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The levitation theme is still fruitful, giving us, now, a canvas called in the catalogue "Summer Days". Mr. Stieglitz says he doesn't in the least like that title. In fact he admitted yesterday: "I hate it". Mr. Stieglitz hopes that each visitor to the gallery will supply a title of his
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for US$ 350,000. After being temporarily displayed in one of the museum's main galleries, financial disputes within the institution ultimately led to the acquisition being cancelled and the painting was soon returned to the artist. In 1983, the work was purchased by the
American
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potential. At the same time, O'Keeffe maintained that she did not intend for these motifs to carry any specific symbolism. Speaking to her interest in incorporating depictions of skulls and bones into her paintings, O'Keeffe wrote in 1939, two years after
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was first exhibited, that "The bones seem to cut sharply to the center of something that is keenly alive in the desert even tho' it is vast and empty and untouchable—and knows no kindness with all its beauty". She would later describe
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potential. O'Keeffe, who never assigned any specific symbolic meaning to her use of skeletal motifs, associated the inclusion of bones in her artwork with the raw, alive essence of the desert, and later defined
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and other compositions from that period, "directly tap into the mass culture's utopian vision of the West" already cultivated in numerous
American literary works and movies made between the 1920s and 1950s.
412:(1936). O'Keeffe's use of the skull motifs, which she introduced to her work in 1931 after bringing home bones collected from a New Mexico desert, was a subject of critical debate during the late 1930s.
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for the first time. She would subsequently visit New Mexico on near annual basis from 1929 onward, often staying there several months at a time, returning to New York each winter to exhibit her work at
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following the exhibition's opening, and hoped that exhibition viewers would "supply" a title of their own. The painting has been described as representing a "distinctive iconography of the
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When commenting on O'Keeffe's use of flowers in the composition, a very popular subject matter in her work, Peters speculates that the largest red flower, which she identifies as an
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art which had to do with "suggestion, allusion, and equivalence", indicating that the artist was sympathetic to the
Symbolist belief in the "curative" properties of form and color.
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and diminutive positive form floating in deep space" typical of some
Surrealist paintings. Predating Surrealism, Whitaker points to O'Keeffe's long-standing interest in 19th-century
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so as to deceive the viewer into thinking the painted space is real—was not well suited to evoke the emotional response O'Keeffe "hoped for in the dialogue between nature and art".
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in New York, an exhibition venue established by
Stieglitz in 1929. Stieglitz is said to have disliked the painting's title, a sentiment he expressed openly to a journalist from
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painting. Author
Marjorie P. Balge-Crozier suggests that there is an art historical precedent to O'Keefe's combination of still life and landscape imagery seen in
235:, which were often drawn from and related to places and environments in which she lived. During the 1920s, O'Keeffe's work was actively promoted by her husband,
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In her analysis of O'Keeffe's 1936 composition, Balge-Crozier also discusses the relevance of the
American late 19th-century "trophy paintings" of artists like
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295:, resulting in a new series of works, in which the artist combined and juxtaposed various landscapes motifs of the New Mexico desert and skeletal imagery.
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Following its first display at An
American Place in 1937, the painting remained with O'Keeffe for several decades. It was later featured on the cover of
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has prompted various interpretations. While some art historians and critics see them as commonplace desert elements, others emphasize the painting's
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508:. At the same time, Balge-Crozier notes that trompe-l'oeil—a tradition of painting in which the artist depicts objects with the highest degree of
239:, who was a prominent New York photographer and gallerist. Through Stieglitz, O'Keeffe met numerous prominent contemporary artists, including
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of other artists was encouraged and practiced in
Stieglitz's New York circle, to which O'Keeffe belonged. Scholar and political scientist
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Some art critics interpreted the inclusion of animal skulls as mundane elements of a desert landscape while others speculated about their
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in which the artists combined "foreground displays of food, dead game, and dogs with background views of landscape or architecture".
