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0751_T

Flight Stop

Focus on Flight Stop and discuss the Legal issues.

During the Christmas season of 1981, the Eaton Centre placed red ribbons around the necks of the geese. Snow brought an action against the Centre to get an injunction to have the ribbons removed. In the landmark case Snow v Eaton Centre Ltd, the Ontario High Court of Justice affirmed the artist's right to the integrity of their work. The operator of the Toronto Eaton Centre was found liable for violating Snow's moral rights. The judgement in Snow's favour held that the sculpture's integrity was "distorted, mutilated or otherwise modified" which was "to the prejudice of the honour or reputation of the author" contrary to section 28.2 of the Copyright Act. The opinion was based both on the opinion of Snow as well as the testimony of experts in the art community.

0751_NT

Flight Stop

Focus on this artwork and discuss the Legal issues.

During the Christmas season of 1981, the Eaton Centre placed red ribbons around the necks of the geese. Snow brought an action against the Centre to get an injunction to have the ribbons removed. In the landmark case Snow v Eaton Centre Ltd, the Ontario High Court of Justice affirmed the artist's right to the integrity of their work. The operator of the Toronto Eaton Centre was found liable for violating Snow's moral rights. The judgement in Snow's favour held that the sculpture's integrity was "distorted, mutilated or otherwise modified" which was "to the prejudice of the honour or reputation of the author" contrary to section 28.2 of the Copyright Act. The opinion was based both on the opinion of Snow as well as the testimony of experts in the art community.

0752_T

Flight Stop

How does Flight Stop elucidate its Legacy?

Snow's position as a Canadian artist with an international profile was established well before 1979. Flight Stop established Snow as a highly visible artist in Canada, a rare feat in that country. As a work of public art, Flight Stop is not only highly visible but has become iconic for the Eaton Centre and Toronto as a whole.

0752_NT

Flight Stop

How does this artwork elucidate its Legacy?

Snow's position as a Canadian artist with an international profile was established well before 1979. Flight Stop established Snow as a highly visible artist in Canada, a rare feat in that country. As a work of public art, Flight Stop is not only highly visible but has become iconic for the Eaton Centre and Toronto as a whole.

0753_T

Flight Stop

Focus on Flight Stop and analyze the Works cited.

Landau, Emily. "The Amazing Adventures of Michael Snow: an uncensored history of Toronto's most notorious art star". Toronto Life (March 27, 2013). Langford, Martha. Michael Snow: Life & Work. Toronto: Art Canada Institute, 2004. ISBN 978-1-4871-0006-3 Panetta, Simona. "Michael Snow: The Transformer." City Life Magazine (December 5, 2012). Sandals, Leah. "Déja Viewed: Michael Snow on Looking Back, and Ahead". Canadian Art (September 20, 2016). Snow, Michael Michael Snow: Almost Cover to Cover. London: Black Dog Publishing. 2001. ISBN 190103318X Snow, Michael, Philip Monk, Louise Dompierre and Dennis Reid. The Michael Snow Project. Visual Art, 1951–1993. Toronto: A.A. Knopf Canada, 1994. ISBN 0394280539

0753_NT

Flight Stop

Focus on this artwork and analyze the Works cited.

Landau, Emily. "The Amazing Adventures of Michael Snow: an uncensored history of Toronto's most notorious art star". Toronto Life (March 27, 2013). Langford, Martha. Michael Snow: Life & Work. Toronto: Art Canada Institute, 2004. ISBN 978-1-4871-0006-3 Panetta, Simona. "Michael Snow: The Transformer." City Life Magazine (December 5, 2012). Sandals, Leah. "Déja Viewed: Michael Snow on Looking Back, and Ahead". Canadian Art (September 20, 2016). Snow, Michael Michael Snow: Almost Cover to Cover. London: Black Dog Publishing. 2001. ISBN 190103318X Snow, Michael, Philip Monk, Louise Dompierre and Dennis Reid. The Michael Snow Project. Visual Art, 1951–1993. Toronto: A.A. Knopf Canada, 1994. ISBN 0394280539

0754_T

An Experiment on a Bird in the Air Pump

In An Experiment on a Bird in the Air Pump, how is the abstract discussed?

An Experiment on a Bird in the Air Pump is a 1768 oil-on-canvas painting by Joseph Wright of Derby, one of a number of candlelit scenes that Wright painted during the 1760s. The painting departed from convention of the time by depicting a scientific subject in the reverential manner formerly reserved for scenes of historical or religious significance. Wright was intimately involved in depicting the Industrial Revolution and the scientific advances of the Enlightenment. While his paintings were recognized as exceptional by his contemporaries, his provincial status and choice of subjects meant the style was never widely imitated. The picture has been owned by the National Gallery in London since 1863 and is regarded as a masterpiece of British art. The painting depicts a natural philosopher, a forerunner of the modern scientist, recreating one of Robert Boyle's air pump experiments, in which a bird is deprived of air, before a varied group of onlookers. The group exhibits a variety of reactions, but for most of the audience scientific curiosity overcomes concern for the bird. The central figure looks out of the picture as if inviting the viewer's participation in the outcome.

