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0601_T

Covered jar with carp design

How does Covered jar with carp design elucidate its Description?

The base of the jar is emblazoned with the reign mark Da Ming Jiajing nianzhi, or "Made during the Jiajing reign of the great Ming dynasty," in two columns, but the distinctive style would have made the time period clear enough without that label. While underglaze blue designs and overglaze enamel paintings began to appear on Chinese porcelain in the fifteenth century, during the sixteenth they became markedly bolder and more exuberant in design and color. This was a complex process, requiring multiple firings. For the first firing, a clear glaze over a cobalt-based paint resulted in vivid blue designs on the white porcelain. Before the second firing, translucent enamels applied over the glaze resulted in a range of brilliant colors. The end result is this vivid design, the swimming carp depicted from an angle that makes it appear the jar is transparent.

0601_NT

Covered jar with carp design

How does this artwork elucidate its Description?

The base of the jar is emblazoned with the reign mark Da Ming Jiajing nianzhi, or "Made during the Jiajing reign of the great Ming dynasty," in two columns, but the distinctive style would have made the time period clear enough without that label. While underglaze blue designs and overglaze enamel paintings began to appear on Chinese porcelain in the fifteenth century, during the sixteenth they became markedly bolder and more exuberant in design and color. This was a complex process, requiring multiple firings. For the first firing, a clear glaze over a cobalt-based paint resulted in vivid blue designs on the white porcelain. Before the second firing, translucent enamels applied over the glaze resulted in a range of brilliant colors. The end result is this vivid design, the swimming carp depicted from an angle that makes it appear the jar is transparent.

0602_T

Covered jar with carp design

Focus on Covered jar with carp design and analyze the Historical information.

Since Jiajing was a devout Taoist, motifs popular in that tradition became widespread during his reign. While fish came with many associations, including pleasure, abundance, success, and royalty, one of the best-known associations comes from the fourth-century BC Taoist philosophers Zhuangzi and Huizi. Zhuangzi said, “See how the fish swim as they please. That’s what fish really enjoy.” When Huizi asked, “How do you know what fish enjoy?” Zhuangzi replied, “You’re not I, so how do you know I don’t know what fish enjoy?”

0602_NT

Covered jar with carp design

Focus on this artwork and analyze the Historical information.

Since Jiajing was a devout Taoist, motifs popular in that tradition became widespread during his reign. While fish came with many associations, including pleasure, abundance, success, and royalty, one of the best-known associations comes from the fourth-century BC Taoist philosophers Zhuangzi and Huizi. Zhuangzi said, “See how the fish swim as they please. That’s what fish really enjoy.” When Huizi asked, “How do you know what fish enjoy?” Zhuangzi replied, “You’re not I, so how do you know I don’t know what fish enjoy?”

0603_T

Covered jar with carp design

In Covered jar with carp design, how is the Acquisition discussed?

The jar was given to the IMA in by Mr. and Mrs. Eli Lilly in 1960. It has the accession numbers 60.88A-B, and is currently on view in the Valeria J. Medveckis Gallery.

0603_NT

Covered jar with carp design

In this artwork, how is the Acquisition discussed?

The jar was given to the IMA in by Mr. and Mrs. Eli Lilly in 1960. It has the accession numbers 60.88A-B, and is currently on view in the Valeria J. Medveckis Gallery.

0604_T

The Blackcurrant Pie

Focus on The Blackcurrant Pie and explore the abstract.

The Blackcurrant Pie is a 1641 still life painting by the Dutch artist Willem Claesz. Heda. It is now in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 1745.The painting is representative of the mature Heda's style. The setting and the objects reappear with variants in several of Heda's paintings of that period (see below). The Blackcurrant Pie does not simply depict a still life with a great emphasis on texture and reflections, but also expresses the transience of all things (the lemon is peeled and cut in half, the rummer is half empty, the pie is partly eaten); it serves as an allegory.

0604_NT

The Blackcurrant Pie

Focus on this artwork and explore the abstract.

The Blackcurrant Pie is a 1641 still life painting by the Dutch artist Willem Claesz. Heda. It is now in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 1745.The painting is representative of the mature Heda's style. The setting and the objects reappear with variants in several of Heda's paintings of that period (see below). The Blackcurrant Pie does not simply depict a still life with a great emphasis on texture and reflections, but also expresses the transience of all things (the lemon is peeled and cut in half, the rummer is half empty, the pie is partly eaten); it serves as an allegory.

0605_T

Jason with the Golden Fleece (Thorvaldsen)

Explore the abstract of this artwork, Jason with the Golden Fleece (Thorvaldsen).

Jason with the Golden Fleece is a sculpture by Bertel Thorvaldsen. A lifesize clay version created in 1803 is considered to be the artist's first great work. The larger marble statue, reaching a height of 242 cm (95 in), was however not completed until 1828.

0605_NT

Jason with the Golden Fleece (Thorvaldsen)

Explore the abstract of this artwork.

Jason with the Golden Fleece is a sculpture by Bertel Thorvaldsen. A lifesize clay version created in 1803 is considered to be the artist's first great work. The larger marble statue, reaching a height of 242 cm (95 in), was however not completed until 1828.

0606_T

Jason with the Golden Fleece (Thorvaldsen)

Focus on Jason with the Golden Fleece (Thorvaldsen) and discuss the History.

The sculpture expresses the principle themes of the Ancient Greek myth of Jason recounted by the Alexandrian poet Apollonius of Rhodes, about a hero who traveled on a voyage in search of the Golden Fleece in an attempt to help his father recover his kingdom from King Pelias. A vase painting of Jason from the 3rd century BC depicts Jason removing the Golden Fleece from the sacred tree.Thorvaldsen's work was initially executed for the Copenhagen Academy to demonstrate his progress; a marble version was subsequently commissioned by Thomas Hope, a wealthy English art patron. When Hope's eventual heirs dispersed his collection at Deepdene, Surrey, in 1917, it was acquired by Copenhagen's Thorvaldsen Museum at auction.

0606_NT

Jason with the Golden Fleece (Thorvaldsen)

Focus on this artwork and discuss the History.

The sculpture expresses the principle themes of the Ancient Greek myth of Jason recounted by the Alexandrian poet Apollonius of Rhodes, about a hero who traveled on a voyage in search of the Golden Fleece in an attempt to help his father recover his kingdom from King Pelias. A vase painting of Jason from the 3rd century BC depicts Jason removing the Golden Fleece from the sacred tree.Thorvaldsen's work was initially executed for the Copenhagen Academy to demonstrate his progress; a marble version was subsequently commissioned by Thomas Hope, a wealthy English art patron. When Hope's eventual heirs dispersed his collection at Deepdene, Surrey, in 1917, it was acquired by Copenhagen's Thorvaldsen Museum at auction.

0607_T

Jason with the Golden Fleece (Thorvaldsen)

How does Jason with the Golden Fleece (Thorvaldsen) elucidate its The work?

Considered to be Thorvaldsen's breakthrough work, the statue's theme stems from a drawing of Jason and the Golden Fleece by Asmus Jacob Carstens but the esthetic of the nude figure is also inspired by the Apollo Belvedere and Doryphoros, both from antiquity; the archaeologist Georg Zoëga also played an important role, expanding Thorwaldsen's knowledge of ancient history and culture.

0607_NT

Jason with the Golden Fleece (Thorvaldsen)

How does this artwork elucidate its The work?

Considered to be Thorvaldsen's breakthrough work, the statue's theme stems from a drawing of Jason and the Golden Fleece by Asmus Jacob Carstens but the esthetic of the nude figure is also inspired by the Apollo Belvedere and Doryphoros, both from antiquity; the archaeologist Georg Zoëga also played an important role, expanding Thorwaldsen's knowledge of ancient history and culture.

0608_T

Jason with the Golden Fleece (Thorvaldsen)

Focus on Jason with the Golden Fleece (Thorvaldsen) and analyze the Danish Culture Canon.

In the first decade of the 21st century, the work was included in the semi-official Danish Culture Canon. In selecting the work, the Culture Canon committee commented on Thorvaldsen's white, sharp, intense and rhythmic lines, evoking a distant, heroic figure. At the time Thorvaldsen created the statue, Denmark was evolving from absolute monarchy into a period of liberalism revolving around the individual citizen's view of the world. Similarly, the sculptor brings his monumental works down to an individual level. His first model of the statue (in clay) was completed in 1803. The marble version followed in 1828.In the statue, Jason appears to be frozen somewhere between rest and movement. The fight is won and he is returning home with his prey over his arm. Expressing both physical and mental calm, he is the prototype of the classical hero. The sculpture is fully balanced: no matter where your eyes fall, you can find a corresponding element. For example, the lance is reflected in the chest strap, the fleece in tree stump. and the curled tip of the helmet in the horns of the ram.

0608_NT

Jason with the Golden Fleece (Thorvaldsen)

Focus on this artwork and analyze the Danish Culture Canon.

In the first decade of the 21st century, the work was included in the semi-official Danish Culture Canon. In selecting the work, the Culture Canon committee commented on Thorvaldsen's white, sharp, intense and rhythmic lines, evoking a distant, heroic figure. At the time Thorvaldsen created the statue, Denmark was evolving from absolute monarchy into a period of liberalism revolving around the individual citizen's view of the world. Similarly, the sculptor brings his monumental works down to an individual level. His first model of the statue (in clay) was completed in 1803. The marble version followed in 1828.In the statue, Jason appears to be frozen somewhere between rest and movement. The fight is won and he is returning home with his prey over his arm. Expressing both physical and mental calm, he is the prototype of the classical hero. The sculpture is fully balanced: no matter where your eyes fall, you can find a corresponding element. For example, the lance is reflected in the chest strap, the fleece in tree stump. and the curled tip of the helmet in the horns of the ram.

0609_T

Prometheus (Orozco)

In Prometheus (Orozco), how is the abstract discussed?

Prometheus (Spanish: Prometeo) is a fresco by Mexican muralist José Clemente Orozco depicting the Greek Titan Prometheus stealing fire from the heavens to give to humans. It was commissioned for Pomona College's Frary Dining Hall and completed in June 1930, becoming the first modern fresco in the United States. It has received widespread critical acclaim.

