www.sjmusart.org/
html/rights.html

http://www.whitney.org/
information/fs.html

http://www.wellesley.edu/
DavisMuseum/dmccrights.html

http://www.amico.org/
rights/macm.html

http://www.arsny.com/
1.0
What is it related to?
  RWG Related Works of Art     Y Group Does not contain data; groups fields documenting related works of art.   Validate. Null value only.   1.0
RWD Related - Works - Description     N RWG A narrative description of the relationship between this work and any others.
Not limited to related works in the AMICO Library.
  no conditions A companion panel in the Metropolitan Museum of Art depicts the next sequence of events in Joseph's life. Originally framed next to one another, these two panels would have been inserted into the paneling of a room in a Tuscan family's home.
A bronze version of the wax model of the Python and Gnu is now in the Walters Art Gallery in Baltimore.
Durer engravings of Adam & Eve (1504) at Montreal Museum of Fine Arts, Art Gallery of Ontario, Los Angeles County Museum of Art, Fine Arts Museums of San Francisco, Museum of Fine Arts, Boston, Minneapolis Institute of Arts, and The Metropolitan Museum of Art.
Model for a Mantel Clock (bozzetto); ca. 1700; artist: unknown French; J. Paul Getty Museum; Malibu (California, USA); 72.DB.52
Cabinet of American Illustration (Library of Congress)
1.0
RWR Related - Works - Relationship - Type     N RWG The kind of relationship; drawn from the list of Dublin Core Relationship types.
Make a sentence using the Relationship Type value to test its meaning ?This work ?isPartOf? the other work.?
See the list of Dublin Core Relationship Type.
DC. Relations Validate. DC Relations Type Value Table IsBasisFor
IsPartOf
IsReferencedBy
References
1.0
RWL Related - Works - Identifier / Link     N RWG An identifier for or link to the related work of art.
Include a single identifier here. If a work is related to multiple other works, include a separate Related Works Group for each work.
  Validate. AMICO Inst. Code, period, alpha-numeric AGO_.84/2
MIA_.82.104.19
CMA_.1998.119.3
AIC_.1965.400
CMA_.1916.1091.a
1.0
RIG Related Images   * Y Group Does not contain data; groups fields documenting related images. All AMICO works must have at least one related image.   Validate. Null value only.   1.0
RIP Related - Image - Preferred   * N RIG Indicates [yes/no] whether this is the preferred image of the work of art. Each work must have one preferred image, that will be used in lists and brief displays.
Use Y if this is the preferred Image, N if it is not.
One image per work MUST be indicated as preferred.
Y or N Validate. Y
N
1.0
RID Related - Image - Description   * N RIG The view of the work shown in this image: Full View, Detail, Recto, Verso, 360 degrees
Note: Maps to XDE in Multimedia Metadata Record.
  Validate. Views Value Table Full View
Detail
Aerial view
360 degrees
X-ray
1.0
RIR Related - Image - Relationship - Type   * N RIG If the original work is digital and the image is digital, this value is "HasVersion.
Make a sentence using the Relationship Type value to test its meaning ?This work ?HasFormat? which is the digital image.?
See the list of Dublin Core Relationship Types.
DC. Relations Validate. DC Relations Type Value Table HasFormat
HasVersion
1.0
RIL Related - Image - Identifier / Link   * N RIG The identifier of the related image. Note: maps to XID in Multimedia Metadata Record.
This field is used to link images to descriptions of works of art.
This value MUST match the filename EXACTLY, Case matters:.TIF does not equal .tif.
  Validate. AMICO Inst. Code, period, alpha-numeric, period, 3 char. MIME Type from Value list AIC_.E32636.TIF
SFMO.35.4516.tif
MBAM.04.TIF
WWAA.209c.tif
AGO_.Moore.73-70.TIF
1.0
RMG Related Multimedia     Y Group Does not contain data; groups fields documenting related multimedia files.   Validate. Null value only.   1.0
RMD Related - Multimedia - Description     N RMG A description of the related multimedia file.
Note: Maps to XDE in Multimedia Metadata Record.
  no conditions Video narrated by artist Bruce Conner describing the making of a related DeFeo work The Rose.
3-D construction of mummy's head based upon CT data
Museum Director and CEO, Evan Maurer, leads visitors through a personal tour of some of the most popular works in the collection.
?Vectors of Force? animation: Inspired by Giotto and the other mural painters of the early Renaissance, whose work he had studied when he traveled in Italy in 1929-21, in the Flower Carrier Rivera created a shallow pictorial space framing two monumental
360-degree QuickTimeVR object movie of 'Forever Free'
1.0
RMR Related - Multimedia - Relationship - Type     N RMG The relationship between this work and the related multimedia file, expressed using Dublin Core Relationship Types. Note: inverse in XRT of Multimedia Metadata Record
Make a sentence to determine the relationship type: ?This work of art isReferencedBy this artist?s interview.?