0754_NT

An Experiment on a Bird in the Air Pump

In this artwork, how is the abstract discussed?

An Experiment on a Bird in the Air Pump is a 1768 oil-on-canvas painting by Joseph Wright of Derby, one of a number of candlelit scenes that Wright painted during the 1760s. The painting departed from convention of the time by depicting a scientific subject in the reverential manner formerly reserved for scenes of historical or religious significance. Wright was intimately involved in depicting the Industrial Revolution and the scientific advances of the Enlightenment. While his paintings were recognized as exceptional by his contemporaries, his provincial status and choice of subjects meant the style was never widely imitated. The picture has been owned by the National Gallery in London since 1863 and is regarded as a masterpiece of British art. The painting depicts a natural philosopher, a forerunner of the modern scientist, recreating one of Robert Boyle's air pump experiments, in which a bird is deprived of air, before a varied group of onlookers. The group exhibits a variety of reactions, but for most of the audience scientific curiosity overcomes concern for the bird. The central figure looks out of the picture as if inviting the viewer's participation in the outcome.

0755_T

An Experiment on a Bird in the Air Pump

Focus on An Experiment on a Bird in the Air Pump and explore the Historical background.

In 1659, Robert Boyle commissioned the construction of an air pump, then described as a "pneumatic engine", which is known today as a "vacuum pump". The air pump was invented by Otto von Guericke in 1650, though its high cost deterred most contemporary scientists from constructing the apparatus. Boyle, the son of the Earl of Cork, had no such concerns—after its construction, he donated the initial 1659 model to the Royal Society and had a further two redesigned machines built for his personal use. Aside from Boyle's three pumps, there were probably no more than four others in existence during the 1660s: Christiaan Huygens had one in The Hague, Henry Power may have had one at Halifax, and there may have been pumps at Christ's College, Cambridge, and the Montmor Academy in Paris. Boyle's pump, which was largely designed to Boyle's specifications and constructed by Robert Hooke, was complicated, temperamental, and problematic to operate. Many demonstrations could only be performed with Hooke on hand, and Boyle frequently left critical public displays solely to Hooke—whose dramatic flair matched his technical skill.Despite the operational and maintenance obstacles, construction of the pump enabled Boyle to conduct a great many experiments on the properties of air, which he later detailed in his New Experiments Physico-Mechanicall, Touching the Spring of the Air, and its Effects, (Made, for the Most Part, in a New Pneumatical Engine). In the book, he described in great detail 43 experiments he conducted, on occasion assisted by Hooke, on the effect of air on various phenomena. Boyle tested the effects of "rarified" air on combustion, magnetism, sound, and barometers, and examined the effects of increased air pressure on various substances. He listed two experiments on living creatures: "Experiment 40", which tested the ability of insects to fly under reduced air pressure, and the dramatic "Experiment 41," which demonstrated the reliance of living creatures on air for their survival. In this attempt to discover something "about the account upon which Respiration is so necessary to the Animals, that Nature hath furnish'd with Lungs", Boyle conducted numerous trials during which he placed a large variety of different creatures, including birds, mice, eels, snails and flies, in the vessel of the pump and studied their reactions as the air was removed. Here, he describes an injured lark:... the Bird for a while appear'd lively enough; but upon a greater Exsuction of the Air, she began manifestly to droop and appear sick, and very soon after was taken with as violent and irregular Convulsions, as are wont to be observ'd in Poultry, when their heads are wrung off: For the Bird threw her self over and over two or three times, and dyed with her Breast upward, her Head downwards, and her Neck awry. By the time Wright painted his picture in 1768, air pumps were a relatively commonplace scientific instrument, and itinerant "lecturers in natural philosophy"—usually more showmen than scientists—often performed the "animal in the air pump experiment" as the centrepiece of their public demonstration. These were performed in town halls and other large buildings for a ticket-buying audience, or were booked by societies or for private showings in the homes of the well-off, the setting suggested in both of Wright's demonstration pieces. One of the most notable and respectable of the travelling lecturers was James Ferguson FRS, a Scottish astronomer and probable acquaintance of Joseph Wright (both were friends of John Whitehurst). Ferguson noted that a "lungs-glass" with a small air-filled bladder inside was often used in place of the animal, as using a living creature was "too shocking to every spectator who has the least degree of humanity".The full moon in the picture is significant as meetings of the Lunar Circle (renamed the Lunar Society by 1775) were timed to make use of its light when travelling. Wright met Erasmus Darwin in the early 1760s, probably through their common connection of John Whitehurst, first consulting Darwin about ill health in 1767 when he stayed in the Darwin household for a week. The energy and vivacity of both Erasmus and Mary (Polly) Darwin impressed Wright. In the 1980s Eric Evans (National Gallery) suggested that Darwin is the figure in the left foreground who holds a watch. As this composed timekeeper is not consistent with Darwin's flamboyant character, it is more likely that this is Dr William Small. The attention to timekeeping fits with Dr Small's role as the social secretary for the Lunar Circle. Small returned from Virginia in 1764 and established his practice in Birmingham in 1765, consistent with this being a meeting in 1767. The profile and wig of this figure are consistent with a contemporary portrait of Small by Tilly Kettle.