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and bones collected in the New Mexico desert, began appearing in O'Keeffe's work in 1931. By the early 1930s, the news of
Stieglitz's
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is also noted by scholar Henry W. Peacock who finds a parallel between the visual components of O'Keeffe's 1936 painting and the "
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684:
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Norris, Kathleen, Wagner M., Anne, Peters, Sarah Whitaker (1999). "Georgia O'Keeffe. Summer Days. 1936". In Venn, Beth (ed.).
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attempted to acquire the painting in 1980, but financial disagreements within the museum led to its return to O'Keeffe.
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Sarah Whitaker Peters describes as "two uneven spaces". The top three-fourths of the painting consist of a large and
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in New York in 1933. Since the mid-1930s, she began to spend increasingly more time around Santa Fe, particularly at
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argues that the artist's juxtaposition of skeletal imagery from the desert and flowers against the landscape of the
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demonstrates O'Keeffe's "awareness of the incongruous aesthetic juxtapositions" present in the work of contemporary
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painter and draftswoman whose career spanned seven decades and whose work remained largely independent of major
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Frames of Reference: Looking at American art, 1900-1950. Works from the Whitney Museum of American Art
219:. As art historian Lisa Messinger notes, much of O'Keeffe's art was predicated on finding "essential,
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Art historian Britta Benke argues that due to "its meditative contemplation of individual objects",
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of the artist's career published by Viking Press. In 1980, curator Ellen Bradbury and architect
266:. That year, in part motivated by her desire to spend time away from Stieglitz, she traveled to
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Balge-Crozier, Marjorie P. (1999). "Still Life Redefined". In Turner, Elizabeth Hutton (ed.).
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in 1937 and remained with O'Keeffe for numerous years, later featuring on the cover of her
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944:. New York: Whitney Museum of American Art and Yale University Press. pp. 286–288.
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landscape. According to Peters, the red hills shown in the composition are evocative of
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Discussing possible 20th-century inspirations, art historian Sasha Nicholas notes that
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and his followers. Specifically, she references Harnett's 1885 composition titled
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in 1994. It has been described as one of O'Keeffe's most recognized paintings.
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76.5 cm × 91.8 cm (30.1 in × 36.1 in)
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in New York. It has since been a part of the Whitney's permanent collection.
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By 1929, her marriage had deteriorated after she found out about Stieglitz's
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is among several landscape paintings featuring animal skulls and inspired by
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865:. Berkeley, California: University of California Press. pp. 186–195.
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In particular, she points to the work of the French 18th-century painters
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artists in the United States and Europe. The influence of Surrealism in
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hovering below. The skull and flowers are suspended over a mountainous
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painted in red and yellow are seen floating against "an indeterminate
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Nicholas, Sasha (2015). "Georgia O'Keeffe". In Miller, Dana (ed.).
823:. New Haven and New York: Yale University Press. pp. 317–319.
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forms in nature" usually expressed through meticulous paintings of
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had taken a significant emotional toll on O'Keeffe who suffered a
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1060:. New Haven, Connecticut: Yale University Press. pp. 63–65.
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Shows of Force. Power, Politics, and Ideology in Art Exhibitions
316:, 1923 is an early example of O'Keeffe's flower-inspired works (
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363:. Peters further suggests that the depicted flowers include a
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space". The bottom fourth of the composition is occupied by a
1110:. Durham, North Carolina: Duke University Press. p. 75.
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rock formations similar to the landscape environment of the
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Whitney Museum of American Art: Handbook of the Collection
327:, which O'Keeffe completed in 1936, is divided into what
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landscape occupying the lower part of the composition.
1003:
Portrait of an Artist. A Biography of Georgia O'Keeffe
1138:. Santa Fe, New Mexico: Sunstone Press. p. 450.
736:. New York, New York: Chelsea House. pp. 95–96.
447:
Still Life with Dead Game and Peaches in a Landscape
148:
The juxtaposition of skull and landscape imagery in
1085:. Washington, D.C.: Whalesback Books. p. 144.
1028:Georgia O'Keeffe, 1887-1986: Flowers in the Desert
1005:. New York: Washington Square Press. p. 294.
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339:extending toward the top edge of the canvas. Six
145:desert O'Keeffe completed between 1934 and 1936.
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798:. New York, NY: W. W. Norton. pp. 294–296.
