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NAIST NLP 19

0651_T

Black Lives Matter street mural (Capitol Hill, Seattle)

In Black Lives Matter street mural (Capitol Hill, Seattle), how is the abstract discussed?

A "Black Lives Matter" street mural was painted in Capitol Hill, Seattle, in the U.S. state of Washington in June 2020. Maintained by the Seattle Department of Transportation, the artwork has survived longer than many Black Lives Matter street murals across the United States.

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Black Lives Matter street mural (Capitol Hill, Seattle)

In this artwork, how is the abstract discussed?

A "Black Lives Matter" street mural was painted in Capitol Hill, Seattle, in the U.S. state of Washington in June 2020. Maintained by the Seattle Department of Transportation, the artwork has survived longer than many Black Lives Matter street murals across the United States.

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Black Lives Matter street mural (Capitol Hill, Seattle)

Focus on Black Lives Matter street mural (Capitol Hill, Seattle) and explore the Description and history.

The text "Black Lives Matter" was first painted in large white letters on Pine Street between 10th and 11th avenues, during the Capitol Hill Occupied Protest.After the letters began to deteriorate, the mural was etched permanently into the road surface in September and repainted with colorful, block letters, each contributed by a different artist.Mural artists include Takiyah Ward and Kimisha Turner. The "E" in "matter" featured representations of graffiti seen around the city, and its artist was criticised for having included the anti-police slogan ACAB, apparently without notifying other artists.

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Black Lives Matter street mural (Capitol Hill, Seattle)

Focus on this artwork and explore the Description and history.

The text "Black Lives Matter" was first painted in large white letters on Pine Street between 10th and 11th avenues, during the Capitol Hill Occupied Protest.After the letters began to deteriorate, the mural was etched permanently into the road surface in September and repainted with colorful, block letters, each contributed by a different artist.Mural artists include Takiyah Ward and Kimisha Turner. The "E" in "matter" featured representations of graffiti seen around the city, and its artist was criticised for having included the anti-police slogan ACAB, apparently without notifying other artists.

0653_T

Black Lives Matter street mural (Capitol Hill, Seattle)

In the context of Black Lives Matter street mural (Capitol Hill, Seattle), explain the Maintenance and legacy of the Description and history.

The mural is maintained by the Seattle Department of Transportation. To protect the pedestrian area, slower traffic lanes came to displace East Pine Street's curb parking. The work was refreshed in July 2022 and will require periodic maintenance over time.In March 2023, Amanda Ong of the South Seattle Emerald said the community gardens and the mural "are all that remain" of the Capitol Hill Occupied Protest. In June, Melissa Santos of Axios noted that Seattle's two Black Lives Matter murals have been preserved better than others across the United States. She wrote, "While some Black Lives Matter murals painted after the 2020 murder of George Floyd are getting paved over or worn away by traffic, Seattle has taken steps to restore its mural and make it permanent." Jasmine Mahmoud of Black Arts Legacies called the mural "an enduring Seattle memorial" in mid-2023.

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Black Lives Matter street mural (Capitol Hill, Seattle)

In the context of this artwork, explain the Maintenance and legacy of the Description and history.

The mural is maintained by the Seattle Department of Transportation. To protect the pedestrian area, slower traffic lanes came to displace East Pine Street's curb parking. The work was refreshed in July 2022 and will require periodic maintenance over time.In March 2023, Amanda Ong of the South Seattle Emerald said the community gardens and the mural "are all that remain" of the Capitol Hill Occupied Protest. In June, Melissa Santos of Axios noted that Seattle's two Black Lives Matter murals have been preserved better than others across the United States. She wrote, "While some Black Lives Matter murals painted after the 2020 murder of George Floyd are getting paved over or worn away by traffic, Seattle has taken steps to restore its mural and make it permanent." Jasmine Mahmoud of Black Arts Legacies called the mural "an enduring Seattle memorial" in mid-2023.

0654_T

Statue of Robert Stephenson

Explore the Description of this artwork, Statue of Robert Stephenson.

The 2.7 m (8 ft 10 in) high bronze statue portrays Stephenson standing casually, bareheaded, with his right leg slightly forward, in contemporary Victorian dress of frock coat and trousers. He has a partially unrolled document in his right hand, and the left hand rests on his hip. The red Aberdeen granite plinth bears the inscription ROBERT STEPHENSON/ BORN/ OCTOBER 16TH 1803/ DIED OCTOBER 12TH 1859.

0654_NT

Statue of Robert Stephenson

Explore the Description of this artwork.

The 2.7 m (8 ft 10 in) high bronze statue portrays Stephenson standing casually, bareheaded, with his right leg slightly forward, in contemporary Victorian dress of frock coat and trousers. He has a partially unrolled document in his right hand, and the left hand rests on his hip. The red Aberdeen granite plinth bears the inscription ROBERT STEPHENSON/ BORN/ OCTOBER 16TH 1803/ DIED OCTOBER 12TH 1859.

0655_T

Statue of Robert Stephenson

Focus on Statue of Robert Stephenson and discuss the Background.

A memorial committee of the Institute of Civil Engineers commissioned the statue after Stephenson's death on 12 October 1859. It was completed before Marochetti's death in 1867, but remained in storage while protracted discussions continued about an appropriate site to erect it and other statues.The Institute of Civil Engineers had also commissioned Marochetti to make a similar statue of Stephenson's rival engineer Isambard Kingdom Brunel, after Brunel's death a few weeks before Stephenson on 14 September 1859, and then a third statue for the railway engineer Joseph Locke who died a year later, on 18 September 1860. The intention was to erect the three statues together in a prominent position in Parliament Square, then known as the churchyard of St Margaret's, Westminster, near the statue of George Canning beside the offices of the Institute of Civil Engineers at One Great George Street. After initially granting permission, the Office of Works decided against in 1868, reserving the space for statues of politicians.Ultimately the three statues were erected separately. Marochetti's statue of Joseph Locke was installed in Locke Park, Barnsley, in 1866. The statue and its enclosure were listed at Grade II in 1986. A copy is displayed in Barentin, France, where Locke designed a railway viaduct. The statue of Brunel was erected in 1874 on the Victoria Embankment, at the west end of Temple Place, on a Portland stone pedestal with novel flanking screen walls and benches by the architect Richard Norman Shaw. It became a grade II listed building in 1958.

0655_NT

Statue of Robert Stephenson

Focus on this artwork and discuss the Background.

A memorial committee of the Institute of Civil Engineers commissioned the statue after Stephenson's death on 12 October 1859. It was completed before Marochetti's death in 1867, but remained in storage while protracted discussions continued about an appropriate site to erect it and other statues.The Institute of Civil Engineers had also commissioned Marochetti to make a similar statue of Stephenson's rival engineer Isambard Kingdom Brunel, after Brunel's death a few weeks before Stephenson on 14 September 1859, and then a third statue for the railway engineer Joseph Locke who died a year later, on 18 September 1860. The intention was to erect the three statues together in a prominent position in Parliament Square, then known as the churchyard of St Margaret's, Westminster, near the statue of George Canning beside the offices of the Institute of Civil Engineers at One Great George Street. After initially granting permission, the Office of Works decided against in 1868, reserving the space for statues of politicians.Ultimately the three statues were erected separately. Marochetti's statue of Joseph Locke was installed in Locke Park, Barnsley, in 1866. The statue and its enclosure were listed at Grade II in 1986. A copy is displayed in Barentin, France, where Locke designed a railway viaduct. The statue of Brunel was erected in 1874 on the Victoria Embankment, at the west end of Temple Place, on a Portland stone pedestal with novel flanking screen walls and benches by the architect Richard Norman Shaw. It became a grade II listed building in 1958.

0656_T

Statue of Robert Stephenson

How does Statue of Robert Stephenson elucidate its Installation at Euston station?

The Institute of Civil Engineers presented the statue of Stephenson to the London and North Western Railway, which from 1846 brought together the London and Birmingham Railway, the Grand Junction Railway and the Liverpool and Manchester Railway, all of which had engaged Stephenson or his father George Stephenson. Euston was the railway's London terminus, and an 1852 marble statue of George Stephenson by Edward Hodges Baily was already displayed within the main hall of the station (it is now at the National Railway Museum, York). Similar to Marochetti's statue of Robert Stephenson, Baily's statue of his father also shows the subject standing in contemporary dress, holding an partially unrolled document the right hand. The statue of Robert Stephenson was erected on a red granite pedestal outside Euston railway station in 1871, originally sited between the entrance lodges to the station precincts. It was moved to the east side of the station when it was redeveloped in the 1960s, and moved again in 2008 when further redevelopment was proposed to stand to the west side of the station forecourt. The statue is one of few surviving elements of the original station after it was redeveloped in the 1960s, and it was listed at Grade II in 1974.The statue was removed in 2020 to allow further redevelopment works, remodelling the station for the new HS2 railway line to Birmingham.

0656_NT

Statue of Robert Stephenson

How does this artwork elucidate its Installation at Euston station?

The Institute of Civil Engineers presented the statue of Stephenson to the London and North Western Railway, which from 1846 brought together the London and Birmingham Railway, the Grand Junction Railway and the Liverpool and Manchester Railway, all of which had engaged Stephenson or his father George Stephenson. Euston was the railway's London terminus, and an 1852 marble statue of George Stephenson by Edward Hodges Baily was already displayed within the main hall of the station (it is now at the National Railway Museum, York). Similar to Marochetti's statue of Robert Stephenson, Baily's statue of his father also shows the subject standing in contemporary dress, holding an partially unrolled document the right hand. The statue of Robert Stephenson was erected on a red granite pedestal outside Euston railway station in 1871, originally sited between the entrance lodges to the station precincts. It was moved to the east side of the station when it was redeveloped in the 1960s, and moved again in 2008 when further redevelopment was proposed to stand to the west side of the station forecourt. The statue is one of few surviving elements of the original station after it was redeveloped in the 1960s, and it was listed at Grade II in 1974.The statue was removed in 2020 to allow further redevelopment works, remodelling the station for the new HS2 railway line to Birmingham.