0755_NT

An Experiment on a Bird in the Air Pump

Focus on this artwork and explore the Historical background.

In 1659, Robert Boyle commissioned the construction of an air pump, then described as a "pneumatic engine", which is known today as a "vacuum pump". The air pump was invented by Otto von Guericke in 1650, though its high cost deterred most contemporary scientists from constructing the apparatus. Boyle, the son of the Earl of Cork, had no such concerns—after its construction, he donated the initial 1659 model to the Royal Society and had a further two redesigned machines built for his personal use. Aside from Boyle's three pumps, there were probably no more than four others in existence during the 1660s: Christiaan Huygens had one in The Hague, Henry Power may have had one at Halifax, and there may have been pumps at Christ's College, Cambridge, and the Montmor Academy in Paris. Boyle's pump, which was largely designed to Boyle's specifications and constructed by Robert Hooke, was complicated, temperamental, and problematic to operate. Many demonstrations could only be performed with Hooke on hand, and Boyle frequently left critical public displays solely to Hooke—whose dramatic flair matched his technical skill.Despite the operational and maintenance obstacles, construction of the pump enabled Boyle to conduct a great many experiments on the properties of air, which he later detailed in his New Experiments Physico-Mechanicall, Touching the Spring of the Air, and its Effects, (Made, for the Most Part, in a New Pneumatical Engine). In the book, he described in great detail 43 experiments he conducted, on occasion assisted by Hooke, on the effect of air on various phenomena. Boyle tested the effects of "rarified" air on combustion, magnetism, sound, and barometers, and examined the effects of increased air pressure on various substances. He listed two experiments on living creatures: "Experiment 40", which tested the ability of insects to fly under reduced air pressure, and the dramatic "Experiment 41," which demonstrated the reliance of living creatures on air for their survival. In this attempt to discover something "about the account upon which Respiration is so necessary to the Animals, that Nature hath furnish'd with Lungs", Boyle conducted numerous trials during which he placed a large variety of different creatures, including birds, mice, eels, snails and flies, in the vessel of the pump and studied their reactions as the air was removed. Here, he describes an injured lark:... the Bird for a while appear'd lively enough; but upon a greater Exsuction of the Air, she began manifestly to droop and appear sick, and very soon after was taken with as violent and irregular Convulsions, as are wont to be observ'd in Poultry, when their heads are wrung off: For the Bird threw her self over and over two or three times, and dyed with her Breast upward, her Head downwards, and her Neck awry. By the time Wright painted his picture in 1768, air pumps were a relatively commonplace scientific instrument, and itinerant "lecturers in natural philosophy"—usually more showmen than scientists—often performed the "animal in the air pump experiment" as the centrepiece of their public demonstration. These were performed in town halls and other large buildings for a ticket-buying audience, or were booked by societies or for private showings in the homes of the well-off, the setting suggested in both of Wright's demonstration pieces. One of the most notable and respectable of the travelling lecturers was James Ferguson FRS, a Scottish astronomer and probable acquaintance of Joseph Wright (both were friends of John Whitehurst). Ferguson noted that a "lungs-glass" with a small air-filled bladder inside was often used in place of the animal, as using a living creature was "too shocking to every spectator who has the least degree of humanity".The full moon in the picture is significant as meetings of the Lunar Circle (renamed the Lunar Society by 1775) were timed to make use of its light when travelling. Wright met Erasmus Darwin in the early 1760s, probably through their common connection of John Whitehurst, first consulting Darwin about ill health in 1767 when he stayed in the Darwin household for a week. The energy and vivacity of both Erasmus and Mary (Polly) Darwin impressed Wright. In the 1980s Eric Evans (National Gallery) suggested that Darwin is the figure in the left foreground who holds a watch. As this composed timekeeper is not consistent with Darwin's flamboyant character, it is more likely that this is Dr William Small. The attention to timekeeping fits with Dr Small's role as the social secretary for the Lunar Circle. Small returned from Virginia in 1764 and established his practice in Birmingham in 1765, consistent with this being a meeting in 1767. The profile and wig of this figure are consistent with a contemporary portrait of Small by Tilly Kettle.

0756_T

An Experiment on a Bird in the Air Pump

Explore the Background about the Painting of this artwork, An Experiment on a Bird in the Air Pump.