0609_NT

Prometheus (Orozco)

In this artwork, how is the abstract discussed?

Prometheus (Spanish: Prometeo) is a fresco by Mexican muralist José Clemente Orozco depicting the Greek Titan Prometheus stealing fire from the heavens to give to humans. It was commissioned for Pomona College's Frary Dining Hall and completed in June 1930, becoming the first modern fresco in the United States. It has received widespread critical acclaim.

0610_T

Prometheus (Orozco)

Focus on Prometheus (Orozco) and explore the Description.

The mural is above a fireplace at the north end of the refectory of Frary Dining Hall at Pomona College. It consists of four panels: a main one facing the open eating area of the dining hall, two side ones, and an overhead one. The Titan Prometheus of ancient Greek mythology dominates the main panel, reaching for fire to give to humans, an act for which he would later be punished by Zeus. Surrounding his muscular, contorted figure is a crowd of people reacting to the gift, with some welcoming it and others scorning it. The color palette features heavy use of reds, blues, and black.Prometheus side panels

0610_NT

Prometheus (Orozco)

Focus on this artwork and explore the Description.

The mural is above a fireplace at the north end of the refectory of Frary Dining Hall at Pomona College. It consists of four panels: a main one facing the open eating area of the dining hall, two side ones, and an overhead one. The Titan Prometheus of ancient Greek mythology dominates the main panel, reaching for fire to give to humans, an act for which he would later be punished by Zeus. Surrounding his muscular, contorted figure is a crowd of people reacting to the gift, with some welcoming it and others scorning it. The color palette features heavy use of reds, blues, and black.Prometheus side panels

0611_T

Prometheus (Orozco)

Focus on Prometheus (Orozco) and explain the Production.

The mural was commissioned in 1930 for Pomona's newly built neo-Gothic men's dining hall by its architect, Sumner Spaulding, and professor of art history and Hispanic studies José Pijoán. Journalist Alma Reed, a patron of Orozco's in New York, also helped the artist obtain the commission. Students helped to raise $300 of Orozco's artist fee of $2500 (equivalent to $44,000 in 2022). Orozco stayed on campus for three months to complete the mural, living in a Clark dormitory, eating meals at Frary, and using students as models. He was assisted in the painting by Jorge Juan Crespo de la Serna, particularly with the side panels.

0611_NT

Prometheus (Orozco)

Focus on this artwork and explain the Production.

The mural was commissioned in 1930 for Pomona's newly built neo-Gothic men's dining hall by its architect, Sumner Spaulding, and professor of art history and Hispanic studies José Pijoán. Journalist Alma Reed, a patron of Orozco's in New York, also helped the artist obtain the commission. Students helped to raise $300 of Orozco's artist fee of $2500 (equivalent to $44,000 in 2022). Orozco stayed on campus for three months to complete the mural, living in a Clark dormitory, eating meals at Frary, and using students as models. He was assisted in the painting by Jorge Juan Crespo de la Serna, particularly with the side panels.

0612_T

Prometheus (Orozco)

Explore the Interpretation of this artwork, Prometheus (Orozco).

Art historians generally interpret the mural to be a metaphor for the challenges often faced by those seeking to expand the realm of knowledge, particularly from conservative authority figures. The varying reactions of the crowd around Prometheus depicts that human development comes with both costs and benefits.This theme connects to the mural's collegiate setting. It also had personal resonance for Orozco, who faced resistance throughout his life from those opposed to his leftist political views.The subject of fire was of interest to him because of a fireworks accident in which he lost his left hand when he was 21.

0612_NT

Prometheus (Orozco)

Explore the Interpretation of this artwork.

Art historians generally interpret the mural to be a metaphor for the challenges often faced by those seeking to expand the realm of knowledge, particularly from conservative authority figures. The varying reactions of the crowd around Prometheus depicts that human development comes with both costs and benefits.This theme connects to the mural's collegiate setting. It also had personal resonance for Orozco, who faced resistance throughout his life from those opposed to his leftist political views.The subject of fire was of interest to him because of a fireworks accident in which he lost his left hand when he was 21.

0613_T

Prometheus (Orozco)

Focus on Prometheus (Orozco) and discuss the Reception and influence.

Prometheus received immediate critical acclaim upon completion. Los Angeles Times art critic Arthur Millier declared it a masterpiece, writing that Orozco "has energized that wall with his sublime conception of Prometheus bearing fire to cold, longing humanity until it lives as probably no wall in the United States lives today." He praised its "dynamic composition", describing it as "powerful beyond anything one can anticipate".It was the first major work by a Mexican muralist in the United States, and helped Orozco, who was relatively unknown at the time, to subsequently land two other U.S. commissions, a mural room at The New School in New York City and The Epic of American Civilization at Dartmouth College in New Hampshire. He would later become known as one of the "big three" of the Mexican Mural Renaissance.Prometheus heavily influenced abstract expressionist Jackson Pollock, who first visited the mural in the summer of 1930 and called it "the greatest painting in North America". Spaulding, Frary's architect, said "I feel as though the building would fall down if the fresco were removed."Among contemporary students, it is often noted for its conspicuous lack of a penis; Orozco likely omitted it to avoid offending puritanical sensibilities. He attempted to add one when he visited Pomona several months after initially completing the mural, but it did not adhere properly to the wall.

0613_NT

Prometheus (Orozco)

Focus on this artwork and discuss the Reception and influence.

Prometheus received immediate critical acclaim upon completion. Los Angeles Times art critic Arthur Millier declared it a masterpiece, writing that Orozco "has energized that wall with his sublime conception of Prometheus bearing fire to cold, longing humanity until it lives as probably no wall in the United States lives today." He praised its "dynamic composition", describing it as "powerful beyond anything one can anticipate".It was the first major work by a Mexican muralist in the United States, and helped Orozco, who was relatively unknown at the time, to subsequently land two other U.S. commissions, a mural room at The New School in New York City and The Epic of American Civilization at Dartmouth College in New Hampshire. He would later become known as one of the "big three" of the Mexican Mural Renaissance.Prometheus heavily influenced abstract expressionist Jackson Pollock, who first visited the mural in the summer of 1930 and called it "the greatest painting in North America". Spaulding, Frary's architect, said "I feel as though the building would fall down if the fresco were removed."Among contemporary students, it is often noted for its conspicuous lack of a penis; Orozco likely omitted it to avoid offending puritanical sensibilities. He attempted to add one when he visited Pomona several months after initially completing the mural, but it did not adhere properly to the wall.

0614_T

Prometheus (Orozco)

How does Prometheus (Orozco) elucidate its Preservation and restoration?

Pomona has undertaken various preservation and restoration efforts over the years. In 1980, a protective varnish was applied over the mural. In 1982, structural damage was discovered in the wall behind the mural; it was subsequently reinforced. In 1995, it was restored after being damaged by vandals. In 2000, the college acquired preparatory drawings for the work from Orozco's relatives.

0614_NT

Prometheus (Orozco)

How does this artwork elucidate its Preservation and restoration?

Pomona has undertaken various preservation and restoration efforts over the years. In 1980, a protective varnish was applied over the mural. In 1982, structural damage was discovered in the wall behind the mural; it was subsequently reinforced. In 1995, it was restored after being damaged by vandals. In 2000, the college acquired preparatory drawings for the work from Orozco's relatives.

0615_T

The Brioche

Focus on The Brioche and analyze the abstract.

The Brioche is a painting completed in 1870 by French artist Édouard Manet. Done in oil on canvas, the work depicts a brioche loaf resting on a table. It is in the collection of the Metropolitan Museum of Art.Manet was inspired to paint it after a painting of a brioche by 18th-century artist Jean Siméon Chardin was donated to the Louvre in Paris. In Manet's work the brioche is accompanied by peaches and plums. It is singular among Manet's still lifes for its formality, and mark the last time he would paint such an elaborate tabletop composition.

0615_NT

The Brioche

Focus on this artwork and analyze the abstract.

The Brioche is a painting completed in 1870 by French artist Édouard Manet. Done in oil on canvas, the work depicts a brioche loaf resting on a table. It is in the collection of the Metropolitan Museum of Art.Manet was inspired to paint it after a painting of a brioche by 18th-century artist Jean Siméon Chardin was donated to the Louvre in Paris. In Manet's work the brioche is accompanied by peaches and plums. It is singular among Manet's still lifes for its formality, and mark the last time he would paint such an elaborate tabletop composition.

0616_T

Zliten mosaic

In Zliten mosaic, how is the abstract discussed?

The Zliten mosaic is a Roman floor mosaic from about the 2nd century AD, found in the town of Zliten in Libya, on the east coast of Leptis Magna. The mosaic was discovered by the Italian archaeologist Salvatore Aurigemma in 1913 and is now on display at The Archaeological Museum of Tripoli. It depicts gladiatorial contests, animal hunts, and scenes from everyday life.

0616_NT

Zliten mosaic

In this artwork, how is the abstract discussed?

The Zliten mosaic is a Roman floor mosaic from about the 2nd century AD, found in the town of Zliten in Libya, on the east coast of Leptis Magna. The mosaic was discovered by the Italian archaeologist Salvatore Aurigemma in 1913 and is now on display at The Archaeological Museum of Tripoli. It depicts gladiatorial contests, animal hunts, and scenes from everyday life.

0617_T

Zliten mosaic

Focus on Zliten mosaic and explore the History.

The mosaic was discovered in October 1913, in the ruins of a seaside Roman villa later called Villa Dar Buk Ammera after the area where it was found. When it was first fully unearthed and visible after the excavations conducted by Salvatore Aurigemma, from 22 June to 18 August 1914, it was immediately seen as a masterpiece of mosaic art, but one that was in urgent need of preservation and restoration. In the 1920s, the mosaic was restored and placed on display at The Archaeological Museum of Tripoli. It moved with the museum to its new location in 1952 and is displayed prominently near the entrance hall.

0617_NT

Zliten mosaic

Focus on this artwork and explore the History.