See the list of Dublin Core Relationship Types.
DC. Relations Validate. DC Relations Type Value Table IsReferencedBy
IsBasisFor
IsVersionOf
References
1.0
RML Related - Multimedia - Identifier / Link     N RMG The identifier of the related multimedia file. Note: maps to XID in Multimedia Metadata Record
This can point to an external, web accessible resource. If so, include the full URL including http:// Persistence of outside reference becomes responsibility of member. (Perhaps it is wise to only link to your own resources at present).
This value MUST match the filename EXACTLY, Case matters:.MOV does not equal .mov.
  Validate. AMICO Inst. Code, period, alpha-numeric, period, 3 char. MIME Type from Value list LACM.M74_103.a-b.wav
MIA_.9514.ram
SFMO.35.4516Rivera_vectors.mov
AIC_.1910.238 QT01.mov
http://www.ago.net/
michael/index.htm
1.0
RDG Related Documents     Y Group Does not contain data; groups fields describing related documents.   Validate. Null value only.   1.0
RDD Related - Document - Description     N RDG The description, or title with full citation, of the related document.
Note: Maps to XDE in Multimedia Metadata Record, if a surrogate for this document has been included in the AMICO Library.
Include one reference in each occurrence of the Related Documents group.
  no conditions. Conger. Edward Weston: Photographs, from the Collection of the CCP (1992), fig.619.
Shimada, Shujiro, ed. Zaigai Nihon no shiho (Japanese Art Treasures Abroad). Tokyo: Mainichi Shinbun, 1981, vol. 9, pl. 76.
New York, The Frick Collection. A Guide to Works of Art on Exhibition [checklist]. 1997, n.p.
Gertrude Stein on Picasso, ed. Edward Burns (New York: Liveright, 1970).
New York, The Frick Collection. Art in the Frick Collection: Paintings, Sculpture, Decorative Arts [cat.]. Comps. C. Ryskamp, et al., 1996, p.124.
1.0
RDR Related - Document - Relationship - Type     N RDG A description of the relationship between the work and the related document, expressed using Dublin Core Relationship Types. Note: inverse of XRT in Multimedia Metadata Record
Make a sentence to express the relationship between the work and the document: e.g. if a work is referred to in a documentary souce, this work ?isReferencedBy? this document.
If a work is reproduced in a published source, This work ?HasVersion? of this published work.
See the list of Dublin Core Relationship Types.
DC. Relations Validate. DC Relations Type Value Table References
IsReferencedBy
IsVersionOf
1.0
RDL Related - Document - Identifier / Link     N RDG The Identifier of the Related Document.
Note: maps to XID in Multimedia Metadata Record.
This value MUST match that of the filename EXACTLY, Case matters:.PDF does not equal .pdf.
  Validate. AMICO Inst. Code, period, alpha-numeric, period, 3 char. MIME Type from Value list SFMO.45.1308PollockOverview.rtf
MIA_.doc3419.sgml
LACM.M74_103a-b(2).pdf
1.0
Who documented it?
  DCG Documentation / Cataloguing - History     Y Group Does not contain data; groups fields recording the documentation history of the work.   Validate. Null value only.   1.0
DCB Documented / Cataloged By     N DCG The name of the person who documented the work.   no conditions. Sandra Jaggi
Gregory Tschann
Adrienne Jeske
Carol Farinella
Hsiu-Ling Huang
1.0
DCD Documented / Cataloged - Date     N DCG The date the work was documented. date Validate. YYYYMMDD 19870415
20000104
19970727
19990303
19910817
1.0
Version Control?
  AVD AMICO - Validated - Date   * N   The date the catalog record for a work of art was validated.
Entered by AMICO when the record is loaded.
date Validate. YYYYMMDD 19990224
19990327
20000218
20001007
19990602
1.1
AVV Validation - Dictionary - Version   * N   The version of the AMICO data dictionary in which the work is documented.
Entered by AMICO when a record is validated.
numeric Validate. Numeric 1.0
1.2
1.3
1.1
ADP AMICO Data Processing     Y   A record of any data processing or parsing done by AMICO; includes notes of errors, warnings, and additions through parsing routines.
Entered by AMICO.
    ERROR: CRT: 'CRT' is a required field but does not appear in at least one group!
ERROR: OTY: 'OTY' cannot repeat in the same record!
ERROR: CBD: '1430 c' does not represent a valid date of the form YYYYMMDD!
NOTE: RIP: 'yes' should be 'Y' - Changing it to 'Y'!
PARSE: OCT: Parsed OCT into OCS & OCE
1.1
DEL AMICO Deletion Flag     N   A flag that indicates a record should be removed from all public distributions of the Library.
Auto-entered by the Member when records are withdrawn using the Contribution Managment System.
Y=deleted record
flag Y/N   Y 1.1
ALY AMICO Library Year   * N   Records the first year in which a work was included in the AMICO Library.
This value MUST be supplied by the Member if a record has been contributed to AMICO previously.
AMICO adds the current library year by default when a record is loaded if this value is not present.
numeric Validate. Numeric 4 digits exactly 1998
1999
2000
1.3