During his apprenticeship and early career Wright concentrated on portraiture. By 1762, he was an accomplished portrait artist, and his 1764 group portrait James Shuttleworth, his Wife and Daughter is acknowledged as his first true masterpiece. Benedict Nicolson suggests that Wright was influenced by the work of Thomas Frye; in particular by the 18 bust-length mezzotints which Frye completed just before his death in 1762. It was perhaps Frye's candlelight images that tempted Wright to experiment with subject pieces. Wright's first attempt, A Girl reading a Letter by candlelight with a Young Man looking over her shoulder from 1762 or 1763, is a trial in the genre, and is fetching though uncomplicated. Wright's An Experiment on a Bird in the Air Pump forms part of a series of candlelit nocturnes that he produced between 1765 and 1768. There was a long history of painting candlelit scenes in Western art, although as Wright had not at this date travelled abroad, there remains uncertainty as to what paintings he might have seen in the original, as opposed to prints. Nicolson, who made studies of both Wright and other candlelight painters such as the 17th-century Utrecht Caravaggisti, thought their paintings, among the largest in the style, those most likely to have influenced Wright. However Judy Egerton wonders if he could have seen any, preferring as influences the far smaller works of the Leiden fijnschilder Godfried Schalcken (1643–1706), whose reputation was much greater in the early 18th century than subsequently. He had worked in England from 1692 to 1697, and several of his paintings can be placed in English collections in Wright's day.Although he was the leading expert writing in English, Nicolson does not suggest that Wright is likely to have known of the 17th-century candlelit narrative religious subjects of Georges de La Tour and Trophime Bigot, which, in their seriousness, are the closest works to Wright that are lit only by candle. The Dutch painters' works and other candlelit scenes by 18th-century English painters such as Henry Morland (father of George) tended instead to exploit the possibilities of semi-darkness for erotic suggestiveness. Some of Wright's own later candlelit scenes were by no means as serious as his first ones, as seen from their titles: Two Boys Fighting Over a Bladder and Two Girls Dressing a Kitten by Candlelight. The first of his candlelit masterpieces, Three Persons Viewing the Gladiator by Candlelight, was painted in 1765, and showed three men studying a small copy of the "Borghese Gladiator". Viewing the Gladiator was greatly admired; but his next painting, A Philosopher giving that Lecture on the Orrery, in which a Lamp is put in place of the Sun (normally known by the shortened form A Philosopher Giving a Lecture on the Orrery or just The Orrery), caused a greater stir, as it replaced the Classical subject at the centre of the scene with one of a scientific nature. Wright's depiction of the awe produced by scientific "miracles" marked a break with traditions in which the artistic depiction of such wonder was reserved for religious events, since to Wright the marvels of the technological age were as awe-inspiring as the subjects of the great religious paintings.In both of these works the candlelit setting had a realist justification. Viewing sculpture by candlelight, when the contours showed well and there might even be an impression of movement from the flickering light, was a fashionable practice described by Goethe. In the orrery demonstration the shadows cast by the lamp representing the sun were an essential part of the display, used to demonstrate eclipses. But there seems no reason other than heightened drama to stage the air pump experiment in a room lit by a single candle, and in two later paintings of the subject by Charles-Amédée-Philippe van Loo the lighting is normal.The painting was one of a number of British works challenging the set categories of the rigid, French-dictated hierarchy of genres in the late 18th century, as other types of painting aspired to be treated as seriously as the costumed history painting of a Classical or mythological subject. In some respects the Orrery and Air Pump subjects resembled conversation pieces, then largely a form of middle-class portraiture, though soon to be given new status when Johann Zoffany began to paint the royal family in about 1766. Given their solemn atmosphere however, and as it seems none of the figures are intended to be understood as portraits (even if models may be identified), the paintings can not be regarded as conversation pieces. The 20th-century art historian Ellis Waterhouse compares these two works to the "genre serieux" of contemporary French drama, as defined by Denis Diderot and Pierre Beaumarchais, a view endorsed by Egerton.An anonymous review from the time called Wright "a very great and uncommon genius in a peculiar way". The Orrery was painted without a commission, probably in the expectation that it would be bought by Washington Shirley, 5th Earl Ferrers, an amateur astronomer who had an orrery of his own, and with whom Wright's friend Peter Perez Burdett was staying while in Derbyshire. Figures thought to be portraits of Burdett and Ferrers feature in the painting, Burdett taking notes and Ferrers seated with his son next to the orrery. Ferrers purchased the painting for £210, but the 6th Earl auctioned it off, and it is now held by Derby Museum and Art Gallery.

0756_NT

An Experiment on a Bird in the Air Pump

Explore the Background about the Painting of this artwork.