The mosaic was discovered in October 1913, in the ruins of a seaside Roman villa later called Villa Dar Buk Ammera after the area where it was found. When it was first fully unearthed and visible after the excavations conducted by Salvatore Aurigemma, from 22 June to 18 August 1914, it was immediately seen as a masterpiece of mosaic art, but one that was in urgent need of preservation and restoration. In the 1920s, the mosaic was restored and placed on display at The Archaeological Museum of Tripoli. It moved with the museum to its new location in 1952 and is displayed prominently near the entrance hall.

0618_T

Zliten mosaic

Focus on Zliten mosaic and explain the Dating dispute.

There have been various disputes related to the dating of the mosaic, mostly based on archaeological or stylistic comparisons, but the issue remains unresolved. In his work on the Zliten mosaics, Mosaici di Zliten, 1926, Aurigemma offers an approximate dating period for the mosaic in the Flavian Dynasty years (69-96 AD). This chronology would make the mosaic one of the earliest known mosaics of North Africa. He asserts his hypothesis on three arguments:The quality of the workmanship of a mosaic in the same villa, situated in an adjoining room, suggests dating as close as possible to the Augustan period (early 1st century AD). The hairstyle of the woman figure shown playing the hydraulic organ is typical of the Flavian period. The mosaic's depiction of the capital punishment of Damnatio ad bestias appears similar to records of the defeat of Garamantes recounted by Tacitus and dated at 70 AD.In 1965, Georges Ville studied the mosaic based on the historical evidence provided by the costumes and weaponry of the protagonists in sections of the mosaic depicting venatio (hunting) and munus (swordsmanship). Ville found that the short-sleeved tunic and the hunters with bare, unprotected legs seem to belong to the late 1st or early 2nd century AD, whereas the type of thraex and murmillo’s helmets seem to be intermediary between that of Pompeii and that of the gladiator of Trajan period. Thus, Ville dates the mosaic from the end of the Flavian period to the early Antonine period (late 1st or early 2nd century). Another stylistic comparative analysis by Roman art historian Christine Kondoleon supports an Antonine period dating as a result of the mosaic's multiple design elements. The Zliten floor mosaic employs tressed or braided twisted rope outlines to frame each panel, black backgrounds provide optical contrast and the panels alternate circular and square patterns. These features are in common with the Reggio Emilia mosaic, placed in the Antonine period. Kondoleon also asserts links between the individual designs of these mosaics, especially in the simplified floral forms and scale patterns. Finally, Kondoleon cites the inclusion of the peltarion, a type of Roman shield, as a further link in other Italian mosaics of the period.In 1985, David Parrish, an art history professor, proposed 200 AD as the date of the mosaic, a date that coincides with the early Severan dynasty. In a comparison of the military equipment of the two Samnites in the Zliten mosaic with the warriors in the mosaic of Bad Kreuznach (Germany), dated c. 250 AD, Parrish emphasizes their similarities. He performed a similar comparison between the duels of retiarius and secutor in the Zliten mosaic and those of the mosaic of Nennig in Germany, dated c. 240-250 AD. Additionally, Parrish concludes that the mosaic of the El Djem amphitheatre, dated c. 200 AD, has particularly evident links to the Zliten mosaic in terms of the realistic rendering of space on white background, and the absence of shadows and isolated plots of land. This methodology is criticized by some scholars, including Roman art historian Katherine Dunbabin, for relying on overly broad stylistic parallels between the works. Whoever designed the characters and figures [of this mosaic] had an incredibly exquisite artistic temperament - master of the form and model, robust and sensible; maybe he was a Greek, in any case a very great artist, who had naturally chosen artistic collaborators of the same quality, or who maybe had conducted himself the work on the mosaic. In any respect, he had inspired these characters - ready to die with great fanfare - with the sound of music and shouts of people, a life and a spirit that shouldn't die. One searches in vain for such a life (at least for such a degree of nobleness and power) in the other similar representations of gladiatorial combats (in painting and especially in sculpture) that have survived since antiquity to our days.

0618_NT

Zliten mosaic

Focus on this artwork and explain the Dating dispute.

There have been various disputes related to the dating of the mosaic, mostly based on archaeological or stylistic comparisons, but the issue remains unresolved. In his work on the Zliten mosaics, Mosaici di Zliten, 1926, Aurigemma offers an approximate dating period for the mosaic in the Flavian Dynasty years (69-96 AD). This chronology would make the mosaic one of the earliest known mosaics of North Africa. He asserts his hypothesis on three arguments:The quality of the workmanship of a mosaic in the same villa, situated in an adjoining room, suggests dating as close as possible to the Augustan period (early 1st century AD). The hairstyle of the woman figure shown playing the hydraulic organ is typical of the Flavian period. The mosaic's depiction of the capital punishment of Damnatio ad bestias appears similar to records of the defeat of Garamantes recounted by Tacitus and dated at 70 AD.In 1965, Georges Ville studied the mosaic based on the historical evidence provided by the costumes and weaponry of the protagonists in sections of the mosaic depicting venatio (hunting) and munus (swordsmanship). Ville found that the short-sleeved tunic and the hunters with bare, unprotected legs seem to belong to the late 1st or early 2nd century AD, whereas the type of thraex and murmillo’s helmets seem to be intermediary between that of Pompeii and that of the gladiator of Trajan period. Thus, Ville dates the mosaic from the end of the Flavian period to the early Antonine period (late 1st or early 2nd century). Another stylistic comparative analysis by Roman art historian Christine Kondoleon supports an Antonine period dating as a result of the mosaic's multiple design elements. The Zliten floor mosaic employs tressed or braided twisted rope outlines to frame each panel, black backgrounds provide optical contrast and the panels alternate circular and square patterns. These features are in common with the Reggio Emilia mosaic, placed in the Antonine period. Kondoleon also asserts links between the individual designs of these mosaics, especially in the simplified floral forms and scale patterns. Finally, Kondoleon cites the inclusion of the peltarion, a type of Roman shield, as a further link in other Italian mosaics of the period.In 1985, David Parrish, an art history professor, proposed 200 AD as the date of the mosaic, a date that coincides with the early Severan dynasty. In a comparison of the military equipment of the two Samnites in the Zliten mosaic with the warriors in the mosaic of Bad Kreuznach (Germany), dated c. 250 AD, Parrish emphasizes their similarities. He performed a similar comparison between the duels of retiarius and secutor in the Zliten mosaic and those of the mosaic of Nennig in Germany, dated c. 240-250 AD. Additionally, Parrish concludes that the mosaic of the El Djem amphitheatre, dated c. 200 AD, has particularly evident links to the Zliten mosaic in terms of the realistic rendering of space on white background, and the absence of shadows and isolated plots of land. This methodology is criticized by some scholars, including Roman art historian Katherine Dunbabin, for relying on overly broad stylistic parallels between the works. Whoever designed the characters and figures [of this mosaic] had an incredibly exquisite artistic temperament - master of the form and model, robust and sensible; maybe he was a Greek, in any case a very great artist, who had naturally chosen artistic collaborators of the same quality, or who maybe had conducted himself the work on the mosaic. In any respect, he had inspired these characters - ready to die with great fanfare - with the sound of music and shouts of people, a life and a spirit that shouldn't die. One searches in vain for such a life (at least for such a degree of nobleness and power) in the other similar representations of gladiatorial combats (in painting and especially in sculpture) that have survived since antiquity to our days.

0619_T

Zliten mosaic

Explore the Composition of this artwork, Zliten mosaic.

Portions of the Zliten mosaic are realized through a combination of three techniques: opus tessellatum, opus vermiculatum and opus sectile.The external black and white geometric border is created with the opus tessellatum technique.The central part of the mosaic is composed of geometric alternating square panels with each side measuring 0.45 m (1.5 ft) and realized in the opus sectile technique. Within these panels are circular emblemata depicting fish and other marine creatures (shrimp, murex, picarel, conger, sea urchin, garfish etc...) in the opus vermiculatum technique.

0619_NT

Zliten mosaic

Explore the Composition of this artwork.

Portions of the Zliten mosaic are realized through a combination of three techniques: opus tessellatum, opus vermiculatum and opus sectile.The external black and white geometric border is created with the opus tessellatum technique.The central part of the mosaic is composed of geometric alternating square panels with each side measuring 0.45 m (1.5 ft) and realized in the opus sectile technique. Within these panels are circular emblemata depicting fish and other marine creatures (shrimp, murex, picarel, conger, sea urchin, garfish etc...) in the opus vermiculatum technique.

0620_T

Cymon and Iphigenia (Leighton painting)

Focus on Cymon and Iphigenia (Leighton painting) and discuss the abstract.

Cymon and Iphigenia is an oil on canvas painting by Frederic Leighton, 1st Baron Leighton. The painting does not bear a date but was first exhibited at the Royal Academy of Arts, London, in 1884. The Art Gallery of New South Wales in Sydney, Australia, purchased it at a Christie's auction in London in 1976.

0620_NT

Cymon and Iphigenia (Leighton painting)

Focus on this artwork and discuss the abstract.

Cymon and Iphigenia is an oil on canvas painting by Frederic Leighton, 1st Baron Leighton. The painting does not bear a date but was first exhibited at the Royal Academy of Arts, London, in 1884. The Art Gallery of New South Wales in Sydney, Australia, purchased it at a Christie's auction in London in 1976.

0621_T

Cymon and Iphigenia (Leighton painting)

How does Cymon and Iphigenia (Leighton painting) elucidate its Background?

According to a story published in 1897, Leighton spent six months searching throughout Europe for a model to match his imagined ideal of Iphigenia for his intended portrayal of Cymon and Iphigenia. He saw a young actress, Dorothy Dene, in a theatre in London and his search was over. Possessing a classical Greek style beauty, Dene had golden wavy hair with excellent skin texture and colouration on her face; she was taller than average with graceful arms and legs together with an “exquisitely moulded bust”. She appeared in several other of Leighton's works, including Flaming June, Greek Girls Playing Ball and Summer Moon. Lena, one of Dene's younger sisters, appears in the painting as the child slave. Other paintings by Leighton featuring Dene are: The Bath of Psyche, Clytie, Perseus and Andromeda, Solitude, The Return of Persephone and The Vestal.The painting took eight months to complete; a succession of line drawings were done first as Leighton tried to capture the position he wanted for the central figure, around 56 – including several of foliage and other elements of the piece – of these are known to exist. The English art critic Peter Nahum describes the painting as "central among Leighton's later works", an opinion Mrs Russell Barrington considered was shared by Leighton. Leighton's painting Idyll dating from a few years earlier has some similar elements but lacks the complexities of Cymon and Iphigenia. The two compositions each highlight the difference between the fair complexion of a female with a dark skinned male; both feature a full-length woman reclining beneath a tree and similar lighting techniques are used.