0657_T

Arbre Serpents

Focus on Arbre Serpents and analyze the abstract.

Arbre Serpents is a sculpture by Niki de Saint Phalle.It showed at the Missouri Botanical Garden. It is part of the National Museum of Women in the Arts, New York Avenue Sculpture Projekt.

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Arbre Serpents

Focus on this artwork and analyze the abstract.

Arbre Serpents is a sculpture by Niki de Saint Phalle.It showed at the Missouri Botanical Garden. It is part of the National Museum of Women in the Arts, New York Avenue Sculpture Projekt.

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Arbre Serpents

In Arbre Serpents, how is the Reviews discussed?

Jacqueline Trescott (2010). "National Museum of Women in the Arts to turn D.C. corridor into sculpture alley". Style. The Washington Post. Retrieved 8 Feb 2011. Blake Gopnik (2010). "Sculptures add color to New York Avenue, but are they art?". Style. The Washington Post. Retrieved 9 Feb 2011.

0658_NT

Arbre Serpents

In this artwork, how is the Reviews discussed?

Jacqueline Trescott (2010). "National Museum of Women in the Arts to turn D.C. corridor into sculpture alley". Style. The Washington Post. Retrieved 8 Feb 2011. Blake Gopnik (2010). "Sculptures add color to New York Avenue, but are they art?". Style. The Washington Post. Retrieved 9 Feb 2011.

0659_T

The Girl with the Wine Glass

Focus on The Girl with the Wine Glass and explore the abstract.

The Girl with the Wine Glass (Dame en twee heren) is an oil on canvas painting by Johannes Vermeer, created c. 1659–1660, now in the Herzog Anton Ulrich Museum, in Braunschweig.

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The Girl with the Wine Glass

Focus on this artwork and explore the abstract.

The Girl with the Wine Glass (Dame en twee heren) is an oil on canvas painting by Johannes Vermeer, created c. 1659–1660, now in the Herzog Anton Ulrich Museum, in Braunschweig.

0660_T

The Girl with the Wine Glass

Focus on The Girl with the Wine Glass and explain the Painting materials.

The pigment analysis done by Hermann Kühn shows Vermeer's use of the expensive natural ultramarine in the tablecloth, lead-tin-yellow in the oranges on the table and madder lake and vermilion in the skirt of the woman.

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The Girl with the Wine Glass

Focus on this artwork and explain the Painting materials.

The pigment analysis done by Hermann Kühn shows Vermeer's use of the expensive natural ultramarine in the tablecloth, lead-tin-yellow in the oranges on the table and madder lake and vermilion in the skirt of the woman.

0661_T

Approaching Thunder Storm

Explore the abstract of this artwork, Approaching Thunder Storm.

Approaching Thunder Storm is an 1859 painting by American painter Martin Johnson Heade. It was his largest painting to date. The painting is in the collection of the Metropolitan Museum of Art. It is praised for its dramatic depiction of the threatening mood of blackening skies and eerily illuminated terrain prior to the storm itself. The painting has been connected to mounting tensions before the Civil War, which were often expressed in terms of natural imagery.One of a series of paintings by Heade of coastal landscapes, this work was based on a sketch that Heade made of an approaching storm on Narragansett Bay, Rhode Island. Here, a fisherman sits by the shore watching the storm approach; there is a faint red bolt of lightning in the left part of the sky. To his left are a dog, an iron kettle, and a spread-out boat sail. Another fisherman is rowing toward the shore, having left his sailboat out on the bay. His placement in the composition helps provide a sense of distance and a narrative for the scene.Strazdes suggests that "Heade, by refusing to prettify his scenery by association, was attempting to inject into his artistic vision a serious, monumental simplicity it had not previously possessed." The composition is very open, as if seen through a wide-angle lens, and relatively empty. The swathes of dark color are novel for a landscape work. The long horizon is an influence from Heade's contemporary, Frederic Edwin Church (with whom he shared a studio), as in paintings such as Niagara. Numerous pentimenti suggest that Heade altered the composition over time; for example, the hills on the horizon were originally larger and more jagged. Records suggest that Approaching Thunder Storm was exhibited at the National Academy of Design in 1860. In 1868, Heade painted Thunder Storm on Narragansett Bay, a similar composition.

0661_NT

Approaching Thunder Storm

Explore the abstract of this artwork.

Approaching Thunder Storm is an 1859 painting by American painter Martin Johnson Heade. It was his largest painting to date. The painting is in the collection of the Metropolitan Museum of Art. It is praised for its dramatic depiction of the threatening mood of blackening skies and eerily illuminated terrain prior to the storm itself. The painting has been connected to mounting tensions before the Civil War, which were often expressed in terms of natural imagery.One of a series of paintings by Heade of coastal landscapes, this work was based on a sketch that Heade made of an approaching storm on Narragansett Bay, Rhode Island. Here, a fisherman sits by the shore watching the storm approach; there is a faint red bolt of lightning in the left part of the sky. To his left are a dog, an iron kettle, and a spread-out boat sail. Another fisherman is rowing toward the shore, having left his sailboat out on the bay. His placement in the composition helps provide a sense of distance and a narrative for the scene.Strazdes suggests that "Heade, by refusing to prettify his scenery by association, was attempting to inject into his artistic vision a serious, monumental simplicity it had not previously possessed." The composition is very open, as if seen through a wide-angle lens, and relatively empty. The swathes of dark color are novel for a landscape work. The long horizon is an influence from Heade's contemporary, Frederic Edwin Church (with whom he shared a studio), as in paintings such as Niagara. Numerous pentimenti suggest that Heade altered the composition over time; for example, the hills on the horizon were originally larger and more jagged. Records suggest that Approaching Thunder Storm was exhibited at the National Academy of Design in 1860. In 1868, Heade painted Thunder Storm on Narragansett Bay, a similar composition.

0662_T

Bust of Patrick Collins

Focus on Bust of Patrick Collins and discuss the abstract.

A bronze bust of congressman and Boston Mayor Patrick Collins is installed along Boston's Commonwealth Avenue, in the U.S. state of Massachusetts. The memorial was dedicated in 1908 and relocated in 1966. It features a bust of Collins on a granite base flanked by two bronze female statues representing America and Ireland. The figures are approximately 7 ft. 6 in. tall and 2 ft wide, and the base measures approximately 11 ft. 6 in. x 10 ft. 1 in. x 6 ft. 8 in. The work was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.

0662_NT

Bust of Patrick Collins

Focus on this artwork and discuss the abstract.

A bronze bust of congressman and Boston Mayor Patrick Collins is installed along Boston's Commonwealth Avenue, in the U.S. state of Massachusetts. The memorial was dedicated in 1908 and relocated in 1966. It features a bust of Collins on a granite base flanked by two bronze female statues representing America and Ireland. The figures are approximately 7 ft. 6 in. tall and 2 ft wide, and the base measures approximately 11 ft. 6 in. x 10 ft. 1 in. x 6 ft. 8 in. The work was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.

0663_T

The Three Ages of Man (Titian)

How does The Three Ages of Man (Titian) elucidate its abstract?

The Three Ages of Man (Italian Le tre età dell'uomo) is a painting by Titian, dated between 1512 and 1514, and now displayed at the Scottish National Gallery in Edinburgh. The 90 cm high by 151 cm wide Renaissance art work was most likely influenced by Giorgione's themes and motifs of landscapes and nude figures—Titian was known to have completed some of Giorgione's unfinished works after Giorgione died at age 33 of the plague in 1510. The painting represents the artist's conception of the life cycle. Childhood and manhood are synonymous with earthly love and death. These and the approaching old age are drawn realistically. Titian's widely chosen topic in art history, ages of man, mixed with his own allegorical interpretation make The Three Ages of Man one of Titian's most famous works.

0663_NT

The Three Ages of Man (Titian)

How does this artwork elucidate its abstract?

The Three Ages of Man (Italian Le tre età dell'uomo) is a painting by Titian, dated between 1512 and 1514, and now displayed at the Scottish National Gallery in Edinburgh. The 90 cm high by 151 cm wide Renaissance art work was most likely influenced by Giorgione's themes and motifs of landscapes and nude figures—Titian was known to have completed some of Giorgione's unfinished works after Giorgione died at age 33 of the plague in 1510. The painting represents the artist's conception of the life cycle. Childhood and manhood are synonymous with earthly love and death. These and the approaching old age are drawn realistically. Titian's widely chosen topic in art history, ages of man, mixed with his own allegorical interpretation make The Three Ages of Man one of Titian's most famous works.

0664_T

The Three Ages of Man (Titian)

Focus on The Three Ages of Man (Titian) and analyze the History.

Vasari, one of the most important biographers of the Renaissance, states Titian painted The Three Ages of Man after returning to Venice for the father-in-law of famous gem-engraver and medallist Giovanni Bernardi, also known as Giovanni di Castel Bolognese at Faenza, dated to 1515. Critics have also dated it slightly earlier, due to the three sleeping putti to the right, evidently modelled on the Santa Giustina altarpiece by Romanino (Musei civici di Padova), which dates to 1513. Several copies of The Three Ages are known, one of the most notable of which is that at Rome's Doria Pamphilj Gallery, attributed to Sassoferrato. Many art historians have debated the possibility that two or three of these copies came from Titian's workshop.From Giovanni Bernardi, the painting then came into possession of Cardinal Otto Truchsess von Waldburg, a leading figure at the Habsburg court and a prominent art patron. There is no record of direct exchange between Bernardi and Cardinal Truchsess but it is a known fact that, at some point, the painting was in the care of both of their hands. Both men knew Titian himself, and Cardinal Truchsess would have frequented Italy around the time of Bernardi's death in 1553 due to the deaths of five popes from 1549-1565.The masterpiece later fell into the hands of Matthäus Hopfer, known to have a house in the Grottenau filled with 'poetic fable' frescoes. After his death in 1623, the painting was then passed down to the Ebert family, before being put into the Augsburg market. The first concrete record of the painting dates to 1662, listed in the collection of Queen Christina of Sweden at Palazzo Riario in Rome. Joachim von Sandrart notes that The Three Ages of Man was purchased by the Queen from one "Herr von Waldburg" (of no relation to Cardinal Truchsess) in Augsburg for 1,000 Reichsthaler, likely as she passed through the city from the Netherlands to Rome in October 1655.The Three Ages of Man was later purchased in 1692 by Prince Livio Odescalchi and again in 1720 by Philippe, 2nd duke of Orleans. It remained in the Orleans Collection until 1798, where it was purchased by Francis Egerton, 3rd Duke of Bridgewater, whose descendants later deposited his whole collection with the National Gallery of Scotland for storage and display.