Metadata Record

Catalog Record | Return to Data Spec.

Media Metadata Record fields (one record for each related image or media file)

The AMICO Media Metadata record is based on the Dublin Core.

    TAG Field
Name
Min. Cite Core? Rep eat? Group Definition / Guidelines Reference
File
Data Processing Req. Examples Ver.
    XID DC . Resource . Identifier   * N   The identifier of the metadata record, and the name of the file to which it referrs. Prefixed by the four-letter code of the AMICO Member.
Maps to RIL, RML or RDL in catalog record, and corresponds to the file name of the related digital object.
Validation ensures conformity to file naming conventions
This value MUST match that of the filename EXACTLY, Case matters:.TIF does not equal .tif.
Validate. Compare Prefix to listof valid members. MMA_.39504.TIF
AIC_.MUM98r.MOV
DMCC.3625.14.tif
AKAG.1998.7.tif
1.1
XTI DC . Title     Y   The title or name of the work in the media file
Use this field to record a proper title for the image or multimedia object.
If the digital object does not have a title, record a description in DC.Description (XDE).
    Clue Poem: based on The Rose
Ben B. Johnson and Jonathan E. Ericson, 'Technical Comments on the Lidow Ting,' Los Angeles County Museum of Art Bulletin 23 (1976): 6-29.
1.1
XCN DC . Creator     Y Group Does not contain data; groups fields documenting the creation of the media file.       1.1
XCP DC . Creator . PersonalName     Y XCN The Personal Name of the creator of media file.
Record the name, in index order, of the person primarily responsible for creating the media file
Record individuals who only made a contribution to creating the media file should be acknowledged in DC.Contributor. PersonalName (XDP).
Creator Reference File Compare against Creator Reference File. Page Wilson, Ellen
Varon, Malcolm
1.1
XCC DC . Creator . CorporateName     Y XCN The Corporate Name of the Creator of the media file.
Record the name, in index form, of the corporate body responsible for creating the digital object.
Organizations who only made a contribution to creating the media file should be acknowledged in DC.Contributor. CorporateName (XDC).
Creator Reference File Compare against Creator Reference File. Antenna Audio
Art Institute of Chicago
Farveloratoriet, Paris
Rush-Presbyterian-St. Luke's Medical Center
Sandak, Inc.
1.1
XCR DC . Creator . Role     Y XCN The role the named creator played in the making of the media file.
Record only the specific role played in relation to this particular digital object, not all roles played by this individual or corporate body.
    Author
Narrator
Producer
Scanner
Sponsor
1.1
XDE DC . Description   * Y   A narrative description of the contents of the media file.
Maps to Related Image Description (RID), Related Media Description (RMD), or Related Documetn Description (RDD) in the catalog record for the work of art referenced by this media file.
    Full View
Detail: Kibi reads Chinese text
Verso
360 degree view
View depicting old man in cloak with stick
1.1
XPU DC . Publisher   * N   The name of the institution that made the media file available; I.e. the name of the contributing AMICO member.
Record the full name of your institution. Do not use an abbreviation such as your AMICO four-letter code.
    Art Institute of Chicago
The Detroit Institute of Arts
Center for Creative Photography
Walker Art Center
Davis Museum and Cultural Center, Wellesley College
1.1
XDN DC . Contributor     Y Group Does not contain data; groups fields documenting other contributions to the creation of the media file.       1.1
XDP DC . Contributor . Personal Name     Y XDN The Personal Name of a contributor to the creation of the media file
Record people with primary responsibility for creating the work in DC.Creator Personal Name (XCP).
Creator Reference File Compare against CRF Allison, David 1.1
XDC DC . Contributor . CorporateName     Y XDN The Corporate Name of a contributor to the creation of the media file.
Record organizations with primary responsibility for creating the work in DC.Creator Corporate Name (XCC).
Creator Reference File Compare against CRF Helga Studios 1.1
XDR DC . Contributor . Role     Y XDN The role played by the contributor in the creation of the media file.     Photographer
Color corrector
1.1
XDA DC . Date     Y   The date that the media file was created in this particular format.
Enbter the date in the format YYYYMMDD.
Validate.   1999
19980303
20010306
1.1