0621_NT

Cymon and Iphigenia (Leighton painting)

How does this artwork elucidate its Background?

According to a story published in 1897, Leighton spent six months searching throughout Europe for a model to match his imagined ideal of Iphigenia for his intended portrayal of Cymon and Iphigenia. He saw a young actress, Dorothy Dene, in a theatre in London and his search was over. Possessing a classical Greek style beauty, Dene had golden wavy hair with excellent skin texture and colouration on her face; she was taller than average with graceful arms and legs together with an “exquisitely moulded bust”. She appeared in several other of Leighton's works, including Flaming June, Greek Girls Playing Ball and Summer Moon. Lena, one of Dene's younger sisters, appears in the painting as the child slave. Other paintings by Leighton featuring Dene are: The Bath of Psyche, Clytie, Perseus and Andromeda, Solitude, The Return of Persephone and The Vestal.The painting took eight months to complete; a succession of line drawings were done first as Leighton tried to capture the position he wanted for the central figure, around 56 – including several of foliage and other elements of the piece – of these are known to exist. The English art critic Peter Nahum describes the painting as "central among Leighton's later works", an opinion Mrs Russell Barrington considered was shared by Leighton. Leighton's painting Idyll dating from a few years earlier has some similar elements but lacks the complexities of Cymon and Iphigenia. The two compositions each highlight the difference between the fair complexion of a female with a dark skinned male; both feature a full-length woman reclining beneath a tree and similar lighting techniques are used.

0622_T

Cymon and Iphigenia (Leighton painting)

Focus on Cymon and Iphigenia (Leighton painting) and analyze the Exhibitions and provenance.

The first time the painting was exhibited at the Royal Academy of Arts was at the summer exhibition in 1884. After viewing it at the exhibition an unnamed French critic reported that he could not recall "a more original effect of light and colour, used in the broad, true, and ideal treatment of lovely forms." The following year, in 1885, it was exhibited in Berlin. It was again displayed at the Royal Academy in the winter of 1897, a memorial exhibition of his works as Leighton had died on 25 January 1896. It was included in the Guildhall Art Gallery's annual loan exhibition in 1897. Sir W.E. Cuthbert Quilter owned the painting until it was sold among his art collection in July 1909. It changed ownership a number of times in the UK, with owners including Leopold Albu, and Pamela Cavendish (mother of Hugh Cavendish, Baron Cavendish of Furness), before being purchased at auction by the Art Gallery of New South Wales, Australia, in February 1976. It returned to at the Royal Academy from mid-February to April 1996, in an exhibition devoted to the work of Leighton. The Art Gallery of New South Wales also purchased a colour study of the painting, measuring 23.5 by 46.5 centimetres (9.3 by 18.3 in), in 1986.

0622_NT

Cymon and Iphigenia (Leighton painting)

Focus on this artwork and analyze the Exhibitions and provenance.

The first time the painting was exhibited at the Royal Academy of Arts was at the summer exhibition in 1884. After viewing it at the exhibition an unnamed French critic reported that he could not recall "a more original effect of light and colour, used in the broad, true, and ideal treatment of lovely forms." The following year, in 1885, it was exhibited in Berlin. It was again displayed at the Royal Academy in the winter of 1897, a memorial exhibition of his works as Leighton had died on 25 January 1896. It was included in the Guildhall Art Gallery's annual loan exhibition in 1897. Sir W.E. Cuthbert Quilter owned the painting until it was sold among his art collection in July 1909. It changed ownership a number of times in the UK, with owners including Leopold Albu, and Pamela Cavendish (mother of Hugh Cavendish, Baron Cavendish of Furness), before being purchased at auction by the Art Gallery of New South Wales, Australia, in February 1976. It returned to at the Royal Academy from mid-February to April 1996, in an exhibition devoted to the work of Leighton. The Art Gallery of New South Wales also purchased a colour study of the painting, measuring 23.5 by 46.5 centimetres (9.3 by 18.3 in), in 1986.

0623_T

Bathsheba at her Bath (Veronese)

In Bathsheba at her Bath (Veronese), how is the abstract discussed?

Bathsheba at her Bath is an oil-on-canvas painting by Italian Renaissance painter Paolo Veronese, dated around 1575 and now in the Musée des Beaux-Arts de Lyon, France.

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Bathsheba at her Bath (Veronese)

In this artwork, how is the abstract discussed?

Bathsheba at her Bath is an oil-on-canvas painting by Italian Renaissance painter Paolo Veronese, dated around 1575 and now in the Musée des Beaux-Arts de Lyon, France.

0624_T

Bathsheba at her Bath (Veronese)

Focus on Bathsheba at her Bath (Veronese) and explore the Composition.

The painting depicts a biblical scene. It is generally agreed that the episode depicted is 2 Samuel 11, in which Bathsheba is seen by King David from the terrace of his palace while she bathes in the evening. Some sources have identified a different biblical story, namely Susannah and the Elders, as the painting's subject. In this story, Susannah bathes on a hot day and is watched by two old men (the characters in the arcades in the background) whose sexual demands Susannah refuses and who avenge themselves by unjustly accusing her of adultery. In this painting, one of his many masterpieces, Veronese vertically divided the space into two separate parts linked by agreements in the colors and a powerful chiaroscuro. The old man wears the cloak of gold buttons which is characteristic of the Doges of Venice. The arms represented on the pitcher may reflect the celebration of a marriage or an alliance between two powerful Venetian families.

0624_NT

Bathsheba at her Bath (Veronese)

Focus on this artwork and explore the Composition.

The painting depicts a biblical scene. It is generally agreed that the episode depicted is 2 Samuel 11, in which Bathsheba is seen by King David from the terrace of his palace while she bathes in the evening. Some sources have identified a different biblical story, namely Susannah and the Elders, as the painting's subject. In this story, Susannah bathes on a hot day and is watched by two old men (the characters in the arcades in the background) whose sexual demands Susannah refuses and who avenge themselves by unjustly accusing her of adultery. In this painting, one of his many masterpieces, Veronese vertically divided the space into two separate parts linked by agreements in the colors and a powerful chiaroscuro. The old man wears the cloak of gold buttons which is characteristic of the Doges of Venice. The arms represented on the pitcher may reflect the celebration of a marriage or an alliance between two powerful Venetian families.

0625_T

Bathsheba at her Bath (Veronese)

Focus on Bathsheba at her Bath (Veronese) and explain the Analysis.

The painting deals with the theme of adultery linked to that of Justice. According to art historians Daniel Arasse and Joséphine Le Foll, two biblical stories are intertwined in this painting: The theme of Susanna is suggested by the presence of the fountain and an old man, but there is only one (if one considers that the elders are the ones in the arcades, while the presence of man in red in the foreground is inexplicable). The theme of David and Bathsheba has an old David, and this is unusual especially as artists generally follow the Bible, in which David sent a young messenger to Bathsheba rather than going to meet her in person, as in the painting by Jan Matsys in the Louvre. However, in other paintings of this subject it is sometimes David himself who comes to see Bathsheba, which would be the case here.

0625_NT

Bathsheba at her Bath (Veronese)

Focus on this artwork and explain the Analysis.

The painting deals with the theme of adultery linked to that of Justice. According to art historians Daniel Arasse and Joséphine Le Foll, two biblical stories are intertwined in this painting: The theme of Susanna is suggested by the presence of the fountain and an old man, but there is only one (if one considers that the elders are the ones in the arcades, while the presence of man in red in the foreground is inexplicable). The theme of David and Bathsheba has an old David, and this is unusual especially as artists generally follow the Bible, in which David sent a young messenger to Bathsheba rather than going to meet her in person, as in the painting by Jan Matsys in the Louvre. However, in other paintings of this subject it is sometimes David himself who comes to see Bathsheba, which would be the case here.

0626_T

The Jester Barbarroja

Explore the abstract of this artwork, The Jester Barbarroja.

The Jester Barbarroja (El bufón Barbarroja) is an oil on canvas portrait by Diego Velázquez of Cristóbal de Castañeda y Pernia, nicknamed Barbarroja in his role as a jester at the court of Philip IV of Spain from 1633 to 1649. The painting is now in the Museo del Prado. It was in the Palacio del Buen Retiro in Madrid in 1701, one of six portraits of court jesters in the Queen's quarters (two of which, The Jester Francesco de Ochoa and Cardenas the Toreador, are missing). From 1816 to 1827 it was in the Real Academia de Bellas Artes de San Fernando. The composition's subject also served Cardinal-Infante Ferdinand of Austria, for whom he played Barbarroja (Barbarossa) in comic plays. He was later banished from the court, to Seville, by the Duke of Olivares for a reply he gave the king when asked whether there were olives in the Segovian town of Valsaín - to this, the jester punningly replied "Sir, neither olives nor Olivares".

0626_NT

The Jester Barbarroja

Explore the abstract of this artwork.

The Jester Barbarroja (El bufón Barbarroja) is an oil on canvas portrait by Diego Velázquez of Cristóbal de Castañeda y Pernia, nicknamed Barbarroja in his role as a jester at the court of Philip IV of Spain from 1633 to 1649. The painting is now in the Museo del Prado. It was in the Palacio del Buen Retiro in Madrid in 1701, one of six portraits of court jesters in the Queen's quarters (two of which, The Jester Francesco de Ochoa and Cardenas the Toreador, are missing). From 1816 to 1827 it was in the Real Academia de Bellas Artes de San Fernando. The composition's subject also served Cardinal-Infante Ferdinand of Austria, for whom he played Barbarroja (Barbarossa) in comic plays. He was later banished from the court, to Seville, by the Duke of Olivares for a reply he gave the king when asked whether there were olives in the Segovian town of Valsaín - to this, the jester punningly replied "Sir, neither olives nor Olivares".