0664_NT

The Three Ages of Man (Titian)

Focus on this artwork and analyze the History.

Vasari, one of the most important biographers of the Renaissance, states Titian painted The Three Ages of Man after returning to Venice for the father-in-law of famous gem-engraver and medallist Giovanni Bernardi, also known as Giovanni di Castel Bolognese at Faenza, dated to 1515. Critics have also dated it slightly earlier, due to the three sleeping putti to the right, evidently modelled on the Santa Giustina altarpiece by Romanino (Musei civici di Padova), which dates to 1513. Several copies of The Three Ages are known, one of the most notable of which is that at Rome's Doria Pamphilj Gallery, attributed to Sassoferrato. Many art historians have debated the possibility that two or three of these copies came from Titian's workshop.From Giovanni Bernardi, the painting then came into possession of Cardinal Otto Truchsess von Waldburg, a leading figure at the Habsburg court and a prominent art patron. There is no record of direct exchange between Bernardi and Cardinal Truchsess but it is a known fact that, at some point, the painting was in the care of both of their hands. Both men knew Titian himself, and Cardinal Truchsess would have frequented Italy around the time of Bernardi's death in 1553 due to the deaths of five popes from 1549-1565.The masterpiece later fell into the hands of Matthäus Hopfer, known to have a house in the Grottenau filled with 'poetic fable' frescoes. After his death in 1623, the painting was then passed down to the Ebert family, before being put into the Augsburg market. The first concrete record of the painting dates to 1662, listed in the collection of Queen Christina of Sweden at Palazzo Riario in Rome. Joachim von Sandrart notes that The Three Ages of Man was purchased by the Queen from one "Herr von Waldburg" (of no relation to Cardinal Truchsess) in Augsburg for 1,000 Reichsthaler, likely as she passed through the city from the Netherlands to Rome in October 1655.The Three Ages of Man was later purchased in 1692 by Prince Livio Odescalchi and again in 1720 by Philippe, 2nd duke of Orleans. It remained in the Orleans Collection until 1798, where it was purchased by Francis Egerton, 3rd Duke of Bridgewater, whose descendants later deposited his whole collection with the National Gallery of Scotland for storage and display.

0665_T

The Three Ages of Man (Titian)

In The Three Ages of Man (Titian), how is the Commentary discussed?

The Scottish National Gallery describes the painting as a poetic meditation on the transience of human life and love set in a pastoral landscape, in consonance with popular Italian poetic movements of the time period. The Three Ages of Man is divided into three distinct life-stages representative each of the implications of psychological maturity that are likely to occur at each stage. At the right Cupid playfully clambers over two sleeping putti; this portion of the piece represents infancy. At the left we see young lovers about to embrace. Titian breaks chronology between life phases by placing these lovers in the far left and at the foremost distance from the viewer. This serves to emphasize the most perfect phase of life, as the lovers sit enamored on flat ground covered with the healthiest, most vibrant grass within the landscape, not having yet begun their unavoidable descent to the bottom of the hill where the old man sits. X-Rays of the painting indicate a large number of pentimenti within the composition, even for Titian's standards. Titian had originally painted the woman's head slightly facing the spectator, but ultimately decided to paint her in a pure profile pose to display a more consuming engagement with her lover. Her lover sits with his back arched similarly to the old man in the center of the composition, who is representative of old age, loss, and "the vanity of earthly existence" according to art historian Judith Dundas. The old man, looking very much like the penitent Jerome, is contemplating a pair of skulls, which by implication, are of former lovers. Titian had originally painted more skulls surrounding the old man. Scholars note that in other lost versions of the composition the extra skulls may have been left present, seeing as the Sassoferrato copy of the composition includes them, but they were painted over by Titian in the Sutherland copy, presumably to emphasize the dualism of the lovers or to reduce any unnecessarily macabre tones. The church in the background may serve to remind viewers of the Christian promise of salvation and eternal life.

0665_NT

The Three Ages of Man (Titian)

In this artwork, how is the Commentary discussed?

The Scottish National Gallery describes the painting as a poetic meditation on the transience of human life and love set in a pastoral landscape, in consonance with popular Italian poetic movements of the time period. The Three Ages of Man is divided into three distinct life-stages representative each of the implications of psychological maturity that are likely to occur at each stage. At the right Cupid playfully clambers over two sleeping putti; this portion of the piece represents infancy. At the left we see young lovers about to embrace. Titian breaks chronology between life phases by placing these lovers in the far left and at the foremost distance from the viewer. This serves to emphasize the most perfect phase of life, as the lovers sit enamored on flat ground covered with the healthiest, most vibrant grass within the landscape, not having yet begun their unavoidable descent to the bottom of the hill where the old man sits. X-Rays of the painting indicate a large number of pentimenti within the composition, even for Titian's standards. Titian had originally painted the woman's head slightly facing the spectator, but ultimately decided to paint her in a pure profile pose to display a more consuming engagement with her lover. Her lover sits with his back arched similarly to the old man in the center of the composition, who is representative of old age, loss, and "the vanity of earthly existence" according to art historian Judith Dundas. The old man, looking very much like the penitent Jerome, is contemplating a pair of skulls, which by implication, are of former lovers. Titian had originally painted more skulls surrounding the old man. Scholars note that in other lost versions of the composition the extra skulls may have been left present, seeing as the Sassoferrato copy of the composition includes them, but they were painted over by Titian in the Sutherland copy, presumably to emphasize the dualism of the lovers or to reduce any unnecessarily macabre tones. The church in the background may serve to remind viewers of the Christian promise of salvation and eternal life.

0666_T

Borghese Gladiator

Focus on Borghese Gladiator and explore the abstract.

The Borghese Gladiator is a Hellenistic life-size marble sculpture portraying a swordsman, created at Ephesus about 100 BC, now on display at the Louvre.

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Borghese Gladiator

Focus on this artwork and explore the abstract.

The Borghese Gladiator is a Hellenistic life-size marble sculpture portraying a swordsman, created at Ephesus about 100 BC, now on display at the Louvre.

0667_T

Borghese Gladiator

Focus on Borghese Gladiator and explain the Sculptor.

The sculpture is signed on the pedestal by Agasias, son of Dositheus, who is otherwise unknown. It is not quite clear whether the Agasias who is mentioned as the father of Heraclides is the same person. Agasias, son of Menophilus may have been a cousin.

0667_NT

Borghese Gladiator

Focus on this artwork and explain the Sculptor.

The sculpture is signed on the pedestal by Agasias, son of Dositheus, who is otherwise unknown. It is not quite clear whether the Agasias who is mentioned as the father of Heraclides is the same person. Agasias, son of Menophilus may have been a cousin.

0668_T

Borghese Gladiator

Explore the Rediscovery of this artwork, Borghese Gladiator.

It was found before 1611, in the present territory of Anzio south of Rome, among the ruins of a seaside palace of Nero on the site of the ancient Antium. From the attitude of the figure it is clear that the statue represents not a gladiator, but a warrior contending with a mounted combatant. In the days when antique sculptures gained immediacy by being identified with specific figures from history or literature, Friedrich Thiersch conjectured that it was intended to represent Achilles fighting with the mounted Amazon, Penthesilea.The sculpture was added to the Borghese collection in Rome. At the Villa Borghese it stood in a ground-floor room named for it, redecorated in the early 1780s by Antonio Asprucci. Camillo Borghese was pressured to sell it to his brother-in-law, Napoleon Bonaparte, in 1807; it was taken to Paris when the Borghese collection was acquired for the Louvre, where it now resides. Misnamed a gladiator due to an erroneous restoration, it was among the most admired and copied works of antiquity in the eighteenth century, providing sculptors a canon of proportions. A bronze cast was made for Charles I of England (now at Windsor), and another by Hubert Le Sueur was the centrepiece of Isaac de Caus' parterre at Wilton House; that version was given by the 8th Earl of Pembroke to Sir Robert Walpole and remains the focal figure in William Kent's Hall at Houghton Hall, Norfolk. Other copies can be found at Petworth House and in the Green Court at Knole. Originally a copy was also located in Lord Burlington's garden at Chiswick House and later relocated to the gardens at Chatsworth in Derbyshire. In the United States, a copy of "The Gladiator at Montalto" was among the furnishings of an ideal gallery of instructive art imagined by Thomas Jefferson for Monticello.

0668_NT

Borghese Gladiator

Explore the Rediscovery of this artwork.

It was found before 1611, in the present territory of Anzio south of Rome, among the ruins of a seaside palace of Nero on the site of the ancient Antium. From the attitude of the figure it is clear that the statue represents not a gladiator, but a warrior contending with a mounted combatant. In the days when antique sculptures gained immediacy by being identified with specific figures from history or literature, Friedrich Thiersch conjectured that it was intended to represent Achilles fighting with the mounted Amazon, Penthesilea.The sculpture was added to the Borghese collection in Rome. At the Villa Borghese it stood in a ground-floor room named for it, redecorated in the early 1780s by Antonio Asprucci. Camillo Borghese was pressured to sell it to his brother-in-law, Napoleon Bonaparte, in 1807; it was taken to Paris when the Borghese collection was acquired for the Louvre, where it now resides. Misnamed a gladiator due to an erroneous restoration, it was among the most admired and copied works of antiquity in the eighteenth century, providing sculptors a canon of proportions. A bronze cast was made for Charles I of England (now at Windsor), and another by Hubert Le Sueur was the centrepiece of Isaac de Caus' parterre at Wilton House; that version was given by the 8th Earl of Pembroke to Sir Robert Walpole and remains the focal figure in William Kent's Hall at Houghton Hall, Norfolk. Other copies can be found at Petworth House and in the Green Court at Knole. Originally a copy was also located in Lord Burlington's garden at Chiswick House and later relocated to the gardens at Chatsworth in Derbyshire. In the United States, a copy of "The Gladiator at Montalto" was among the furnishings of an ideal gallery of instructive art imagined by Thomas Jefferson for Monticello.