796:Full Bloom: The Art and Life of Georgia O'Keeffe
711:. New York, New York: W.W. Norton. p. 536.
709:Full Bloom: The Art and Life of Georgia O'Keeffe
1581:Paintings in the Whitney Museum of American Art
1136:Georgia O'Keeffe, A Private Friendship, Part II
335:rendition of a large buck deer skull with its
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1106:Luke, Timothy W. (1992). "Georgia O'Keeffe".
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504:, and other objects commonly associated with
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885:: CS1 maint: multiple names: authors list (
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1166:. New York: Whitney Museum of American Art
821:Carr, O'Keeffe, Kahlo. Places of Their Own
776:. New York: The Metropolitan Museum of Art
605:for US$ 1 million. In 1994, Klein donated
29:
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192:was eventually purchased by the American
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129:juxtaposed with a vibrant assortment of
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652:Georgia O'Keeffe, Hands and Horse Skull
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496:representations of "dead game" against
275:. The skull motifs, inspired by animal
165:as simply a "portrayal of summertime".
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1058:Georgia O'Keeffe: The Poetry of Things
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18:Painting by Georgia O'Keeffe from 1936
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1160:"Georgia O'Keeffe, Summer Days, 1936"
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433:simply as a "picture of summertime".
318:Pennsylvania Academy of the Fine Arts
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199:in 1983, who later donated it to the
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685:Flower paintings of Georgia O'Keeffe
369:(known as "Indian paintbrush"), two
114:by the American 20th-century artist
900:Jewell, Edward Alden (1937-02-06).
13:
1380:New York skyscraper paintings
1152:
1124:
1044:
794:Drohojowska-Philp, Hunter (2004).
707:Drohojowska-Philp, Hunter (2004).
636:Fine Arts Museums of San Francisco
14:
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1333:University of Virginia, 1912–1914
1291:Cow's Skull: Red, White, and Blue
1030:. Köln: Taschen. pp. 63–64.
958:
930:
902:"Georgia O'Keeffe Shows New Work"
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774:Heilbrunn Timeline of Art History
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287:in 1932 and was hospitalized for
211:Georgia O'Keeffe was an American
172:'s New York gallery space called
1411:Georgia O'Keeffe Home and Studio
1368: paintings (1916–1918)
1354: paintings (1915–1927)
768:Messinger, Lisa (October 2004).
643:
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564:hills in New Mexico, evident in
168:The work was first exhibited at
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1019:
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819:Udall, Sharyn Rohlfsen (2000).
379:(known as "little sunflower").
968:Tomkins, Calvin (1974-02-25).
893:
812:
787:
770:"Georgia O'Keeffe (1887–1986)"
725:
656:The Metropolitan Museum of Art
611:Whitney Museum of American Art
589:negotiated the acquisition of
303:
201:Whitney Museum of American Art
86:Whitney Museum of American Art
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1601:Paintings by Georgia O'Keeffe
1134:Reily, Nancy Hopkins (2009).
690:
595:Museum of Fine Arts, Santa Fe
186:Museum of Fine Arts, Santa Fe
475:Alexandre-François Desportes
382:
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970:"Georgia O'Keeffe's Vision"
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506:American hunting traditions
390:was first shown in 1937 at
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1373:Light Coming on the Plains
1164:Collection, Whitney Museum
1081:Peacock, Henry W. (1995).
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437:Influences and scholarship
376:Helianthella quinquenervis
180:book published in 1976 by
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630:William Michael Harnett,
410:Deer's Head with Pedernal
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1542:Georgia O'Keeffe - Hands
1534:Georgia O'Keeffe - Torso
1362: series (1916)
451:Birmingham Museum of Art
406:Rams Head with Hollyhock
1421:Georgia O'Keeffe Museum
732:Abrams, Dennis (2009).
680:Georgia O'Keeffe Museum
634:, Oil on canvas, 1885 (
486:William Michael Harnett
449:, Oil on canvas, 1727 (
1596:20th-century paintings
1259:My Shanty, Lake George
1026:Benke, Britta (2000).
1001:Lisle, Laurie (1997).