0627_T

Wall Street (photograph)

Focus on Wall Street (photograph) and discuss the abstract.

Wall Street is a platinum palladium print photograph by the American photographer Paul Strand taken in 1915. There are currently only two vintage prints of this photograph with one at the Whitney Museum of American Art (printed posthumously) and the other, along with negatives, at the Philadelphia Museum of Art. This photograph was included in Paul Strand, circa 1916, an exhibition of photographs that exemplify his push toward modernism. It depicts a scene of everyday life in Manhattan's Financial District. Workers are seen walking past the J.P. Morgan & Co. building in New York City on the famous Wall Street, from which the photograph takes its name. The photograph is famous for its reliance on the sharpness and contrast of the shapes and angles, created by the building and the workers, that lead to its abstraction. This photograph is considered to be one of Strand's most famous works and an example of his change from pictorialism to straight photography. Strand moved from the posed to portraying the purity of the subjects. It is one of several images that stand as marks of the turn to modernism in photography.

0627_NT

Wall Street (photograph)

Focus on this artwork and discuss the abstract.

Wall Street is a platinum palladium print photograph by the American photographer Paul Strand taken in 1915. There are currently only two vintage prints of this photograph with one at the Whitney Museum of American Art (printed posthumously) and the other, along with negatives, at the Philadelphia Museum of Art. This photograph was included in Paul Strand, circa 1916, an exhibition of photographs that exemplify his push toward modernism. It depicts a scene of everyday life in Manhattan's Financial District. Workers are seen walking past the J.P. Morgan & Co. building in New York City on the famous Wall Street, from which the photograph takes its name. The photograph is famous for its reliance on the sharpness and contrast of the shapes and angles, created by the building and the workers, that lead to its abstraction. This photograph is considered to be one of Strand's most famous works and an example of his change from pictorialism to straight photography. Strand moved from the posed to portraying the purity of the subjects. It is one of several images that stand as marks of the turn to modernism in photography.

0628_T

Wall Street (photograph)

How does Wall Street (photograph) elucidate its Background?

In 1907, as a young teen, the artist, Paul Strand, enrolled in New York's Ethical Culture Fieldston School. There, Strand was under the tutelage of documentary photographer Lewis Hine. Hine introduced Strand to the modernist photographer Alfred Stieglitz. Stieglitz was heavily influential in the art world at the time, pushing for photography to be considered an art form and opening his own gallery, the 291 Gallery, with another influential photographer Edward Steichen, to promote modernist art. Stieglitz's colleagues were striving to receive acceptance for photography as a form of art. Stieglitz would become a mentor and artistic comrade of Strand, with both influencing each other for the rest of their careers. With Stieglitz's influence, Strand explored the pictorialist style, creating works with soft focus, and posed scenes. Photographs aimed to look like paintings. Around 1915, Strand and Stieglitz sought to change their aesthetics and made the march toward straight photography. Stieglitz pushed Strand to involve real-life subjects and less manual manipulation of the print and utilized the style that was innate to the methods and materials of photography. Strand interpreted this request from Stieglitz and created this new style that incorporated high contrasts, clean lines, and emphasis on shape. These elements come from how Strand captured the real life and movements of subjects, not how he posed or manipulated them.

0628_NT

Wall Street (photograph)

How does this artwork elucidate its Background?

In 1907, as a young teen, the artist, Paul Strand, enrolled in New York's Ethical Culture Fieldston School. There, Strand was under the tutelage of documentary photographer Lewis Hine. Hine introduced Strand to the modernist photographer Alfred Stieglitz. Stieglitz was heavily influential in the art world at the time, pushing for photography to be considered an art form and opening his own gallery, the 291 Gallery, with another influential photographer Edward Steichen, to promote modernist art. Stieglitz's colleagues were striving to receive acceptance for photography as a form of art. Stieglitz would become a mentor and artistic comrade of Strand, with both influencing each other for the rest of their careers. With Stieglitz's influence, Strand explored the pictorialist style, creating works with soft focus, and posed scenes. Photographs aimed to look like paintings. Around 1915, Strand and Stieglitz sought to change their aesthetics and made the march toward straight photography. Stieglitz pushed Strand to involve real-life subjects and less manual manipulation of the print and utilized the style that was innate to the methods and materials of photography. Strand interpreted this request from Stieglitz and created this new style that incorporated high contrasts, clean lines, and emphasis on shape. These elements come from how Strand captured the real life and movements of subjects, not how he posed or manipulated them.

0629_T

Wall Street (photograph)

Focus on Wall Street (photograph) and analyze the Technique.

This photograph depicts 23 Wall Street, the J.P. Morgan building in New York City. Strand photographed "people hurrying to work past the banking building" situated on Wall Street, from which the photo takes its name. the subject depicted is a real-life subject without manipulation. The depiction of the real nature of the medium and the subject is an example of straight photography. There is no focal point, with the lines converging off of the frame of the image. The financial building take majority of the frame. Emphasis is placed on the strong shapes created by the architecture of the building. The workers are included in the image, but are faceless and are trumped in size by the massive square shapes from the building they walk past. Also, the workers are captured in motion which on film makes them appear blurry. This aesthetic that Strand creates in Wall Street is his break toward the modern, the straight photography, demonstrating that pictorialism is no longer part of his aesthetic. Strand captured the building with clean, sharp lines. The building is covered in the high contrast, chiaroscuro. It is heavily in the shadows, but still creates an overwhelming presence over the people that walk past it. These people are also shrouded in the contrast made evident with the clean lines and black and white nature of his photos and photography as a medium. The people jump from their places, being the dark figures in the light of the sun that beams in from the left of the frame. Strand fills the image with his recognizable aesthetic. The photo is platinum print, one of the materials frequently used by photographers of the time. Strand was unique in how he printed his photos. As stated on the George Eastman House website section Notes on Photography, Strand would make large prints from small negatives. He also left them in their matte condition that was inherent with platinum print. With his printing techniques, he "added a richness to the image." As with the time, the photo is entirely black and white. There is a heavy contrast with the black and white areas of the photo. Strand creates diagonal shapes that pull emphasis to subject of the building and away from the people.

0629_NT

Wall Street (photograph)

Focus on this artwork and analyze the Technique.

This photograph depicts 23 Wall Street, the J.P. Morgan building in New York City. Strand photographed "people hurrying to work past the banking building" situated on Wall Street, from which the photo takes its name. the subject depicted is a real-life subject without manipulation. The depiction of the real nature of the medium and the subject is an example of straight photography. There is no focal point, with the lines converging off of the frame of the image. The financial building take majority of the frame. Emphasis is placed on the strong shapes created by the architecture of the building. The workers are included in the image, but are faceless and are trumped in size by the massive square shapes from the building they walk past. Also, the workers are captured in motion which on film makes them appear blurry. This aesthetic that Strand creates in Wall Street is his break toward the modern, the straight photography, demonstrating that pictorialism is no longer part of his aesthetic. Strand captured the building with clean, sharp lines. The building is covered in the high contrast, chiaroscuro. It is heavily in the shadows, but still creates an overwhelming presence over the people that walk past it. These people are also shrouded in the contrast made evident with the clean lines and black and white nature of his photos and photography as a medium. The people jump from their places, being the dark figures in the light of the sun that beams in from the left of the frame. Strand fills the image with his recognizable aesthetic. The photo is platinum print, one of the materials frequently used by photographers of the time. Strand was unique in how he printed his photos. As stated on the George Eastman House website section Notes on Photography, Strand would make large prints from small negatives. He also left them in their matte condition that was inherent with platinum print. With his printing techniques, he "added a richness to the image." As with the time, the photo is entirely black and white. There is a heavy contrast with the black and white areas of the photo. Strand creates diagonal shapes that pull emphasis to subject of the building and away from the people.

0630_T

Wall Street (photograph)

In Wall Street (photograph), how is the Aspects discussed?

Having taken Hine's class at the Ethical Culture Fieldston School, social change became important to Strand and appeared often in his art. As a pupil of Hine, Strand learned of the social aspect his work could have. With Wall Street, he sought to portray a social message. He captured the faceless people next to the looming financial building in order to give a warning. Strand shows "the recently built J.P. Morgan Co. building, whose huge, dark recesses dwarf the passersby with the imposing powers of uniformity and anonymity." The people cannot escape the overwhelming power that this modern establishment will have on their future and the future of America. He warns us to not be the small people that look almost ant-like next to this building that has a massive amount of control over the American economy.

0630_NT

Wall Street (photograph)

In this artwork, how is the Aspects discussed?

Having taken Hine's class at the Ethical Culture Fieldston School, social change became important to Strand and appeared often in his art. As a pupil of Hine, Strand learned of the social aspect his work could have. With Wall Street, he sought to portray a social message. He captured the faceless people next to the looming financial building in order to give a warning. Strand shows "the recently built J.P. Morgan Co. building, whose huge, dark recesses dwarf the passersby with the imposing powers of uniformity and anonymity." The people cannot escape the overwhelming power that this modern establishment will have on their future and the future of America. He warns us to not be the small people that look almost ant-like next to this building that has a massive amount of control over the American economy.

0631_T

The Jim Morrison Triptych

Focus on The Jim Morrison Triptych and explore the abstract.

The Jim Morrison Triptych is a 1971 oil painting by American artist T. E. Breitenbach (best known for his painting Proverbidioms) in collaboration with Jim Morrison of The Doors. It was initially intended for use on Morrison's An American Prayer album, and completed shortly before Morrison's death.

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The Jim Morrison Triptych

Focus on this artwork and explore the abstract.

The Jim Morrison Triptych is a 1971 oil painting by American artist T. E. Breitenbach (best known for his painting Proverbidioms) in collaboration with Jim Morrison of The Doors. It was initially intended for use on Morrison's An American Prayer album, and completed shortly before Morrison's death.

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The Jim Morrison Triptych

Focus on The Jim Morrison Triptych and explain the The Jim Morrison Triptych.