During his apprenticeship and early career Wright concentrated on portraiture. By 1762, he was an accomplished portrait artist, and his 1764 group portrait James Shuttleworth, his Wife and Daughter is acknowledged as his first true masterpiece. Benedict Nicolson suggests that Wright was influenced by the work of Thomas Frye; in particular by the 18 bust-length mezzotints which Frye completed just before his death in 1762. It was perhaps Frye's candlelight images that tempted Wright to experiment with subject pieces. Wright's first attempt, A Girl reading a Letter by candlelight with a Young Man looking over her shoulder from 1762 or 1763, is a trial in the genre, and is fetching though uncomplicated. Wright's An Experiment on a Bird in the Air Pump forms part of a series of candlelit nocturnes that he produced between 1765 and 1768. There was a long history of painting candlelit scenes in Western art, although as Wright had not at this date travelled abroad, there remains uncertainty as to what paintings he might have seen in the original, as opposed to prints. Nicolson, who made studies of both Wright and other candlelight painters such as the 17th-century Utrecht Caravaggisti, thought their paintings, among the largest in the style, those most likely to have influenced Wright. However Judy Egerton wonders if he could have seen any, preferring as influences the far smaller works of the Leiden fijnschilder Godfried Schalcken (1643–1706), whose reputation was much greater in the early 18th century than subsequently. He had worked in England from 1692 to 1697, and several of his paintings can be placed in English collections in Wright's day.Although he was the leading expert writing in English, Nicolson does not suggest that Wright is likely to have known of the 17th-century candlelit narrative religious subjects of Georges de La Tour and Trophime Bigot, which, in their seriousness, are the closest works to Wright that are lit only by candle. The Dutch painters' works and other candlelit scenes by 18th-century English painters such as Henry Morland (father of George) tended instead to exploit the possibilities of semi-darkness for erotic suggestiveness. Some of Wright's own later candlelit scenes were by no means as serious as his first ones, as seen from their titles: Two Boys Fighting Over a Bladder and Two Girls Dressing a Kitten by Candlelight. The first of his candlelit masterpieces, Three Persons Viewing the Gladiator by Candlelight, was painted in 1765, and showed three men studying a small copy of the "Borghese Gladiator". Viewing the Gladiator was greatly admired; but his next painting, A Philosopher giving that Lecture on the Orrery, in which a Lamp is put in place of the Sun (normally known by the shortened form A Philosopher Giving a Lecture on the Orrery or just The Orrery), caused a greater stir, as it replaced the Classical subject at the centre of the scene with one of a scientific nature. Wright's depiction of the awe produced by scientific "miracles" marked a break with traditions in which the artistic depiction of such wonder was reserved for religious events, since to Wright the marvels of the technological age were as awe-inspiring as the subjects of the great religious paintings.In both of these works the candlelit setting had a realist justification. Viewing sculpture by candlelight, when the contours showed well and there might even be an impression of movement from the flickering light, was a fashionable practice described by Goethe. In the orrery demonstration the shadows cast by the lamp representing the sun were an essential part of the display, used to demonstrate eclipses. But there seems no reason other than heightened drama to stage the air pump experiment in a room lit by a single candle, and in two later paintings of the subject by Charles-Amédée-Philippe van Loo the lighting is normal.The painting was one of a number of British works challenging the set categories of the rigid, French-dictated hierarchy of genres in the late 18th century, as other types of painting aspired to be treated as seriously as the costumed history painting of a Classical or mythological subject. In some respects the Orrery and Air Pump subjects resembled conversation pieces, then largely a form of middle-class portraiture, though soon to be given new status when Johann Zoffany began to paint the royal family in about 1766. Given their solemn atmosphere however, and as it seems none of the figures are intended to be understood as portraits (even if models may be identified), the paintings can not be regarded as conversation pieces. The 20th-century art historian Ellis Waterhouse compares these two works to the "genre serieux" of contemporary French drama, as defined by Denis Diderot and Pierre Beaumarchais, a view endorsed by Egerton.An anonymous review from the time called Wright "a very great and uncommon genius in a peculiar way". The Orrery was painted without a commission, probably in the expectation that it would be bought by Washington Shirley, 5th Earl Ferrers, an amateur astronomer who had an orrery of his own, and with whom Wright's friend Peter Perez Burdett was staying while in Derbyshire. Figures thought to be portraits of Burdett and Ferrers feature in the painting, Burdett taking notes and Ferrers seated with his son next to the orrery. Ferrers purchased the painting for £210, but the 6th Earl auctioned it off, and it is now held by Derby Museum and Art Gallery.

0757_T

An Experiment on a Bird in the Air Pump

In the context of An Experiment on a Bird in the Air Pump, discuss the Detail of the Painting.