0669_T

Borghese Gladiator

Focus on Borghese Gladiator and discuss the In painting.

Having seen the sculpture on his Italian travels, Rubens included a figure of Fury in the same pose (seen from behind) in one of the scenes of his allegorical Palais de Luxembourg cycle of paintings for Marie de' Medici, the Conclusion of the Peace at Angers, conserved at the Louvre; the figure of Fury is bottom right. The figure in the water (Brook Watson) in Watson and the Shark by John Singleton Copley is based on the sculpture's pose. It was known, although not in the French national collection, when Ménageot included it in the background of his The Death of Leonardo da Vinci in the arms of Francis I (1781); indeed, he probably saw it at the Villa Borghese during his stay at the French Academy in Rome from 1769 to 1774. However, it was an anachronism in such a setting since Leonardo died in 1519, about ninety years before the statue was discovered. The stance and attitude of the warriors in Thomas Chambers's Two of the Natives of New Holland, Advancing to Combat (based on a drawing by Sydney Parkinson and illustrating his posthumous A Journal of a Voyage to the South Seas), a typical engraving in the noble savage ideal, is said to have been based upon the Borghese Gladiator. The headless statue in Thomas Cole's 1836 painting Destruction (the fourth painting in his The Course of Empire series) is based on the Borghese warrior. The pose of Phineas in Luca Giordano's c. 1660 painting Perseus turning Phineas and his Followers to Stone in the National Gallery, London appears to mirror the Borghese Gladiator.

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Borghese Gladiator

Focus on this artwork and discuss the In painting.

Having seen the sculpture on his Italian travels, Rubens included a figure of Fury in the same pose (seen from behind) in one of the scenes of his allegorical Palais de Luxembourg cycle of paintings for Marie de' Medici, the Conclusion of the Peace at Angers, conserved at the Louvre; the figure of Fury is bottom right. The figure in the water (Brook Watson) in Watson and the Shark by John Singleton Copley is based on the sculpture's pose. It was known, although not in the French national collection, when Ménageot included it in the background of his The Death of Leonardo da Vinci in the arms of Francis I (1781); indeed, he probably saw it at the Villa Borghese during his stay at the French Academy in Rome from 1769 to 1774. However, it was an anachronism in such a setting since Leonardo died in 1519, about ninety years before the statue was discovered. The stance and attitude of the warriors in Thomas Chambers's Two of the Natives of New Holland, Advancing to Combat (based on a drawing by Sydney Parkinson and illustrating his posthumous A Journal of a Voyage to the South Seas), a typical engraving in the noble savage ideal, is said to have been based upon the Borghese Gladiator. The headless statue in Thomas Cole's 1836 painting Destruction (the fourth painting in his The Course of Empire series) is based on the Borghese warrior. The pose of Phineas in Luca Giordano's c. 1660 painting Perseus turning Phineas and his Followers to Stone in the National Gallery, London appears to mirror the Borghese Gladiator.

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St John (Hals)

How does St John (Hals) elucidate its abstract?

St. John is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted in 1625 and now in the Getty Museum, Los Angeles.

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St John (Hals)

How does this artwork elucidate its abstract?

St. John is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted in 1625 and now in the Getty Museum, Los Angeles.

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St John (Hals)

Focus on St John (Hals) and analyze the Painting.

The painting shows St. John looking upwards while writing in a book, with a bird (presumably an eagle) at his elbow. This painting was documented in the 18th century but later considered lost. It was rediscovered in July 1997, when it was auctioned at Sotheby's in London as one of four lost paintings by Hals of the evangelists. The sale price of US$2.9 million was a record high for a Frans Hals painting at the time.The four evangelists by Hals were documented in 1910 by Hofstede de Groot, who wrote "The Four Evangelists. – Four separate pictures, each of them a half-length, showing the hands and attributes of the saint. Canvas, each 27 1/2 inches by 22 inches. Sales. – Gerard Hoet, The Hague, August 25, 1760 (Terw. 231), No. 134 (120 florins, Yver). The Hague, April 13, 1771, Z. No. 35. F.W. Baron van Borck, Amsterdam, May 1, 1771, No. 34 (33 florins, Yver)." At the time he was writing, all of these paintings were considered lost:

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St John (Hals)

Focus on this artwork and analyze the Painting.

The painting shows St. John looking upwards while writing in a book, with a bird (presumably an eagle) at his elbow. This painting was documented in the 18th century but later considered lost. It was rediscovered in July 1997, when it was auctioned at Sotheby's in London as one of four lost paintings by Hals of the evangelists. The sale price of US$2.9 million was a record high for a Frans Hals painting at the time.The four evangelists by Hals were documented in 1910 by Hofstede de Groot, who wrote "The Four Evangelists. – Four separate pictures, each of them a half-length, showing the hands and attributes of the saint. Canvas, each 27 1/2 inches by 22 inches. Sales. – Gerard Hoet, The Hague, August 25, 1760 (Terw. 231), No. 134 (120 florins, Yver). The Hague, April 13, 1771, Z. No. 35. F.W. Baron van Borck, Amsterdam, May 1, 1771, No. 34 (33 florins, Yver)." At the time he was writing, all of these paintings were considered lost:

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Statue of Samuel J. Kirkwood

In Statue of Samuel J. Kirkwood, how is the abstract discussed?

Samuel Kirkwood is a bronze statue created by Vinnie Ream and placed in the National Statuary Hall Collection in the Capitol Building in Washington, D.C., one of the two statues there from Iowa. It was dedicated in 1913.Ream, who had achieved some degree of fame as a teenager for her 1866 statue of Lincoln that stands in the Capitol, learned that the State of Iowa had decided to commission a statue of Kirkwood. Despite the fact that Kirkwood had been one of the Congressmen who had voted against awarding the Lincoln statue to Ream, she set about getting and succeeded in garnering the opportunity to do it. Ream had at that point been retired from sculpting for almost two decades but with the backing of Kirkwood's widow Jane Kirkwood won the assignment. On April 5, 1906 the Iowa General Assembly voted to award the statue to Ream, along with $5,000 for the casting in bronze of her model. Because she was not up to the physical demands of the task, Ream's husband Richard, an engineer, devised a special “boatswain’s chair” that allowed her to raise and lower herself in a seated position while working on the statue.In 1924, it was announced that a “handsome bronze statue of Iowa’s war governor” would be erected in front of the Iowa Old Capitol Building on the University of Iowa campus in Iowa City. The plaster that Ream had made for the Washington, D.C., statue was still in her studio, though she had died a decade earlier. In November 1927, the new casting was completed and dedicated in front of the Old Capitol. In 1974, the statue was moved to Kirkwood Community College. There it was placed initially indoors in a new building then later moved to an exterior place on the campus.

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Statue of Samuel J. Kirkwood

In this artwork, how is the abstract discussed?

Samuel Kirkwood is a bronze statue created by Vinnie Ream and placed in the National Statuary Hall Collection in the Capitol Building in Washington, D.C., one of the two statues there from Iowa. It was dedicated in 1913.Ream, who had achieved some degree of fame as a teenager for her 1866 statue of Lincoln that stands in the Capitol, learned that the State of Iowa had decided to commission a statue of Kirkwood. Despite the fact that Kirkwood had been one of the Congressmen who had voted against awarding the Lincoln statue to Ream, she set about getting and succeeded in garnering the opportunity to do it. Ream had at that point been retired from sculpting for almost two decades but with the backing of Kirkwood's widow Jane Kirkwood won the assignment. On April 5, 1906 the Iowa General Assembly voted to award the statue to Ream, along with $5,000 for the casting in bronze of her model. Because she was not up to the physical demands of the task, Ream's husband Richard, an engineer, devised a special “boatswain’s chair” that allowed her to raise and lower herself in a seated position while working on the statue.In 1924, it was announced that a “handsome bronze statue of Iowa’s war governor” would be erected in front of the Iowa Old Capitol Building on the University of Iowa campus in Iowa City. The plaster that Ream had made for the Washington, D.C., statue was still in her studio, though she had died a decade earlier. In November 1927, the new casting was completed and dedicated in front of the Old Capitol. In 1974, the statue was moved to Kirkwood Community College. There it was placed initially indoors in a new building then later moved to an exterior place on the campus.

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Justice (sculpture)

Focus on Justice (sculpture) and explore the abstract.

Justice is a 1994 sculpture by Diana K. Moore. The large blindfolded head of the Greek titaness Themis is currently located in the courtyard in front of the Martin Luther King, Jr. Federal Courthouse at the Government Center in Newark, New Jersey. The artwork was commissioned through the General Services Administration's Art in Architecture program in 1991. Justice is 11 ft (3.4 m) tall, 8.8 ft (2.7 m) wide, 9 ft (2.7 m) long, and made of cast concrete. Moore drew inspiration from the traditions of "Khmer pieces from Cambodia, Etruscan, early Greek, and Egyptian figures", the colossal head of Constantine the Great, African masks, Olmec statues, and Eastern motifs such as the figure of Buddha.A poem written by Mark Strand, the 1991 Poet Laureate of the United States is carved around the sculpture's base.

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Justice (sculpture)

Focus on this artwork and explore the abstract.

Justice is a 1994 sculpture by Diana K. Moore. The large blindfolded head of the Greek titaness Themis is currently located in the courtyard in front of the Martin Luther King, Jr. Federal Courthouse at the Government Center in Newark, New Jersey. The artwork was commissioned through the General Services Administration's Art in Architecture program in 1991. Justice is 11 ft (3.4 m) tall, 8.8 ft (2.7 m) wide, 9 ft (2.7 m) long, and made of cast concrete. Moore drew inspiration from the traditions of "Khmer pieces from Cambodia, Etruscan, early Greek, and Egyptian figures", the colossal head of Constantine the Great, African masks, Olmec statues, and Eastern motifs such as the figure of Buddha.A poem written by Mark Strand, the 1991 Poet Laureate of the United States is carved around the sculpture's base.