In the fall of 1970, while at college, Breitenbach sent pictures of his surrealistic artwork to Jim Morrison and offered to paint an album cover. Morrison accepted and sent Breitenbach his ideas for the painting, along with two autographed, private editions of his poetry. Morrison liked the finished product and asked if he could use it on an album of poetry he was working on. This was his An American Prayer album published seven years after Morrison's death. Unfortunately, the album’s producers were not aware of Morrison’s intention to use the painting. The existence of this lost painting collaboration came to light decades later, when the artist posted it on his website.Morrison sent the artist these suggestions for the painting, "Try doing a triptych. The left panel depicting a radiant moon-lit beach and an endless stream of young naked couples running silently along the water's edge. On the beach, a tiny infant grins at the universe and around its crib stand several ancient, old people ... The center, a modern city or metropolis of the future at noon, insane with activity ... The last panel, a view through a car windshield at night on a long straight desert highway."Morrison biographer Jerry Hopkins, in a letter to Breitenbach, explained the meaning of the painting: "the beach scene ... is a variation on a dream he told several people he had ... The center would be an extension of his interest in chaos and insanity ... and the final panel refers to a scene from his childhood when he and his father came upon an overturned truck, dead and injured Indians scattered 'on dawn's highway bleeding.' (See the lyric of Peace Frog.") Biographer Stephen Davis suggests, "These vivid scenes of death and rebirth were reflective of the new beginning Jim himself was seeking." Davis also suggests that Jim had in mind two recent poems "Vast Radiant Beach" and "Come, They Crooned the Ancient Ones".Many years later, Breitenbach turned an idea from Morrison's poems "The Lords" and "The New Creatures" into an illustrated fantasy novel titled Grumparar's the New Creatures: An Adventure and Field Guide. Morrison described the Lords as a hidden, secretive group that somehow controlled us from behind the scenes, though in Breitenbach's book these characters are far less sinister.

0632_NT

The Jim Morrison Triptych

Focus on this artwork and explain the The Jim Morrison Triptych.

In the fall of 1970, while at college, Breitenbach sent pictures of his surrealistic artwork to Jim Morrison and offered to paint an album cover. Morrison accepted and sent Breitenbach his ideas for the painting, along with two autographed, private editions of his poetry. Morrison liked the finished product and asked if he could use it on an album of poetry he was working on. This was his An American Prayer album published seven years after Morrison's death. Unfortunately, the album’s producers were not aware of Morrison’s intention to use the painting. The existence of this lost painting collaboration came to light decades later, when the artist posted it on his website.Morrison sent the artist these suggestions for the painting, "Try doing a triptych. The left panel depicting a radiant moon-lit beach and an endless stream of young naked couples running silently along the water's edge. On the beach, a tiny infant grins at the universe and around its crib stand several ancient, old people ... The center, a modern city or metropolis of the future at noon, insane with activity ... The last panel, a view through a car windshield at night on a long straight desert highway."Morrison biographer Jerry Hopkins, in a letter to Breitenbach, explained the meaning of the painting: "the beach scene ... is a variation on a dream he told several people he had ... The center would be an extension of his interest in chaos and insanity ... and the final panel refers to a scene from his childhood when he and his father came upon an overturned truck, dead and injured Indians scattered 'on dawn's highway bleeding.' (See the lyric of Peace Frog.") Biographer Stephen Davis suggests, "These vivid scenes of death and rebirth were reflective of the new beginning Jim himself was seeking." Davis also suggests that Jim had in mind two recent poems "Vast Radiant Beach" and "Come, They Crooned the Ancient Ones".Many years later, Breitenbach turned an idea from Morrison's poems "The Lords" and "The New Creatures" into an illustrated fantasy novel titled Grumparar's the New Creatures: An Adventure and Field Guide. Morrison described the Lords as a hidden, secretive group that somehow controlled us from behind the scenes, though in Breitenbach's book these characters are far less sinister.

0633_T

The Peasant Wedding

Explore the Scene of this artwork, The Peasant Wedding.

The bride is in front of the green textile wall-hanging, with a paper-crown hung above her head. She is also wearing a crown and sitting passively amidst the hearty eating and drinking around her. The bridegroom is not immediately obvious. The feast is in a barn in the summertime; two sheaves of grain with a rake recalls the work of harvesting, and the hard peasant life. Porters carry plates on a door taken off its hinges. The main food is bread, porridge and soup. Two pipers play the pijpzak, an unbreeched boy in the foreground licks a plate, a wealthy man at the far right is talking to a Franciscan friar, a dog emerges from under the table to snatch pieces of bread on the bench. The scene is said to accurately depict 16th-century peasant wedding customs. The door-carrier on the right appears to have an extra foot.

0633_NT

The Peasant Wedding

Explore the Scene of this artwork.

The bride is in front of the green textile wall-hanging, with a paper-crown hung above her head. She is also wearing a crown and sitting passively amidst the hearty eating and drinking around her. The bridegroom is not immediately obvious. The feast is in a barn in the summertime; two sheaves of grain with a rake recalls the work of harvesting, and the hard peasant life. Porters carry plates on a door taken off its hinges. The main food is bread, porridge and soup. Two pipers play the pijpzak, an unbreeched boy in the foreground licks a plate, a wealthy man at the far right is talking to a Franciscan friar, a dog emerges from under the table to snatch pieces of bread on the bench. The scene is said to accurately depict 16th-century peasant wedding customs. The door-carrier on the right appears to have an extra foot.

0634_T

The Peasant Wedding

Focus on The Peasant Wedding and discuss the The groom.

There has been much conjecture as to the identity of the groom in this painting. The critics Gilbert Highet and Gustav Glück have argued that the groom is the man in the centre of the painting, wearing a dark coat and seen in profile, or the ill-bred son of a wealthy couple, seen against the far wall to the right of the bride, eating with a spoon. It has also been suggested that according to contemporary custom, the groom is not seated, but may be the man pouring out beer.According to the same custom, he may also be the man handing the plates of food to his guests from the near end of the table, wearing a red cap. In a Freudian vein, Rudy Rucker speculates:... the groom is the man in the red hat, passing food towards the bride. The motion of a husband, to penetrate the wife. Near him are no less than three phallic symbols pointing towards the wife: the man’s arm, the knife on the table, and the salt-cellar [salt shaker] on the table. At the end of the man’s arm is an ellipse of an angle-seen dish that is oriented and located in the right location to represent the bride’s vagina. Some authors have even suggested that the groom is not even included in the painting. Van der Elst speculated that this could be the depiction of an old Flemish proverb: It is a poor man who is not able to be at his own wedding. Some connect it with the biblical Wedding of Cana. Lindsay and Bernard Huppé speculated that the painting was a Christian allegory of corruption, depicting the corrupted Church destined to be the bride of Christ, but the groom has not appeared to claim his corrupt bride.

0634_NT

The Peasant Wedding

Focus on this artwork and discuss the The groom.

There has been much conjecture as to the identity of the groom in this painting. The critics Gilbert Highet and Gustav Glück have argued that the groom is the man in the centre of the painting, wearing a dark coat and seen in profile, or the ill-bred son of a wealthy couple, seen against the far wall to the right of the bride, eating with a spoon. It has also been suggested that according to contemporary custom, the groom is not seated, but may be the man pouring out beer.According to the same custom, he may also be the man handing the plates of food to his guests from the near end of the table, wearing a red cap. In a Freudian vein, Rudy Rucker speculates:... the groom is the man in the red hat, passing food towards the bride. The motion of a husband, to penetrate the wife. Near him are no less than three phallic symbols pointing towards the wife: the man’s arm, the knife on the table, and the salt-cellar [salt shaker] on the table. At the end of the man’s arm is an ellipse of an angle-seen dish that is oriented and located in the right location to represent the bride’s vagina. Some authors have even suggested that the groom is not even included in the painting. Van der Elst speculated that this could be the depiction of an old Flemish proverb: It is a poor man who is not able to be at his own wedding. Some connect it with the biblical Wedding of Cana. Lindsay and Bernard Huppé speculated that the painting was a Christian allegory of corruption, depicting the corrupted Church destined to be the bride of Christ, but the groom has not appeared to claim his corrupt bride.

0635_T

The Peasant Wedding

How does The Peasant Wedding elucidate its Mystery of the "third foot"?

Many viewers have wondered why Bruegel appears to have given a third foot to the red-clad servant on the right, carrying the tray. Bruegel’s son, Brueghel the Younger, thought that this foot was an error or, at best, too confusing for viewers. His 1620 copy of his father’s painting solves the problem simply by eliminating the third foot altogether. However, an analysis by Claudine Majzels of the angles and the relative positions of the people involved suggests that the red-clad servant’s “third foot” is actually the extended left foot of the brown-clad man who is in a half-crouch transferring the plates to the table.

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The Peasant Wedding

How does this artwork elucidate its Mystery of the "third foot"?

Many viewers have wondered why Bruegel appears to have given a third foot to the red-clad servant on the right, carrying the tray. Bruegel’s son, Brueghel the Younger, thought that this foot was an error or, at best, too confusing for viewers. His 1620 copy of his father’s painting solves the problem simply by eliminating the third foot altogether. However, an analysis by Claudine Majzels of the angles and the relative positions of the people involved suggests that the red-clad servant’s “third foot” is actually the extended left foot of the brown-clad man who is in a half-crouch transferring the plates to the table.

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The Peasant Wedding

Focus on The Peasant Wedding and analyze the In popular culture.

The painting was parodied in Asterix in Belgium. Another parody was the postcard for the Belgian entry in the Eurovision Song Contest 1979.

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The Peasant Wedding

Focus on this artwork and analyze the In popular culture.

The painting was parodied in Asterix in Belgium. Another parody was the postcard for the Belgian entry in the Eurovision Song Contest 1979.

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Bust of Martin Luther King Jr. (U.S. Capitol)

In Bust of Martin Luther King Jr. (U.S. Capitol), how is the abstract discussed?

A bust of Martin Luther King Jr. by the American artist John Woodrow Wilson is located at the United States Capitol rotunda in Washington, D.C.