An Experiment on a Bird in the Air Pump followed in 1768, the emotionally charged experiment contrasting with the orderly scene from The Orrery. The painting, which measures 72 by 94½ inches (183 by 244 cm), shows a grey cockatiel fluttering in panic as the air is slowly withdrawn from the vessel by the pump. The witnesses display various emotions: one of the girls worriedly watches the fate of the bird, while the other is too upset to observe and is comforted by her father; two gentlemen (one of them dispassionately timing the experiment) and a boy look on with interest, while the young lovers to the left of the painting are absorbed only in each other. The scientist himself looks directly out of the picture, as if challenging the viewer to judge whether the pumping should continue, killing the bird, or whether the air should be replaced and the cockatiel saved.Aside from that of the children, little sympathy is directed toward the bird; David Solkin suggests the subjects of the painting show the dispassionate detachment of the evolving scientific society. Individuals are concerned for each other: the father for his children, the young man for the girl, but the distress of the cockatiel elicits only careful study. To one side of the boy at the rear, the cockatiel's empty cage can be seen on the wall, and to further heighten the drama it is unclear whether the boy is lowering the cage on the pulley to allow the bird to be replaced after the experiment or hoisting the cage back up, certain of its former occupant's death. It has also been suggested that he may be drawing the curtains to block out the light from the full moon. Jenny Uglow believes that the boy echoes the figure in the last print of William Hogarth's The Four Stages of Cruelty by pointing out the arrogance and potential cruelty of experimentation, while David Fraser also sees the compositional similarities with the audience grouped round a central demonstration. The neutral stance of the central character and the uncertain intentions of the boy with the cage were both later ideas: an early study, discovered on the back of a self-portrait, omits the boy and shows the natural philosopher reassuring the girls. In this sketch it is obvious that the bird will survive, and thus the composition lacks the power of the final version. Lochlann Jain has analyzed the painting in the context of a contemporary cultural history and medicine of human suffocation and choking. Wright, who took many of his subjects from English poetry, probably knew the following passage from "The Wanderer" (1729) by Richard Savage:So in some Engine, that denies a Vent, If unrespiring is some Creature pent, It sickens, droops, and pants, and gasps for Breath, Sad o'er the Sight swim shad'wy Mists of Death; If then kind Air pours powerful in again. New Heats, new Pulses quicken ev'ry Vein; From the clear'd, lifted, life-rekindled Eye, Dispers'd, the dark and dampy Vapours fly. The cockatiel would have been a rare bird at the time, "and one whose life would never in reality have been risked in an experiment such as this". It did not become well known until after it was shown in illustrations to the accounts of the voyages of Captain Cook in the 1770s. Prior to Cook's voyage, cockatiels had been imported only in small numbers as exotic cage-birds. Wright had painted one in 1762 at the home of William Chase, featuring it both in his portrait of Chase and his wife (Mr & Mrs William Chase) and a separate study, The Parrot. In selecting such a rarity for this scientific sacrifice, Wright not only chose a more dramatic subject than the "lungs-glass", but was perhaps making a statement about the values of society in the Age of Enlightenment. The grey plumage of the cockatiel also shows much more effectively in the darkened room than the small dull-coloured bird in Wright's early oil sketch. A resemblance has been pointed out between the group of the bird and the two nearest figures and a type of depiction of the Trinity found in Early Netherlandish painting, where the Holy Spirit is represented by a dove, to which God the Father (the philosopher) points, while Christ (the father) gestures in blessing to the viewer.On the table are various other pieces of equipment that the natural philosopher would have used during his demonstration: a thermometer, candle snuffer and cork, and close to the man seated to the right is a pair of Magdeburg hemispheres, which would have been used with the air pump to demonstrate the difference in pressure exerted by the air and a vacuum: when the air was pumped out from between the two hemispheres they were impossible to pull apart. The air pump itself is rendered in exquisite detail, a faithful record of the designs in use at the time. What may be a human skull in the large liquid-filled glass bowl would not have been a normal piece of equipment; William Schupbach suggests that it and the candle, which is presumably lighting the bowl from behind, form a vanitas—the two symbols of mortality reflecting the cockatiel's struggle for life.

0757_NT

An Experiment on a Bird in the Air Pump

In the context of this artwork, discuss the Detail of the Painting.