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Statue of Bee Gees (Redcliffe, Queensland)

Focus on Statue of Bee Gees (Redcliffe, Queensland) and explain the abstract.

A statue of the Bee Gees has been erected at 109 Redcliffe Parade, Bee Gees Way, Redcliffe, Queensland, 4020 Australia. It was unveiled on 14 February 2013 by Barry Gibb, the only surviving member of the group. It was created by sculptor Phillip Piperides.

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Statue of Bee Gees (Redcliffe, Queensland)

Focus on this artwork and explain the abstract.

A statue of the Bee Gees has been erected at 109 Redcliffe Parade, Bee Gees Way, Redcliffe, Queensland, 4020 Australia. It was unveiled on 14 February 2013 by Barry Gibb, the only surviving member of the group. It was created by sculptor Phillip Piperides.

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The Age of Reptiles

Explore the abstract of this artwork, The Age of Reptiles.

The Age of Reptiles is a 110-foot (34 m) mural depicting the period of ancient history when reptiles were the dominant creatures on the earth, painted by Rudolph Zallinger. The fresco sits in the Yale Peabody Museum in New Haven, Connecticut, and was completed in 1947 after five years of work. The Age of Reptiles was at one time the largest painting in the world, and depicts a span of nearly 350 million years in Earth's history. Painted in the Renaissance fresco secco technique, The Age of Reptiles showcases the contemporary view of dinosaurs as slow, sluggish creatures (a view that has been gradually replaced by more active dinosaurs). Zallinger received the Addison Emery Verrill medal in 1980 for the mural.

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The Age of Reptiles

Explore the abstract of this artwork.

The Age of Reptiles is a 110-foot (34 m) mural depicting the period of ancient history when reptiles were the dominant creatures on the earth, painted by Rudolph Zallinger. The fresco sits in the Yale Peabody Museum in New Haven, Connecticut, and was completed in 1947 after five years of work. The Age of Reptiles was at one time the largest painting in the world, and depicts a span of nearly 350 million years in Earth's history. Painted in the Renaissance fresco secco technique, The Age of Reptiles showcases the contemporary view of dinosaurs as slow, sluggish creatures (a view that has been gradually replaced by more active dinosaurs). Zallinger received the Addison Emery Verrill medal in 1980 for the mural.

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The Age of Reptiles

Focus on The Age of Reptiles and discuss the Composition.

In total, The Age of Reptiles spans about 362 million years, from the Devonian period at the mural's beginning to the end of the Cretaceous period, 65 million years ago. Each period's length on the mural is proportional to the period's length in geologic time. Each period of time is divided by large trees in the foreground.

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The Age of Reptiles

Focus on this artwork and discuss the Composition.

In total, The Age of Reptiles spans about 362 million years, from the Devonian period at the mural's beginning to the end of the Cretaceous period, 65 million years ago. Each period's length on the mural is proportional to the period's length in geologic time. Each period of time is divided by large trees in the foreground.

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Napoleon Leading the Army over the Alps

Focus on Napoleon Leading the Army over the Alps and analyze the abstract.

Napoleon Leading the Army over the Alps is an equestrian portrait of a youthful black male painted by the contemporary artist Kehinde Wiley in 2005. It is based on Jacques-Louis David’s 1801 equestrian portrait, Napoleon Crossing the Alps. This painting was chosen by a man who Wiley had approached in the streets. The basic composition of Wiley's painting is the same as the 200-year-old painting it was based on, and has many of the same elements. The modern painting has a decorative background rather than the battlefield background. It is in the Brooklyn Museum.

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Napoleon Leading the Army over the Alps

Focus on this artwork and analyze the abstract.

Napoleon Leading the Army over the Alps is an equestrian portrait of a youthful black male painted by the contemporary artist Kehinde Wiley in 2005. It is based on Jacques-Louis David’s 1801 equestrian portrait, Napoleon Crossing the Alps. This painting was chosen by a man who Wiley had approached in the streets. The basic composition of Wiley's painting is the same as the 200-year-old painting it was based on, and has many of the same elements. The modern painting has a decorative background rather than the battlefield background. It is in the Brooklyn Museum.

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Napoleon Leading the Army over the Alps

In Napoleon Leading the Army over the Alps, how is the Background discussed?

The painting is very typical of the style of Kehinde Wiley in that it is a monumental painting that incorporates brocade/decorative motif as an element of the background. It is seen against a rich red background embellished with gold floral motifs.

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Napoleon Leading the Army over the Alps

In this artwork, how is the Background discussed?

The painting is very typical of the style of Kehinde Wiley in that it is a monumental painting that incorporates brocade/decorative motif as an element of the background. It is seen against a rich red background embellished with gold floral motifs.

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Napoleon Leading the Army over the Alps

Focus on Napoleon Leading the Army over the Alps and explore the Similarities between the two paintings.

The basic composition of Wiley's painting is similar to the well-known portrait of Napoleon Bonaparte by Jacques-Louis David, and the two paintings share many elements.

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Napoleon Leading the Army over the Alps

Focus on this artwork and explore the Similarities between the two paintings.

The basic composition of Wiley's painting is similar to the well-known portrait of Napoleon Bonaparte by Jacques-Louis David, and the two paintings share many elements.

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Captain William Clark Monument

Focus on Captain William Clark Monument and explain the History.

The memorial was dedicated on December 11, 1988, and features 7-foot (2.1 m) bronze sculptures of Clark, York, who was Clark's slave, and an unnamed Native American on a 4-foot (1.2 m) cement and stone base.In 2020, during the anti-racism protests in the weeks after the police murder of George Floyd, the statue of York was removed.

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Captain William Clark Monument

Focus on this artwork and explain the History.

The memorial was dedicated on December 11, 1988, and features 7-foot (2.1 m) bronze sculptures of Clark, York, who was Clark's slave, and an unnamed Native American on a 4-foot (1.2 m) cement and stone base.In 2020, during the anti-racism protests in the weeks after the police murder of George Floyd, the statue of York was removed.

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Theodore Roosevelt, Rough Rider

Explore the abstract of this artwork, Theodore Roosevelt, Rough Rider.

Theodore Roosevelt, Rough Rider is a bronze sculpture by American artist Alexander Phimister Proctor, formerly located in the South Park Blocks of Portland, Oregon in the United States. The equestrian statue was completed in 1922 and depicts Theodore Roosevelt as the leader of the cavalry regiment that fought during the Spanish–American War called the Rough Riders. It was toppled by demonstrators during the Indigenous Peoples Day of Rage in October 2020 and has not been restored.

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Theodore Roosevelt, Rough Rider

Explore the abstract of this artwork.

Theodore Roosevelt, Rough Rider is a bronze sculpture by American artist Alexander Phimister Proctor, formerly located in the South Park Blocks of Portland, Oregon in the United States. The equestrian statue was completed in 1922 and depicts Theodore Roosevelt as the leader of the cavalry regiment that fought during the Spanish–American War called the Rough Riders. It was toppled by demonstrators during the Indigenous Peoples Day of Rage in October 2020 and has not been restored.

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Theodore Roosevelt, Rough Rider

Focus on Theodore Roosevelt, Rough Rider and discuss the Description.

Theodore Roosevelt, Rough Rider is an equestrian statue designed by American sculptor Alexander Phimister Proctor (1860–1950). The bronze sculpture depicts Theodore Roosevelt, former President of the United States, as the leader of the cavalry regiment called the Rough Riders, who fought during the Spanish–American War. According to the Regional Arts & Culture Council, which administers the work, "Proctor took great care in accurately depicting Roosevelt as a symbol of American determination, success, and strength and as a bridge back to the Wild West." The statue is located in Portland's South Park Blocks, along Southwest Park Avenue between Southwest Jefferson and Madison Streets. It measures 12 feet (3.7 m) × 3 feet (0.91 m) × 9 feet (2.7 m) and is mounted to a base that measures 7 feet 8 inches (2.34 m) long × 6 feet (1.8 m) high × 1 foot 6 inches (0.46 m) wide.

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Theodore Roosevelt, Rough Rider

Focus on this artwork and discuss the Description.

Theodore Roosevelt, Rough Rider is an equestrian statue designed by American sculptor Alexander Phimister Proctor (1860–1950). The bronze sculpture depicts Theodore Roosevelt, former President of the United States, as the leader of the cavalry regiment called the Rough Riders, who fought during the Spanish–American War. According to the Regional Arts & Culture Council, which administers the work, "Proctor took great care in accurately depicting Roosevelt as a symbol of American determination, success, and strength and as a bridge back to the Wild West." The statue is located in Portland's South Park Blocks, along Southwest Park Avenue between Southwest Jefferson and Madison Streets. It measures 12 feet (3.7 m) × 3 feet (0.91 m) × 9 feet (2.7 m) and is mounted to a base that measures 7 feet 8 inches (2.34 m) long × 6 feet (1.8 m) high × 1 foot 6 inches (0.46 m) wide.

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Castelfranco Madonna

Focus on Castelfranco Madonna and analyze the abstract.

The Madonna and Child Between St. Francis and St. Nicasius, also known as Castelfranco Madonna or Pala di Castelfranco, is a painting by the Italian Renaissance artist Giorgione executed around 1504. It remains in the equivalent of its original setting, in a side-chapel of the Cathedral of Castelfranco Veneto, Giorgione's native city, in Veneto, northern Italy, although the present church dates to the 18th century. The picture has all the elements of a typical sacra conversazione, with the Madonna enthroned with the child, with St. Francis to the right and St. Nicasius to the left. However, the extreme height of the throne is most unusual and creates a very different effect from the pictures of this type by Giovanni Bellini and other painters, where the throne is only slightly raised and the figures are at roughly the same level.It is one of a handful of paintings - perhaps three - which can be very firmly attributed to Giorgione.