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Bust of Martin Luther King Jr. (U.S. Capitol)

In this artwork, how is the abstract discussed?

A bust of Martin Luther King Jr. by the American artist John Woodrow Wilson is located at the United States Capitol rotunda in Washington, D.C.

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Bust of Martin Luther King Jr. (U.S. Capitol)

Focus on Bust of Martin Luther King Jr. (U.S. Capitol) and explore the Description.

The bust depicts Dr. Martin Luther King Jr. in a contemplative and peaceful mood, looking slightly downward, patinated to match the black marble base.

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Bust of Martin Luther King Jr. (U.S. Capitol)

Focus on this artwork and explore the Description.

The bust depicts Dr. Martin Luther King Jr. in a contemplative and peaceful mood, looking slightly downward, patinated to match the black marble base.

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Bust of Martin Luther King Jr. (U.S. Capitol)

Focus on Bust of Martin Luther King Jr. (U.S. Capitol) and explain the History.

The bust was unveiled in the Rotunda on January 16, 1986, by Dr. King's wife Coretta, their four children, and Dr. King's sister, Christine King Farris.

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Bust of Martin Luther King Jr. (U.S. Capitol)

Focus on this artwork and explain the History.

The bust was unveiled in the Rotunda on January 16, 1986, by Dr. King's wife Coretta, their four children, and Dr. King's sister, Christine King Farris.

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Nomoli figurine

Explore the abstract of this artwork, Nomoli figurine.

A Nomoli () is a carved stone figurine native to Sierra Leone and Liberia. They are usually made of soapstone, limestone or granite.

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Nomoli figurine

Explore the abstract of this artwork.

A Nomoli () is a carved stone figurine native to Sierra Leone and Liberia. They are usually made of soapstone, limestone or granite.

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Nomoli figurine

Focus on Nomoli figurine and discuss the Characteristics and description.

Along the coastal region, Nomoli figurines are often carved into a crouching stance with a small object in its hands. Their heads are oblong in shape. Most figurines are made out of soapstone, limestone, steatite, and in some cases, granite. Nomoli figurines buried deeper underground tend to be better preserved than those discovered just beneath the surface.

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Nomoli figurine

Focus on this artwork and discuss the Characteristics and description.

Along the coastal region, Nomoli figurines are often carved into a crouching stance with a small object in its hands. Their heads are oblong in shape. Most figurines are made out of soapstone, limestone, steatite, and in some cases, granite. Nomoli figurines buried deeper underground tend to be better preserved than those discovered just beneath the surface.

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The White Glove

How does The White Glove elucidate its abstract?

The White Glove is a 1921 portrait painting by Australian artist George Washington Lambert. The painting depicts Miss Gladys Neville Collins, the daughter of J.T. Collins, lawyer, Victorian State Parliamentary draughtsman, and trustee of the Public Library, Museums and National Gallery of Victoria.Lambert posed the subject in a manner suggestive of Joshua Reynolds Sarah Siddons as the Tragic Muse. The painting also suggests Lambert was familiar with John Singer Sargent's 1905 work Portrait of Ena Wertheimer: a vele gonfie. Miss Collins’s tilted head, her half-open mouth, half-closed eyes, and almost-bare right arm suggest an individual sensuality, but they also indicate a form of codified (sexual) behaviour. Lambert's lively work was significantly different from the "prevalent brown tonalist portraiture" in vogue with other Australian portrait painters at the time. In a letter to his wife Amy, Lambert described the painting as a "wild dashing portrait".The painting was acquired for 600 guineas by the Art Gallery of New South Wales in 1922, at the time the highest price paid by a public gallery for a portrait by an Australian artist. The work remains part of its collection.

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The White Glove

How does this artwork elucidate its abstract?

The White Glove is a 1921 portrait painting by Australian artist George Washington Lambert. The painting depicts Miss Gladys Neville Collins, the daughter of J.T. Collins, lawyer, Victorian State Parliamentary draughtsman, and trustee of the Public Library, Museums and National Gallery of Victoria.Lambert posed the subject in a manner suggestive of Joshua Reynolds Sarah Siddons as the Tragic Muse. The painting also suggests Lambert was familiar with John Singer Sargent's 1905 work Portrait of Ena Wertheimer: a vele gonfie. Miss Collins’s tilted head, her half-open mouth, half-closed eyes, and almost-bare right arm suggest an individual sensuality, but they also indicate a form of codified (sexual) behaviour. Lambert's lively work was significantly different from the "prevalent brown tonalist portraiture" in vogue with other Australian portrait painters at the time. In a letter to his wife Amy, Lambert described the painting as a "wild dashing portrait".The painting was acquired for 600 guineas by the Art Gallery of New South Wales in 1922, at the time the highest price paid by a public gallery for a portrait by an Australian artist. The work remains part of its collection.

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Coming from the Mill

Focus on Coming from the Mill and analyze the abstract.

Coming from the Mill is an oil-on-canvas painting created in 1930 by British painter Laurence Stephen Lowry.

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Coming from the Mill

Focus on this artwork and analyze the abstract.

Coming from the Mill is an oil-on-canvas painting created in 1930 by British painter Laurence Stephen Lowry.

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Coming from the Mill

In Coming from the Mill, how is the Artist discussed?

Laurence Stephen Lowry (1887–1976) often painted his surroundings in Pendlebury, Lancashire in the United Kingdom, where he lived and worked for more than 40 years. His fame lies in images from the industrial districts in the northwest of England from the mid-1900s. He developed a painting style of cityscapes with people, often described as "matchstick men". He also painted mysterious unpopulated landscapes and discordant portraits. He is sometimes referred to as naïvist and often got to hear, to his annoyance, that he was a self-taught amateur "Sunday painter".

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Coming from the Mill

In this artwork, how is the Artist discussed?

Laurence Stephen Lowry (1887–1976) often painted his surroundings in Pendlebury, Lancashire in the United Kingdom, where he lived and worked for more than 40 years. His fame lies in images from the industrial districts in the northwest of England from the mid-1900s. He developed a painting style of cityscapes with people, often described as "matchstick men". He also painted mysterious unpopulated landscapes and discordant portraits. He is sometimes referred to as naïvist and often got to hear, to his annoyance, that he was a self-taught amateur "Sunday painter".

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Coming from the Mill

Focus on Coming from the Mill and explore the Description.

Coming from the Mill shows workers going home from a factory after the end of their shift. The human figures are painted in Lowry's characteristic style of "matchstick figures", filing out through the factory gates in large numbers. In the foreground, a horse-drawn carriage and a handcart are visible on the street in front of a row of terraced houses, and large cotton mill buildings and factory chimneys loom in the background, above a distant church steeple.

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Coming from the Mill

Focus on this artwork and explore the Description.

Coming from the Mill shows workers going home from a factory after the end of their shift. The human figures are painted in Lowry's characteristic style of "matchstick figures", filing out through the factory gates in large numbers. In the foreground, a horse-drawn carriage and a handcart are visible on the street in front of a row of terraced houses, and large cotton mill buildings and factory chimneys loom in the background, above a distant church steeple.

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Coming from the Mill

Focus on Coming from the Mill and explain the History.

Coming from the Mill does not depict a real factory, but rather a composite scene consisting of individual buildings with real details from Lowry's imagination. Lowry based many of his paintings on the industrial landscape of Pendlebury, Salford, where he lived for part of his early life. Lowry recalled an inspirational moment at Pendlebury railway station: "One day I missed a train from Pendlebury – [a place] I had ignored for seven years – and as I left the station I saw the Acme Spinning Company's mill… The huge black framework of rows of yellow-lit windows standing up against the sad, damp charged afternoon sky. The mill was turning out… I watched this scene – which I'd looked at many times without seeing – with rapture…" This experience led Lowry to incorporate elements of local textile mills and factory chimneys into many of his works, and elements of the Acme Mill can be seen in Coming from the Mill.Lowry created an early pastel and pencil sketch of Coming from the Mill around 1917–18. Although recognisably the same scene, differences with his 1930 painting are evident; his refinements to the composition include the addition of a church steeple and the removal of a brewery tower in the background. This 1917 drawing is noted as one of Lowry's earliest mill scenes. Lowry re-used this composition in a 1928 painting, Coming Home from the Mill, which is now in the collection of the Manchester Art Gallery.The 1930 version of Coming from the Mill, painted some 13 years later, is evidence of a change in Lowry's use of light. Writing in the Manchester Guardian, his former tutor at the Salford School of Art, Bernard D. Taylor, criticised Lowry's paintings for being too dark. Taylor's criticism led Lowry to make greater use of light backgrounds such as that used in his 1930 reworking of Coming from the Mill.The 1930 Coming from the Mill is noted for Lowry's subtle use of colour, with mixes of yellow ochre and vermilion blended to incorporate hues of peach, dusky reds and rose pinks. The dark colours used to depict the human figures contrast sharply with the off-white background, and the large, dark blocks of the mill buildings looming in the background have been likened to the wings of a theatre stage, framing the scene. Raking light analysis also reveals Lowry's technique of using a knife to cut into the paint surface to create a sense of luminescence and to increases the contrast between individual elements and the background. The horse-drawn vehicles in the foreground of both versions of Coming from the Mill show the influence of his tutor at the Manchester School of Art, Pierre Adolphe Valette.

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Coming from the Mill

Focus on this artwork and explain the History.