An Experiment on a Bird in the Air Pump followed in 1768, the emotionally charged experiment contrasting with the orderly scene from The Orrery. The painting, which measures 72 by 94½ inches (183 by 244 cm), shows a grey cockatiel fluttering in panic as the air is slowly withdrawn from the vessel by the pump. The witnesses display various emotions: one of the girls worriedly watches the fate of the bird, while the other is too upset to observe and is comforted by her father; two gentlemen (one of them dispassionately timing the experiment) and a boy look on with interest, while the young lovers to the left of the painting are absorbed only in each other. The scientist himself looks directly out of the picture, as if challenging the viewer to judge whether the pumping should continue, killing the bird, or whether the air should be replaced and the cockatiel saved.Aside from that of the children, little sympathy is directed toward the bird; David Solkin suggests the subjects of the painting show the dispassionate detachment of the evolving scientific society. Individuals are concerned for each other: the father for his children, the young man for the girl, but the distress of the cockatiel elicits only careful study. To one side of the boy at the rear, the cockatiel's empty cage can be seen on the wall, and to further heighten the drama it is unclear whether the boy is lowering the cage on the pulley to allow the bird to be replaced after the experiment or hoisting the cage back up, certain of its former occupant's death. It has also been suggested that he may be drawing the curtains to block out the light from the full moon. Jenny Uglow believes that the boy echoes the figure in the last print of William Hogarth's The Four Stages of Cruelty by pointing out the arrogance and potential cruelty of experimentation, while David Fraser also sees the compositional similarities with the audience grouped round a central demonstration. The neutral stance of the central character and the uncertain intentions of the boy with the cage were both later ideas: an early study, discovered on the back of a self-portrait, omits the boy and shows the natural philosopher reassuring the girls. In this sketch it is obvious that the bird will survive, and thus the composition lacks the power of the final version. Lochlann Jain has analyzed the painting in the context of a contemporary cultural history and medicine of human suffocation and choking. Wright, who took many of his subjects from English poetry, probably knew the following passage from "The Wanderer" (1729) by Richard Savage:So in some Engine, that denies a Vent, If unrespiring is some Creature pent, It sickens, droops, and pants, and gasps for Breath, Sad o'er the Sight swim shad'wy Mists of Death; If then kind Air pours powerful in again. New Heats, new Pulses quicken ev'ry Vein; From the clear'd, lifted, life-rekindled Eye, Dispers'd, the dark and dampy Vapours fly. The cockatiel would have been a rare bird at the time, "and one whose life would never in reality have been risked in an experiment such as this". It did not become well known until after it was shown in illustrations to the accounts of the voyages of Captain Cook in the 1770s. Prior to Cook's voyage, cockatiels had been imported only in small numbers as exotic cage-birds. Wright had painted one in 1762 at the home of William Chase, featuring it both in his portrait of Chase and his wife (Mr & Mrs William Chase) and a separate study, The Parrot. In selecting such a rarity for this scientific sacrifice, Wright not only chose a more dramatic subject than the "lungs-glass", but was perhaps making a statement about the values of society in the Age of Enlightenment. The grey plumage of the cockatiel also shows much more effectively in the darkened room than the small dull-coloured bird in Wright's early oil sketch. A resemblance has been pointed out between the group of the bird and the two nearest figures and a type of depiction of the Trinity found in Early Netherlandish painting, where the Holy Spirit is represented by a dove, to which God the Father (the philosopher) points, while Christ (the father) gestures in blessing to the viewer.On the table are various other pieces of equipment that the natural philosopher would have used during his demonstration: a thermometer, candle snuffer and cork, and close to the man seated to the right is a pair of Magdeburg hemispheres, which would have been used with the air pump to demonstrate the difference in pressure exerted by the air and a vacuum: when the air was pumped out from between the two hemispheres they were impossible to pull apart. The air pump itself is rendered in exquisite detail, a faithful record of the designs in use at the time. What may be a human skull in the large liquid-filled glass bowl would not have been a normal piece of equipment; William Schupbach suggests that it and the candle, which is presumably lighting the bowl from behind, form a vanitas—the two symbols of mortality reflecting the cockatiel's struggle for life.

0758_T

An Experiment on a Bird in the Air Pump

In An Experiment on a Bird in the Air Pump, how is the Style of the Painting elucidated?

The powerful central light source creates a chiaroscuro effect. The light illuminating the scene has been described as "so brilliant it could only be the light of revelation". The single source of light is obscured behind the bowl on the table; some hint of a lamp glass can be seen around the side of the bowl, but David Hockney has suggested that the bowl itself may contain sulphur, giving a powerful single light source that a candle or oil lamp would not. In the earlier study a candle holder is visible, and the flame is reflected in the bowl. Hockney believes that many of the Old Masters used optical equipment to assist in their painting, and suggests that Wright may have used lenses to transfer the image to paper rather than painting directly from the scene, as he believes the pattern of shadows thrown by the lighting could have been too complicated for Wright to have captured so accurately without assistance. It may be observed, however, that the stand on which the pump is situated casts no shadow on the body of the philosopher, as it could be expected to do. Wright's Air Pump was unusual in that it depicted archetypes rather than specific people, though various models for the figures have been suggested. The young lovers may have been based on Thomas Coltman and Mary Barlow, friends of Wright's, whom he later painted in Mr and Mrs Thomas Coltman (also in the National Gallery) after their marriage in 1769; Erasmus Darwin has been suggested as the man timing the experiment on the left of the table, and John Warltire, whom Darwin had invited to help with some air pump experiments in real life, as the natural philosopher; but Wright never identified any of the subjects or suggested they were based on real people.In The Orrery, all the subjects have been identified apart from the philosopher, who has physical similarities to Isaac Newton but differs enough to make positive identification impossible. Nicolson detects the strong influence of Frye throughout the picture. Particularly striking is the similarity between Frye's mezzotint Portrait of a Young Man of 1760–1761 and the figure of the boy with his head cocked staring intently at the bird. In 1977, Michael Wynne published one of Frye's chalk drawings from around 1760, An old man leaning on a staff, which is so similar to the observer in the right foreground in Wright's picture to make it impossible that Wright had not seen it. There are other hints of Frye's style in the painting: even the figure of the natural philosopher has touches of Frye's Figure with Candle. Though Henry Fuseli would later also develop on the style of Frye's work there is no evidence of him having painted anything similar until the early 1780s. So, although he had already been in England at the time the Air Pump was produced, it is unlikely that he was an influence on Wright.Wright's scientific paintings adopted elements from the tradition of history painting but lacked the heroic central action typical of that genre. While ground-breaking, they are regarded as peculiar to Wright, whose unique style has been explained in many ways. Wright's provincial status and ties to the Lunar Society, a group of prominent industrialists, scientists and intellectuals who met regularly in Birmingham between 1765 and 1813, have been highlighted, as well as his close association with and sympathy for the advances made in the burgeoning Industrial Revolution. Other critics have emphasised a desire to capture a snapshot of the society of the day, in the tradition of William Hogarth but with a more neutral stance that lacks the biting satire of Hogarth's work.