XRT DC . ResourceType   * N   A "genre-like term, characterizing the content of the media file. For example, analytical report; critical review; interview; letter; lecture; portrait; reproduction     Reproduction
Curatorial interpretation
Interview
Video still
Gallery Tour
1.1
XAM AMICO . Mode   * N   A term indicating the modality in which a person will experience the resource. audio; image; model; multimedia; text; video Validate.   Image
Audio
Video
Multimedia
1.1
XFO DC . Format     Y   Not Used: AMICO records format in specific sub-elements.       1.1
XFE AMICO . Format . Encoding   * N XFO The manner in which the data in the media file is encoded. E.g. gif; tiff; jfif; ascii
The "main image" contributed to AMICO is an uncompressed TIFF file.
Validate.   TIFF
JFIF
PDF
1.1
XFP AMICO . Format . ColorPalette     N XFO The color palette of the media file. E.g. RGB, CMYK, Grayscale     RGB
LAB
256 shades of gray
monochrome
black-and-white
1.1
XCM AMICO . Format . ColorMetric     N XFO The manner in which the color data is represented; e.g., 24-bit, 8-bit.     24-bit
16-bit
1.1
XFD AMICO . Format . Dimensions   * N XFO The dimensions of the media file: For an image, the spatial resolution of the image, e.g. 1024 x 768; 640 x 480; etc.     1024 x 768
831 x 768
969 X 766
1527 x 1203
768 X 1112
1.1
XFF AMICO . Format . FileSize   * N XFO The storage size of the media file.     2.7 MB
1.8 MB
5.3 MB
2.44 MB
873K
1.1
XFC AMICO . Format . Compression   * N XFO The algorithm or method used when the media file was stored, if its data has been compressed.
The "main image" contributed to AMICO is an uncompressed TIFF file.
Validate.   JPEG
MPEG
QT
none
1.1
XRE DC . Relation   Y Group Does not contain data; used to group fields documenting relationships.       1.1
XRY DC . Relation . Type   * N XRE The kind of relationship, expressed as a Dublin Core Relationship type. Note: this is the inverse of the relation in the record pointed to by the Relation.Identifier.
Make a sentence to determine the correct Relationship Type value. This image IsFormatOf that work of art.
See the list of Dublin Core Relationship Types.
DC. Relations   IsFormatOf
IsVersionOf
References
1.1
XRI DC . Relation . Identifier   * N XRE The identifier of the related work, image, metadata or sound; If within the AMICO Library, this must conform to naming conventions; warning produced if points outside AMICO dataset. Validate.   AIC_.253846v
DIA_.1994.33
BMFA.61.495
WAC_97.121
DMCC.1996.41
1.1
XRS DC . Rights * * Y   Text of rights statement for this media file.
Do not include copyright of the work of art here. This is recorded in the Object Rights Statement (ORS) of the catalog record.
    Copyright Art Institute of Chicago
Copyright Detroit Institute Of Arts
Copyright Museum of Fine Arts, Boston
Copyright Museum of Contemporary Art, San Diego and the artist
1.1
XMN AMICO . Media . Note     N   Capture details and other matters of importance for understanding the quality/content of the digital file.     This material was created by the Education Department, Whitney Museum of American Art in collaboration with Intel Corporation.
Includes captioning
1.1
Version Control?
  XVD AMICO Metadata Validation Date   * N   Added by AMICO: Date the record was validated and loaded into The AMICO Library. Validate.   19980506
19990623
19990817
20000629
19990304
1.1
XVV AMICO Data Dictionary Version   * N   Version of the Data Dictionary against which the record was validated. numeric   1.2
1.3
1.1
1.1
XPR Metadata Data Processing Note   * Y   Documents data processing routines, errors and additions through parsing routines.
Added by AMICO when necessary to record parsing or other corrections.
    WARNING: XRI does not point to a valid AID 1.1
XDL Metadata Deletion Flag     N   Entered by AMICO. Indicates that a record should be removed from all public distributions of the library.
To remove a metadata record, use Withdraw Record from the main menu of the Contribution Management System.
Y=deleted record
flag Y/N   Y 1.1
XLY Metadata Library Year   * N   Indicates which library year this record was originally received in.
Entered by AMICO when records loaded if not present in records.
Supplied by member when updates contributed to the AMICO Library.
AMICO adds the current library year by default if this field is blank when a record is loaded.
numeric Validate. 4 digits only 1998
1999
2000
1.3

Catalog Record fields | Metadata Record fields | Return to Data Spec.

     

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