Coming from the Mill does not depict a real factory, but rather a composite scene consisting of individual buildings with real details from Lowry's imagination. Lowry based many of his paintings on the industrial landscape of Pendlebury, Salford, where he lived for part of his early life. Lowry recalled an inspirational moment at Pendlebury railway station: "One day I missed a train from Pendlebury – [a place] I had ignored for seven years – and as I left the station I saw the Acme Spinning Company's mill… The huge black framework of rows of yellow-lit windows standing up against the sad, damp charged afternoon sky. The mill was turning out… I watched this scene – which I'd looked at many times without seeing – with rapture…" This experience led Lowry to incorporate elements of local textile mills and factory chimneys into many of his works, and elements of the Acme Mill can be seen in Coming from the Mill.Lowry created an early pastel and pencil sketch of Coming from the Mill around 1917–18. Although recognisably the same scene, differences with his 1930 painting are evident; his refinements to the composition include the addition of a church steeple and the removal of a brewery tower in the background. This 1917 drawing is noted as one of Lowry's earliest mill scenes. Lowry re-used this composition in a 1928 painting, Coming Home from the Mill, which is now in the collection of the Manchester Art Gallery.The 1930 version of Coming from the Mill, painted some 13 years later, is evidence of a change in Lowry's use of light. Writing in the Manchester Guardian, his former tutor at the Salford School of Art, Bernard D. Taylor, criticised Lowry's paintings for being too dark. Taylor's criticism led Lowry to make greater use of light backgrounds such as that used in his 1930 reworking of Coming from the Mill.The 1930 Coming from the Mill is noted for Lowry's subtle use of colour, with mixes of yellow ochre and vermilion blended to incorporate hues of peach, dusky reds and rose pinks. The dark colours used to depict the human figures contrast sharply with the off-white background, and the large, dark blocks of the mill buildings looming in the background have been likened to the wings of a theatre stage, framing the scene. Raking light analysis also reveals Lowry's technique of using a knife to cut into the paint surface to create a sense of luminescence and to increases the contrast between individual elements and the background. The horse-drawn vehicles in the foreground of both versions of Coming from the Mill show the influence of his tutor at the Manchester School of Art, Pierre Adolphe Valette.

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Coming from the Mill

Explore the Provenance about the History of this artwork, Coming from the Mill.

Coming from the Mill was bought from the artist by Salford Museum and Art Gallery in 1941. In a letter to the gallery Lowry wrote, "It gives me great pleasure that Salford have bought this picture for I have always thought it was my most characteristic mill scene." With the opening of The Lowry at Salford Quays, Coming from the Mill – along with the gallery's entire collection of Lowry works – was transferred to the new art centre.

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Coming from the Mill

Explore the Provenance about the History of this artwork.

Coming from the Mill was bought from the artist by Salford Museum and Art Gallery in 1941. In a letter to the gallery Lowry wrote, "It gives me great pleasure that Salford have bought this picture for I have always thought it was my most characteristic mill scene." With the opening of The Lowry at Salford Quays, Coming from the Mill – along with the gallery's entire collection of Lowry works – was transferred to the new art centre.

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Marlowe Memorial

Focus on Marlowe Memorial and discuss the abstract.

The Marlowe Memorial is a statue and four statuettes erected in memory of the playwright and poet Christopher Marlowe in 1891 in Canterbury, England. The memorial was commissioned by a Marlowe Memorial Committee, and comprises a bronze statue, The Muse of Poetry sculpted by Edward Onslow Ford, standing on a plinth decorated with statuettes of actors playing Marlowe roles. The statue is now situated outside the city's Marlowe Theatre.

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Marlowe Memorial

Focus on this artwork and discuss the abstract.

The Marlowe Memorial is a statue and four statuettes erected in memory of the playwright and poet Christopher Marlowe in 1891 in Canterbury, England. The memorial was commissioned by a Marlowe Memorial Committee, and comprises a bronze statue, The Muse of Poetry sculpted by Edward Onslow Ford, standing on a plinth decorated with statuettes of actors playing Marlowe roles. The statue is now situated outside the city's Marlowe Theatre.

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Marlowe Memorial

How does Marlowe Memorial elucidate its Memorial Committee?

A Marlow Memorial Committee was established in 1888, arising out of a conception on the part of the Elizabethan Society of Toynbee Hall, that Marlowe, perhaps because of his reputation as an atheist, lacked the national recognition that he deserved. James Ernest Baker of the Society wrote to the London Evening Standard newspaper on 28 July 1888 to draw attention to Marlowe's work and legacy, stating that he had "laid the foundations of English blank verse, which, in its more developed form through the medium of Shakespeare and Milton, has become the life-blood of English literature and the supreme instrument of tragic poetry."A committee was formed in reaction to the letter, numbering amongst its officers Sidney Lee and Frederick Rogers of the Society, the former acting as treasurer; Lord Coleridge, the Lord Chief Justice of England acting as chairman; and with members including poets Robert Browning, Alfred, Lord Tennyson, James Russell Lowell, Edmund Gosse, Algernon Charles Swinburne, John Addington Symonds, Andrew Lang, Alfred Austin and Henry Beeching; the publisher Arthur Henry Bullen, editor Alexander Balloch Grosart, actor-manager Henry Irving; writers & critics Leslie Stephen, Richard Garnett; and scholars Horace Howard Furness and Francis James Child. The committee raised funds by subscription, and held a public reading at St James's Hall involving Irving and Ellen Terry, which raised £100.

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Marlowe Memorial

How does this artwork elucidate its Memorial Committee?

A Marlow Memorial Committee was established in 1888, arising out of a conception on the part of the Elizabethan Society of Toynbee Hall, that Marlowe, perhaps because of his reputation as an atheist, lacked the national recognition that he deserved. James Ernest Baker of the Society wrote to the London Evening Standard newspaper on 28 July 1888 to draw attention to Marlowe's work and legacy, stating that he had "laid the foundations of English blank verse, which, in its more developed form through the medium of Shakespeare and Milton, has become the life-blood of English literature and the supreme instrument of tragic poetry."A committee was formed in reaction to the letter, numbering amongst its officers Sidney Lee and Frederick Rogers of the Society, the former acting as treasurer; Lord Coleridge, the Lord Chief Justice of England acting as chairman; and with members including poets Robert Browning, Alfred, Lord Tennyson, James Russell Lowell, Edmund Gosse, Algernon Charles Swinburne, John Addington Symonds, Andrew Lang, Alfred Austin and Henry Beeching; the publisher Arthur Henry Bullen, editor Alexander Balloch Grosart, actor-manager Henry Irving; writers & critics Leslie Stephen, Richard Garnett; and scholars Horace Howard Furness and Francis James Child. The committee raised funds by subscription, and held a public reading at St James's Hall involving Irving and Ellen Terry, which raised £100.

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Marlowe Memorial

Focus on Marlowe Memorial and analyze the Memorial.

Victorian sculptor Edward Onslow Ford was commissioned to create the memorial; there being no surviving image of Marlowe known at the time, Ford decided on an allegorical representation in the form of The Muse of Poetry, a scantily-clad lyric muse surmounting a square pedestal having statuettes of four notable players of Marlowe characters in niches on each side. These were to be (according to Rogers) Irving as Tamburlaine, George Alexander as Faustus, Herbert Beerbohm Tree as Edward II, and W. S. Willard as The Jew of Malta.Funds were insufficient to realise this plan, and the memorial, situated in the Buttermarket, was unveiled on 16 September 1891 by Irving, with his statuette as the sole plinth decoration. Rogers asserts that the Memorial awakened a new interest in Elizabethan literature, and quoting Gosse – "Marlowe had been successfully neglected for three-hundred years" noted that "he suddenly became the subject of leading articles in the chief newspapers and magazines, and of paragraphs and leaderettes in minor ones". Although the statue earned the nicknamed Kitty (the playwright was known as Kit), some objections were raised to the statue's dishabille, especially so near the Cathedral. Shrubbery, railings and four lanterns were erected around the statue in 1892. Much later, additional funds were raised to complete the vision, and a second unveiling was conducted by the novelist Hugh Walpole, who had briefly attended Marlowe's alma mater, The King's School, Canterbury. A contemporary source lists the statuettes on the plinth as Irving (Tamburlaine), Sir Johnston Forbes-Roberston as Faustus, James Keteltas Hackett as Edward II, and Edward Alleyn as The Jew of Malta.The statue has been resited on a number of occasions; first to King Street to make way for a World War I memorial; thence to Dane John Gardens in 1921. The memorial was damaged in a 1940 (or 1942) World War II bombing of the city, the muse being thrown to the ground. She was remounted, but facing in a new direction, an error corrected only in 1964. Two statuettes were stolen in 1977. Most recently the statue was again relocated to stand outside the Marlowe Theatre, Ian McKellen performing a rededication ceremony in 1993.

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Marlowe Memorial

Focus on this artwork and analyze the Memorial.

Victorian sculptor Edward Onslow Ford was commissioned to create the memorial; there being no surviving image of Marlowe known at the time, Ford decided on an allegorical representation in the form of The Muse of Poetry, a scantily-clad lyric muse surmounting a square pedestal having statuettes of four notable players of Marlowe characters in niches on each side. These were to be (according to Rogers) Irving as Tamburlaine, George Alexander as Faustus, Herbert Beerbohm Tree as Edward II, and W. S. Willard as The Jew of Malta.Funds were insufficient to realise this plan, and the memorial, situated in the Buttermarket, was unveiled on 16 September 1891 by Irving, with his statuette as the sole plinth decoration. Rogers asserts that the Memorial awakened a new interest in Elizabethan literature, and quoting Gosse – "Marlowe had been successfully neglected for three-hundred years" noted that "he suddenly became the subject of leading articles in the chief newspapers and magazines, and of paragraphs and leaderettes in minor ones". Although the statue earned the nicknamed Kitty (the playwright was known as Kit), some objections were raised to the statue's dishabille, especially so near the Cathedral. Shrubbery, railings and four lanterns were erected around the statue in 1892. Much later, additional funds were raised to complete the vision, and a second unveiling was conducted by the novelist Hugh Walpole, who had briefly attended Marlowe's alma mater, The King's School, Canterbury. A contemporary source lists the statuettes on the plinth as Irving (Tamburlaine), Sir Johnston Forbes-Roberston as Faustus, James Keteltas Hackett as Edward II, and Edward Alleyn as The Jew of Malta.The statue has been resited on a number of occasions; first to King Street to make way for a World War I memorial; thence to Dane John Gardens in 1921. The memorial was damaged in a 1940 (or 1942) World War II bombing of the city, the muse being thrown to the ground. She was remounted, but facing in a new direction, an error corrected only in 1964. Two statuettes were stolen in 1977. Most recently the statue was again relocated to stand outside the Marlowe Theatre, Ian McKellen performing a rededication ceremony in 1993.