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Castelfranco Madonna

Focus on this artwork and analyze the abstract.

The Madonna and Child Between St. Francis and St. Nicasius, also known as Castelfranco Madonna or Pala di Castelfranco, is a painting by the Italian Renaissance artist Giorgione executed around 1504. It remains in the equivalent of its original setting, in a side-chapel of the Cathedral of Castelfranco Veneto, Giorgione's native city, in Veneto, northern Italy, although the present church dates to the 18th century. The picture has all the elements of a typical sacra conversazione, with the Madonna enthroned with the child, with St. Francis to the right and St. Nicasius to the left. However, the extreme height of the throne is most unusual and creates a very different effect from the pictures of this type by Giovanni Bellini and other painters, where the throne is only slightly raised and the figures are at roughly the same level.It is one of a handful of paintings - perhaps three - which can be very firmly attributed to Giorgione.

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Castelfranco Madonna

In Castelfranco Madonna, how is the Description discussed?

The armoured figure has formerly been identified as the fighting Saint St. George or St. Liberalis, patron of Castelfranco. Matteo and his brother Bruto Muzio were members of the Knights of Rhodes, whose ensign is borne by St. Nicasius (a martyred saint who had also belonged to the Hospitallier order). The traditional scheme of composition is lightened by the novel use of such elements as the throne and the landscape, which takes up a good portion of the background. Noteworthy is also the absence of any reference to ecclesiastical elements of architecture. The technique of painting is an example of what Vasari called pittura sanza disegno (painting without drawing). This was a new approach to painting which revolutionised the Venetian school and is famously used in The Tempest. Titian, a pupil of Giorgione, later became one of the most important exponents of this style. The figure of St. Francis is very similar to that in Giovanni Bellini's San Giobbe Altarpiece (c. 1487).

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Castelfranco Madonna

In this artwork, how is the Description discussed?

The armoured figure has formerly been identified as the fighting Saint St. George or St. Liberalis, patron of Castelfranco. Matteo and his brother Bruto Muzio were members of the Knights of Rhodes, whose ensign is borne by St. Nicasius (a martyred saint who had also belonged to the Hospitallier order). The traditional scheme of composition is lightened by the novel use of such elements as the throne and the landscape, which takes up a good portion of the background. Noteworthy is also the absence of any reference to ecclesiastical elements of architecture. The technique of painting is an example of what Vasari called pittura sanza disegno (painting without drawing). This was a new approach to painting which revolutionised the Venetian school and is famously used in The Tempest. Titian, a pupil of Giorgione, later became one of the most important exponents of this style. The figure of St. Francis is very similar to that in Giovanni Bellini's San Giobbe Altarpiece (c. 1487).

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Castelfranco Madonna

Focus on Castelfranco Madonna and explore the History.

The altarpiece was commissioned by the condottiero Tuzio Costanzo in memory of his son Matteo, who died of a fever whilst serving the Republic of Venice, in 1499. Also commissioned was a family chapel, containing the tombs of Matteo and Tuzio, built into the walls on either side of the painting. The church was subsequently demolished and replaced with the Cathedral of Castelfranco in 1724. The new building, which remains today, contains a small chapel housing the painting and the tomb of Matteo directly below. The Costanzo coat of arms, three pairs of ribs, can be seen on the tomb on the base of the Virgin's throne. (Some scholars have speculated that St. Nicasius himself is actually a portrait of Matteo.) The work has suffered bad restorations in the past centuries, and was stolen on December 10, 1972. After being recovered, it was accurately restored in 2002-2003 by the Accademia Laboratories in Venice and displayed in the major exhibition Le maraviglie dell'arte, before being returned to its home in Castelfranco in December 2005.

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Castelfranco Madonna

Focus on this artwork and explore the History.

The altarpiece was commissioned by the condottiero Tuzio Costanzo in memory of his son Matteo, who died of a fever whilst serving the Republic of Venice, in 1499. Also commissioned was a family chapel, containing the tombs of Matteo and Tuzio, built into the walls on either side of the painting. The church was subsequently demolished and replaced with the Cathedral of Castelfranco in 1724. The new building, which remains today, contains a small chapel housing the painting and the tomb of Matteo directly below. The Costanzo coat of arms, three pairs of ribs, can be seen on the tomb on the base of the Virgin's throne. (Some scholars have speculated that St. Nicasius himself is actually a portrait of Matteo.) The work has suffered bad restorations in the past centuries, and was stolen on December 10, 1972. After being recovered, it was accurately restored in 2002-2003 by the Accademia Laboratories in Venice and displayed in the major exhibition Le maraviglie dell'arte, before being returned to its home in Castelfranco in December 2005.

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Nostalgia (sculpture)

Focus on Nostalgia (sculpture) and explain the abstract.

Nostalgia (Spanish: "La nostalgia") is a 1984 sculpture by Ramiz Barquet, installed along Puerto Vallarta's Malecón, in the Mexican state of Jalisco.

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Nostalgia (sculpture)

Focus on this artwork and explain the abstract.

Nostalgia (Spanish: "La nostalgia") is a 1984 sculpture by Ramiz Barquet, installed along Puerto Vallarta's Malecón, in the Mexican state of Jalisco.

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Portrait of Madame Pastoret

Explore the abstract of this artwork, Portrait of Madame Pastoret.

Portrait of Madame Pastoret is a 1791 oil-on-canvas portrait by the French Neoclassical artist Jacques-Louis David. It depicts Adélaide Pastoret, née Piscatory de Vaufreland (1765–1843). David was a friend of the Pastoret family but broke with them in 1792 after he became more politically radical. With his portraits of Philippe-Laurent de Joubert and Madame Trudaine, it was one of three paintings left incomplete because of the advance of the French Revolution – all three figures were arrested or emigrated. An infant's head is also shown in the cot – this is Amédée de Pastoret, a future conseiller d'Etat, painted by Ingres in 1826. Madame Pastoret is from the upper class but is painted here without any finery, as befitted the period, when any display of wealth would have been viewed with suspicion. She is instead depicted as a housewife and mother, emphasizing her homely virtues. That the picture is unfinished is shown by the blotchy background created with short brush strokes, and by the fact that the sewing needle in Madame Pastoret's hand is missing.The painting was still in David's studio at the time of his death, when it was sold for 400 francs to its subject and remained in her family until the 1890 death without issue of her grand-daughter, the marquise de Rougé du Plessis-Bellière, née Marie de Pastoret. It was catalogued as on show to the public in her collection at her château in Moreuil in 1884. A visitor described it in 1890. Her collections were auctioned in May 1897, with the portrait sold for 17900 francs as lot 21 to M. Cheramy. It has been in the Art Institute of Chicago since 1967.

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Portrait of Madame Pastoret

Explore the abstract of this artwork.

Portrait of Madame Pastoret is a 1791 oil-on-canvas portrait by the French Neoclassical artist Jacques-Louis David. It depicts Adélaide Pastoret, née Piscatory de Vaufreland (1765–1843). David was a friend of the Pastoret family but broke with them in 1792 after he became more politically radical. With his portraits of Philippe-Laurent de Joubert and Madame Trudaine, it was one of three paintings left incomplete because of the advance of the French Revolution – all three figures were arrested or emigrated. An infant's head is also shown in the cot – this is Amédée de Pastoret, a future conseiller d'Etat, painted by Ingres in 1826. Madame Pastoret is from the upper class but is painted here without any finery, as befitted the period, when any display of wealth would have been viewed with suspicion. She is instead depicted as a housewife and mother, emphasizing her homely virtues. That the picture is unfinished is shown by the blotchy background created with short brush strokes, and by the fact that the sewing needle in Madame Pastoret's hand is missing.The painting was still in David's studio at the time of his death, when it was sold for 400 francs to its subject and remained in her family until the 1890 death without issue of her grand-daughter, the marquise de Rougé du Plessis-Bellière, née Marie de Pastoret. It was catalogued as on show to the public in her collection at her château in Moreuil in 1884. A visitor described it in 1890. Her collections were auctioned in May 1897, with the portrait sold for 17900 francs as lot 21 to M. Cheramy. It has been in the Art Institute of Chicago since 1967.

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Old Woman Frying Eggs

Focus on Old Woman Frying Eggs and discuss the abstract.

Old Woman Frying Eggs is a genre painting by Diego Velázquez, produced during his Seville period. The date is not precisely known but is thought to be around the turn of 1618 before his definitive move to Madrid in 1623. The painting is in the Scottish National Gallery in Edinburgh. Velázquez frequently used working-class characters in early paintings like this one, in many cases using his family as models; the old woman here also appears in his Christ in the House of Martha and Mary (1618). There is some dispute about what cooking process is actually depicted with some suggesting not frying but poaching, leading to an alternative title of the painting, Old Woman Cooking Eggs or Old Woman Poaching Eggs. Old Woman Frying Eggs is considered to be one of the strongest of Velázquez's early works. Like others, it shows the influence of chiaroscuro, with a strong light source coming in from the left illuminating the woman, her utensils and the poaching eggs, while throwing the background and the boy standing to her right into deep shadow. Here the chiaroscuro is very intense, so much so that it would be impossible to see the wall at the bottom of the painting but for the basket hanging from it; it simultaneously manages to combine the murky darkness and high contrasts of light and shadow with the use of subtle hues and a palette dominated by ochres and browns. The composition is organised as an oval with the middle figures in the nearest plane, thus drawing in the viewer. The realism is nearly photographic and shows everyday plates, cutlery, pans, pestles, jugs and mortars, capturing the special shine on a glass surface and the light's play on the melon carried by the boy. The boiling pan is particularly well-captured, with its reflections and the whites of the eggs. Velázquez also worked particularly hard on the detail of the two figures' hands.

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Old Woman Frying Eggs

Focus on this artwork and discuss the abstract.

