1media/Credit Lines of 1949 (Part 2 of 3)_thumb.png2020-05-01T09:36:51-07:00Calvin Olsenb5c5f3583225f37f1f8a2a51ca3fc4b14f902087373442Visualization created by Madison Storrs using Tableau software, April 2020plain2020-05-01T14:15:28-07:00Calvin Olsenb5c5f3583225f37f1f8a2a51ca3fc4b14f902087
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1media/View_of_audience_at_ceremonies_for_the_lighting_of_the_White_House_Christmas_Tree._-_NARA_-_199666.jpg2020-04-23T07:28:28-07:00Meet the Donors12gallery2020-05-01T09:51:40-07:00
Above you will see our sixth visualized bit of data, that of art acquired by the MoMA as it pertains to the credit line each year between 1940 and 1949. It should be noted that for the latter of these two listed years, we chose to separate the visualization into three different parts within the same time frame. We did so because there were simply too many transactions going on that year to create a self-contained image on the platform used to generate the information. We also have chosen to represent this information in a bubble-cloud format, as this goes to show proportionally who all was gifting art during this decade in addition to direct asks by the museum itself.
Like the large, static maps highlighting the nationalities of the artists being presented during this time, one can see this information represented over time during 1940, 1945, and 1949 and a percentage scale out of one-hundred. It seems as though through the first five years of this decade, the “Abby Aldrich Rockefeller Donation” ran the gamut, so to speak. In the last years of the 40s, the MoMA was mostly purchasing works of art before the new decade began. Of course, many other transactions were made across the board, but these two items speak for themselves.