587:Edward Larrabee Barnes
581:, an illustrated 1976
465:composition than to a
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321:
1235:Red and Orange Streak
445:Jean-Baptiste Oudry,
444:
311:
262:with a fellow artist
1591:Still life paintings
1243:Blue and Green Music
654:, photograph, 1931 (
573:History of ownership
544:non-representational
1586:Landscape paintings
1469:Katherine Stieglitz
479:Jean-Baptiste Oudry
273:Stieglitz's gallery
260:extramarital affair
1396:series (1960–1977)
1346: (1915–1950s)
906:The New York Times
650:Alfred Stieglitz,
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402:American Southwest
397:The New York Times
322:
253:Edward J. Steichen
207:Historical context
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1545:(1919 photograph)
1537:(1918 photograph)
1497:Mabel Dodge Luhan
1382: (1925–1928)
1338:Charcoal drawings
1329: (1903–1912)
1283:The Lawrence Tree
1246: (1919–1921)
1145:978-0-86534-452-5
1117:978-0-8223-1123-2
1092:978-0-929590-14-1
1083:Art as Expression
1067:978-0-300-07935-7
1037:978-3-8228-5861-5
951:978-0-300-21183-2
872:978-0-520-21888-8
805:978-0-393-32741-0
743:978-1-60413-336-3
718:978-0-393-32741-0
540:Indian paintbrush
392:An American Place
312:Georgia O'Keefe,
285:nervous breakdown
174:An American Place
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1463:Alfred Stieglitz
1393:Sky Above Clouds
1366:Palo Duro Canyon
1344:Flower paintings
1275:Oriental Poppies
1212:Georgia O'Keeffe
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1558:Ghost Ranch
1553:(2009 film)
1512:Paul Strand
1447:Ghost Ranch
1327:Early works
1307:Summer Days
1299:Jimson Weed
607:Summer Days
591:Summer Days
566:Summer Days
525:Summer Days
517:Summer Days
459:Summer Days
431:Summer Days
426:Summer Days
408:(1935) and
388:Summer Days
361:Ghost Ranch
353:mountainous
341:wildflowers
325:Summer Days
304:Description
293:Ghost Ranch
241:Arthur Dove
190:Summer Days
178:monographic
163:Summer Days
150:Summer Days
139:Summer Days
131:wildflowers
125:with large
107:Summer Days
24:Summer Days
1575:Categories
1267:Black Iris
1170:2023-05-27
987:2023-05-27
919:2023-06-27
780:2023-05-29
691:References
675:Still life
521:Surrealist
463:still life
366:Castilleja
225:landscapes
143:New Mexico
110:is a 1936
74:Dimensions
1465:(husband)
1351:Red Canna
1219:Paintings
982:0028-792X
914:0362-4331
881:cite book
583:monograph
547:portraits
533:Symbolist
467:landscape
383:Reception
347:" and a "
314:Red Canna
213:modernist
120:buck deer
96:Accession
68:Modernism
1477:(sister)
1425:Santa Fe
1320:of works
1227:The Flag
664:See also
593:for the
421:mystical
373:, and a
357:Mesozoic
299:Analysis
281:adultery
268:Santa Fe
221:abstract
158:mystical
90:New York
82:Location
63:Movement
1526:Related
1485:Friends
1415:Abiquiú
1404:Museums
1251:A Storm
617:Gallery
609:to the
562:Abiquiu
498:weapons
337:antlers
229:flowers
127:antlers
1456:Family
1435:Places
1376:(1917)
1318:Groups
1310:(1936)
1302:(1936)
1294:(1931)
1230:(1918)
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371:asters
277:skulls
251:, and
231:, and
184:. The
135:desert
99:94.171
54:Medium
38:Artist
233:bones
123:skull
1359:Blue
1140:ISBN
1112:ISBN
1087:ISBN
1062:ISBN
1032:ISBN
1007:ISBN
978:ISSN
946:ISBN
925:own.
910:ISSN
887:link
867:ISBN
825:ISBN
800:ISBN
738:ISBN
713:ISBN
558:mesa
502:horn
500:, a
477:and
345:mist
49:1936
46:Year
560:or
419:or
156:or
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