Old Woman Frying Eggs is a genre painting by Diego Velázquez, produced during his Seville period. The date is not precisely known but is thought to be around the turn of 1618 before his definitive move to Madrid in 1623. The painting is in the Scottish National Gallery in Edinburgh. Velázquez frequently used working-class characters in early paintings like this one, in many cases using his family as models; the old woman here also appears in his Christ in the House of Martha and Mary (1618). There is some dispute about what cooking process is actually depicted with some suggesting not frying but poaching, leading to an alternative title of the painting, Old Woman Cooking Eggs or Old Woman Poaching Eggs. Old Woman Frying Eggs is considered to be one of the strongest of Velázquez's early works. Like others, it shows the influence of chiaroscuro, with a strong light source coming in from the left illuminating the woman, her utensils and the poaching eggs, while throwing the background and the boy standing to her right into deep shadow. Here the chiaroscuro is very intense, so much so that it would be impossible to see the wall at the bottom of the painting but for the basket hanging from it; it simultaneously manages to combine the murky darkness and high contrasts of light and shadow with the use of subtle hues and a palette dominated by ochres and browns. The composition is organised as an oval with the middle figures in the nearest plane, thus drawing in the viewer. The realism is nearly photographic and shows everyday plates, cutlery, pans, pestles, jugs and mortars, capturing the special shine on a glass surface and the light's play on the melon carried by the boy. The boiling pan is particularly well-captured, with its reflections and the whites of the eggs. Velázquez also worked particularly hard on the detail of the two figures' hands.

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The Third-Class Carriage

How does The Third-Class Carriage elucidate its abstract?

The Third-Class Carriage (French: "Le Wagon de troisième classe") is the name of at least three oil paintings entitled made by the French painter Honoré Daumier. In a realistic manner, Daumier depicts the poverty and fortitude of working class travellers in a third class railway carriage. One oil-on canvas version, dated to c. 1862–1864 but left unfinished, is in the collection of the Metropolitan Museum of Art in New York, and a similar but completed painting dated to c. 1863–1865 is in the National Gallery of Canada in Ottawa. A third oil-on-panel version, dated to c. 1856–1858, with a different arrangement of the main three figures, is held by the Fine Arts Museums of San Francisco.

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The Third-Class Carriage

How does this artwork elucidate its abstract?

The Third-Class Carriage (French: "Le Wagon de troisième classe") is the name of at least three oil paintings entitled made by the French painter Honoré Daumier. In a realistic manner, Daumier depicts the poverty and fortitude of working class travellers in a third class railway carriage. One oil-on canvas version, dated to c. 1862–1864 but left unfinished, is in the collection of the Metropolitan Museum of Art in New York, and a similar but completed painting dated to c. 1863–1865 is in the National Gallery of Canada in Ottawa. A third oil-on-panel version, dated to c. 1856–1858, with a different arrangement of the main three figures, is held by the Fine Arts Museums of San Francisco.

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The Third-Class Carriage

Focus on The Third-Class Carriage and analyze the Background.

Daumier had drawn and painted images of rail travel since the 1840s, focussing on the people travelling rather than the conveyances. His series of lithographs, Les Chemins de Fer ("the railway") was published in the French magazine Le Charivari from 1843 to 1858, including prints published in December 1856 with the captions "Voyageurs appréciant de moins en moins les wagons de troisième classe, pendant l'hiver" ("Travellers showing less and less appreciation for travelling in third class in the winter") and "Intérieur d'un wagon de troisième classe pendent l'hiver" ("Interior of a third-class railway carriage in winter"). The paintings relate to Daumier's three watercolors with ink and charcoal, now in the Walters Art Museum in Baltimore - one for each of the first, second and third class carriages - which were commissioned in 1864 by George A. Lucas for William Thompson Walters. Three working drawings of the same subject have also survived, perhaps tracings, including one in the Bibliothèque nationale de France. It seems two of the oil paintings were worked on concurrently, but the sequence of the paintings is not clear and the one in New York was left unfinished. Daumier was best known as an illustrator, and his paintings remained unknown until an exhibition held by Paul Durand-Ruel in Paris in 1878, the year before Daumier's death.

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The Third-Class Carriage

Focus on this artwork and analyze the Background.

Daumier had drawn and painted images of rail travel since the 1840s, focussing on the people travelling rather than the conveyances. His series of lithographs, Les Chemins de Fer ("the railway") was published in the French magazine Le Charivari from 1843 to 1858, including prints published in December 1856 with the captions "Voyageurs appréciant de moins en moins les wagons de troisième classe, pendant l'hiver" ("Travellers showing less and less appreciation for travelling in third class in the winter") and "Intérieur d'un wagon de troisième classe pendent l'hiver" ("Interior of a third-class railway carriage in winter"). The paintings relate to Daumier's three watercolors with ink and charcoal, now in the Walters Art Museum in Baltimore - one for each of the first, second and third class carriages - which were commissioned in 1864 by George A. Lucas for William Thompson Walters. Three working drawings of the same subject have also survived, perhaps tracings, including one in the Bibliothèque nationale de France. It seems two of the oil paintings were worked on concurrently, but the sequence of the paintings is not clear and the one in New York was left unfinished. Daumier was best known as an illustrator, and his paintings remained unknown until an exhibition held by Paul Durand-Ruel in Paris in 1878, the year before Daumier's death.

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The Third-Class Carriage

In The Third-Class Carriage, how is the Description discussed?

The Third-Class Carriage evidences Daumier's interest, as also seen in his graphic works, in the lives of working-class Parisians. Third-class railway carriages were cramped, dirty, open compartments with hard wooden benches, filled with those who could not afford second or first-class tickets. The versions in New York and Ottawa are both in oils on canvas, and measure 65.4 cm × 90.2 cm (25.7 in × 35.5 in). On the wooden bench seat facing the viewer are seated, from left, a woman nursing her baby, an older woman with her hands clasped atop a basket, and a young boy asleep. The figures may be intended to peasants, influenced by Jean-François Millet. Seated behind them are anonymous rows of men and women.

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The Third-Class Carriage

In this artwork, how is the Description discussed?

The Third-Class Carriage evidences Daumier's interest, as also seen in his graphic works, in the lives of working-class Parisians. Third-class railway carriages were cramped, dirty, open compartments with hard wooden benches, filled with those who could not afford second or first-class tickets. The versions in New York and Ottawa are both in oils on canvas, and measure 65.4 cm × 90.2 cm (25.7 in × 35.5 in). On the wooden bench seat facing the viewer are seated, from left, a woman nursing her baby, an older woman with her hands clasped atop a basket, and a young boy asleep. The figures may be intended to peasants, influenced by Jean-François Millet. Seated behind them are anonymous rows of men and women.

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The Third-Class Carriage

In the context of The Third-Class Carriage, explore the New York version of the Description.

The painting in New York is dated to c. 1862–1864 but remains unfinished. It is still squared for transfer, possibly from the Walters watercolor or another earlier work, with areas outlined in black. It was owned by the art dealer J. Duz when it was exhibited at the École des Beaux-Arts in Paris in 1888. It was sold to Paul Durand-Ruel's gallery in Paris in 1892, and transferred to the New York branch the following year. It was sold in 1896 to M.C.D. Borden, and after his death in 1912 it was sold by his estate in 1913 for US$40,000 and acquired by Louisine Havemeyer, the wife of H. O. Havemeyer. After her death in 1929, it entered the Met's collection in 1929 as part of the H. O. Havemeyer bequest.

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The Third-Class Carriage

In the context of this artwork, explore the New York version of the Description.

The painting in New York is dated to c. 1862–1864 but remains unfinished. It is still squared for transfer, possibly from the Walters watercolor or another earlier work, with areas outlined in black. It was owned by the art dealer J. Duz when it was exhibited at the École des Beaux-Arts in Paris in 1888. It was sold to Paul Durand-Ruel's gallery in Paris in 1892, and transferred to the New York branch the following year. It was sold in 1896 to M.C.D. Borden, and after his death in 1912 it was sold by his estate in 1913 for US$40,000 and acquired by Louisine Havemeyer, the wife of H. O. Havemeyer. After her death in 1929, it entered the Met's collection in 1929 as part of the H. O. Havemeyer bequest.

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The Third-Class Carriage

In the context of The Third-Class Carriage, explain the Ottawa version of the Description.

The version in Ottawa is completed, signed on the baggage to the lower right, and dated to c. 1863–1865. It was owned by the art dealer Hector Brame when it was shown at the Durand-Ruel exhibition in 1878. It was acquired by the National Gallery of Canada in 1946 from Gordon Cameron Edwards. There are some small differences: the position of the man with the top hat against the window to the left, and the sleeping boy in the centre-right; the central woman with headscarf appears older in the version in Ottawa, whereas the man with blue headcovering to the far right appears younger in the Ottawa version. The details of the people in the background also differ.

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The Third-Class Carriage

In the context of this artwork, explain the Ottawa version of the Description.

The version in Ottawa is completed, signed on the baggage to the lower right, and dated to c. 1863–1865. It was owned by the art dealer Hector Brame when it was shown at the Durand-Ruel exhibition in 1878. It was acquired by the National Gallery of Canada in 1946 from Gordon Cameron Edwards. There are some small differences: the position of the man with the top hat against the window to the left, and the sleeping boy in the centre-right; the central woman with headscarf appears older in the version in Ottawa, whereas the man with blue headcovering to the far right appears younger in the Ottawa version. The details of the people in the background also differ.

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The Third-Class Carriage

Explore the San Francisco version about the Description of this artwork, The Third-Class Carriage.

The third version was acquired by the Fine Arts Museums of San Francisco in 1996, using funds from several bequests. Unlike the versions in New York and Ottawa, the version in San Francisco is oil on panel, and somewhat smaller, measuring 26 cm × 33.9 cm (10.2 in × 13.3 in). It was thought to have a later date, but the Fine Arts Museums of San Francisco dates it c. 1856–1858. The three principal characters are different from those in the other versions: an elderly woman whose eyes are closed and hands clasped in her lap; a bearded man in a suit holding his hat in his lap; and a young woman looking at the young child standing in front of her.

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The Third-Class Carriage

Explore the San Francisco version about the Description of this artwork.

The third version was acquired by the Fine Arts Museums of San Francisco in 1996, using funds from several bequests. Unlike the versions in New York and Ottawa, the version in San Francisco is oil on panel, and somewhat smaller, measuring 26 cm × 33.9 cm (10.2 in × 13.3 in). It was thought to have a later date, but the Fine Arts Museums of San Francisco dates it c. 1856–1858. The three principal characters are different from those in the other versions: an elderly woman whose eyes are closed and hands clasped in her lap; a bearded man in a suit holding his hat in his lap; and a young woman looking at the young child standing in front of her.

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Camel (in rhythmic landscape with trees)

Focus on Camel (in rhythmic landscape with trees) and discuss the Subject.

Camels appear in manuscripts, mosaics, sculptures and paintings. For example, camels and horses appear in illustrations to the travel memoir of John Mandeville in the fourteenth century. Orientalist paintings of the nineteenth century include ones by artists such as Carl Haag (Danger in the Desert, 1867) and Jean-Léon Gérôme (Street Scene, Egypt, 1869). The memorial on the Victoria Embankment Gardens in London commemorates the Imperial Camel Corps in sculpture. The year before, Klee had produced another camel painting in oils entitled Two Camels and a Donkey (1919). Camel in Rhythmic Landscape with Trees is considered one of a series that includes Rhythmic Tree Landscape. Similar landscapes, such as Small Rhythmic Landscape were also created at this time.

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Camel (in rhythmic landscape with trees)

Focus on this artwork and discuss the Subject.

Camels appear in manuscripts, mosaics, sculptures and paintings. For example, camels and horses appear in illustrations to the travel memoir of John Mandeville in the fourteenth century. Orientalist paintings of the nineteenth century include ones by artists such as Carl Haag (Danger in the Desert, 1867) and Jean-Léon Gérôme (Street Scene, Egypt, 1869). The memorial on the Victoria Embankment Gardens in London commemorates the Imperial Camel Corps in sculpture. The year before, Klee had produced another camel painting in oils entitled Two Camels and a Donkey (1919). Camel in Rhythmic Landscape with Trees is considered one of a series that includes Rhythmic Tree Landscape. Similar landscapes, such as Small Rhythmic Landscape were also created at this time.

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Camel (in rhythmic landscape with trees)

How does Camel (in rhythmic landscape with trees) elucidate its Context and theory?

This is the period when the artist was working and teaching at the Bauhaus in Weimar under the direction of Walter Gropius. The task of teaching caused Klee to meditate on the problems of art and as a result he produced what Herbert Read called "the most profound and illuminating statement of the aesthetic basis of the modern movement in art ever made by a practising artist".

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Camel (in rhythmic landscape with trees)

How does this artwork elucidate its Context and theory?

This is the period when the artist was working and teaching at the Bauhaus in Weimar under the direction of Walter Gropius. The task of teaching caused Klee to meditate on the problems of art and as a result he produced what Herbert Read called "the most profound and illuminating statement of the aesthetic basis of the modern movement in art ever made by a practising artist".

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Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Focus on Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter and analyze the abstract.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter is an oil painting on canvas by Titian, now in the Royal Museum of Fine Arts in Antwerp. It was commissioned by Bishop Jacopo Pesaro (b. 1460) as an ex-voto for the Venetian naval victory leading to the retaking of Santa Maura (Lefkada) from the Ottoman Turks in August 1502, a rare victory in the Ottoman–Venetian War (1499–1503), which concluded the next year with Venetian concessions, including the return of Santa Maura. Pesaro, a member of the patrician Pesaro family, was appointed by the Borgia Pope Alexander VI as a papal legate, commander of the Papal fleet in the region, and bishop of Paphos on Cyprus, a Greek island which was then a Venetian territory.It has sometimes been thought to be Titian's earliest painting, dating to as early as 1503, but this is now not believed, and a date nearer 1510–11 seems more likely.

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Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Focus on this artwork and analyze the abstract.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter is an oil painting on canvas by Titian, now in the Royal Museum of Fine Arts in Antwerp. It was commissioned by Bishop Jacopo Pesaro (b. 1460) as an ex-voto for the Venetian naval victory leading to the retaking of Santa Maura (Lefkada) from the Ottoman Turks in August 1502, a rare victory in the Ottoman–Venetian War (1499–1503), which concluded the next year with Venetian concessions, including the return of Santa Maura. Pesaro, a member of the patrician Pesaro family, was appointed by the Borgia Pope Alexander VI as a papal legate, commander of the Papal fleet in the region, and bishop of Paphos on Cyprus, a Greek island which was then a Venetian territory.It has sometimes been thought to be Titian's earliest painting, dating to as early as 1503, but this is now not believed, and a date nearer 1510–11 seems more likely.

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Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

In Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter, how is the Dating discussed?

Traditionally dated to 1506–1511, there have been suggestions that instead it belongs to 1503–1506, which would make it the earliest surviving work by the artist, then less than twenty years old on the usual dating for his undocumented birth, which is 1588–90. But older estimates for his birthdate were usually earlier, and a date of 1503, meaning an artist of 13 or 14, seems barely credible. An early date was backed by Giovanni Battista Cavalcaselle (d. 1897), Adolfo Venturi (d. 1941) and Gronau and opposed by Pallucchini, Roberto Longhi and Morassi, among others. Hourticq dates it to 1515 (assuming an official intervention by Giovanni Bellini) and Suida to between 1512 and 1520. X-rays, however, have revealed a uniform colour texture, contradicting hypotheses that it was a draft expanded over time by several hands. Restoration shortly before 2003 has confirmed that it relates more closely to "the monumental style Titian developed around 1510-11".It has been claimed that it must have been commissioned in the immediate aftermath of the battle and before 1503, since the militaristic pope Alexander VI died that year and from then on he was banned from official representations, in a kind of damnatio memoriae. However Pesaro did not return to Venice until 1506, and if the prohibition on images ever affected Venice, it is unlikely to have done in 1508–1510, when Venice and the Papacy were on opposite sides in the War of the League of Cambrai. While Alexander was generally "despised" after his death, Pesaro remained loyal to the memory of his patron, and his will of 1542 left money for masses to be said for Alexander's soul.

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Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

In this artwork, how is the Dating discussed?

Traditionally dated to 1506–1511, there have been suggestions that instead it belongs to 1503–1506, which would make it the earliest surviving work by the artist, then less than twenty years old on the usual dating for his undocumented birth, which is 1588–90. But older estimates for his birthdate were usually earlier, and a date of 1503, meaning an artist of 13 or 14, seems barely credible. An early date was backed by Giovanni Battista Cavalcaselle (d. 1897), Adolfo Venturi (d. 1941) and Gronau and opposed by Pallucchini, Roberto Longhi and Morassi, among others. Hourticq dates it to 1515 (assuming an official intervention by Giovanni Bellini) and Suida to between 1512 and 1520. X-rays, however, have revealed a uniform colour texture, contradicting hypotheses that it was a draft expanded over time by several hands. Restoration shortly before 2003 has confirmed that it relates more closely to "the monumental style Titian developed around 1510-11".It has been claimed that it must have been commissioned in the immediate aftermath of the battle and before 1503, since the militaristic pope Alexander VI died that year and from then on he was banned from official representations, in a kind of damnatio memoriae. However Pesaro did not return to Venice until 1506, and if the prohibition on images ever affected Venice, it is unlikely to have done in 1508–1510, when Venice and the Papacy were on opposite sides in the War of the League of Cambrai. While Alexander was generally "despised" after his death, Pesaro remained loyal to the memory of his patron, and his will of 1542 left money for masses to be said for Alexander's soul.

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Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Focus on Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter and explore the Provenance.

It belonged to the Pesaro family until the early 17th century, and was presumably first hung in Pesaro's home. Anthony van Dyck made a drawing of it in Venice in 1623, the earliest documentation for the work. It is recorded as having been in the collection of Charles I of England, from which it was bought in 1652 for the Spanish royal collection after his execution, which loaned it to the convent of San Pasquale in Madrid. In 1823, it was in the collection of William I of the Netherlands, who gave it to the museum.

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Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Focus on this artwork and explore the Provenance.

It belonged to the Pesaro family until the early 17th century, and was presumably first hung in Pesaro's home. Anthony van Dyck made a drawing of it in Venice in 1623, the earliest documentation for the work. It is recorded as having been in the collection of Charles I of England, from which it was bought in 1652 for the Spanish royal collection after his execution, which loaned it to the convent of San Pasquale in Madrid. In 1823, it was in the collection of William I of the Netherlands, who gave it to the museum.

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Pedestrian Drama

Focus on Pedestrian Drama and explain the abstract.

Pedestrian Drama is a site-specific public art work by American artist Janet Zweig, located on the east end of Wisconsin Avenue in downtown Milwaukee, Wisconsin. The artwork consists of a series of mechanical flaps, like signage associated with public transportation, that present animated narratives. The mechanical flap displays are installed on five kiosks on existing light poles.The $300,000 work was commissioned by the City of Milwaukee and Wisconsin Department of Transportation. Zweig collaborated with 200 local actors, film makers, and fabricators throughout the process of creating the work.The site of Pedestrian Drama, near Northwestern Mutual, connects Milwaukee's lakefront with downtown. Zweig is based in Brooklyn, and she is primarily a public artist. Pedestrian Drama is her first art commission in Milwaukee.

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Pedestrian Drama

Focus on this artwork and explain the abstract.

Pedestrian Drama is a site-specific public art work by American artist Janet Zweig, located on the east end of Wisconsin Avenue in downtown Milwaukee, Wisconsin. The artwork consists of a series of mechanical flaps, like signage associated with public transportation, that present animated narratives. The mechanical flap displays are installed on five kiosks on existing light poles.The $300,000 work was commissioned by the City of Milwaukee and Wisconsin Department of Transportation. Zweig collaborated with 200 local actors, film makers, and fabricators throughout the process of creating the work.The site of Pedestrian Drama, near Northwestern Mutual, connects Milwaukee's lakefront with downtown. Zweig is based in Brooklyn, and she is primarily a public artist. Pedestrian Drama is her first art commission in Milwaukee.