0758_NT

An Experiment on a Bird in the Air Pump

In this artwork, how is the Style of the Painting elucidated?

The powerful central light source creates a chiaroscuro effect. The light illuminating the scene has been described as "so brilliant it could only be the light of revelation". The single source of light is obscured behind the bowl on the table; some hint of a lamp glass can be seen around the side of the bowl, but David Hockney has suggested that the bowl itself may contain sulphur, giving a powerful single light source that a candle or oil lamp would not. In the earlier study a candle holder is visible, and the flame is reflected in the bowl. Hockney believes that many of the Old Masters used optical equipment to assist in their painting, and suggests that Wright may have used lenses to transfer the image to paper rather than painting directly from the scene, as he believes the pattern of shadows thrown by the lighting could have been too complicated for Wright to have captured so accurately without assistance. It may be observed, however, that the stand on which the pump is situated casts no shadow on the body of the philosopher, as it could be expected to do. Wright's Air Pump was unusual in that it depicted archetypes rather than specific people, though various models for the figures have been suggested. The young lovers may have been based on Thomas Coltman and Mary Barlow, friends of Wright's, whom he later painted in Mr and Mrs Thomas Coltman (also in the National Gallery) after their marriage in 1769; Erasmus Darwin has been suggested as the man timing the experiment on the left of the table, and John Warltire, whom Darwin had invited to help with some air pump experiments in real life, as the natural philosopher; but Wright never identified any of the subjects or suggested they were based on real people.In The Orrery, all the subjects have been identified apart from the philosopher, who has physical similarities to Isaac Newton but differs enough to make positive identification impossible. Nicolson detects the strong influence of Frye throughout the picture. Particularly striking is the similarity between Frye's mezzotint Portrait of a Young Man of 1760–1761 and the figure of the boy with his head cocked staring intently at the bird. In 1977, Michael Wynne published one of Frye's chalk drawings from around 1760, An old man leaning on a staff, which is so similar to the observer in the right foreground in Wright's picture to make it impossible that Wright had not seen it. There are other hints of Frye's style in the painting: even the figure of the natural philosopher has touches of Frye's Figure with Candle. Though Henry Fuseli would later also develop on the style of Frye's work there is no evidence of him having painted anything similar until the early 1780s. So, although he had already been in England at the time the Air Pump was produced, it is unlikely that he was an influence on Wright.Wright's scientific paintings adopted elements from the tradition of history painting but lacked the heroic central action typical of that genre. While ground-breaking, they are regarded as peculiar to Wright, whose unique style has been explained in many ways. Wright's provincial status and ties to the Lunar Society, a group of prominent industrialists, scientists and intellectuals who met regularly in Birmingham between 1765 and 1813, have been highlighted, as well as his close association with and sympathy for the advances made in the burgeoning Industrial Revolution. Other critics have emphasised a desire to capture a snapshot of the society of the day, in the tradition of William Hogarth but with a more neutral stance that lacks the biting satire of Hogarth's work.

0759_T

An Experiment on a Bird in the Air Pump

Focus on An Experiment on a Bird in the Air Pump and analyze the Reception.

The scientific subjects of Wright's paintings from this time were meant to appeal to the wealthy scientific circles in which he moved. While never a member himself, he had strong connections with the Lunar Society: he was friends with members John Whitehurst and Erasmus Darwin, as well as Josiah Wedgwood, who later commissioned paintings from him. The inclusion of the moon in the painting was a nod to their monthly meetings, which were held when the moon was full. Like The Orrery, Wright apparently painted Air Pump without a commission, and the picture was purchased by Dr Benjamin Bates, who already owned Wright's Gladiator. An Aylesbury physician, patron of the arts and hedonist, Bates was a diehard member of the Hellfire Club. Wright's account book shows a number of prices for the painting: Pd£200 is shown in one place and £210 in another, but Wright had written to Bates asking for £130, stating that the low price "might much injure me in the future sale of my pictures, and when I send you a receipt for the money I shall acknowledge a greater sum." Whether Bates ever paid the full amount is not recorded; Wright only notes in his account book that he received £30 in part payment. Wright exhibited the painting at the Society of Artists exhibition in 1768 and it was re-exhibited before Christian VII of Denmark in September the same year. Viewers remarked that it was "clever and vigorous", while Gustave Flaubert, who saw it on a visit to England in 1865–66, considered it "charmant de naïveté et profondeur". It was popular enough that a mezzotint was engraved from it by Valentine Green which was published by John Boydell on 24 June 1769, and initially sold for 15 shillings. This was reprinted throughout the 18th and 19th centuries, in increasingly weak impressions. Ellis Waterhouse called it "one of the wholly original masterpieces of British art".From Bates, the picture passed to Walter Tyrell; another member of the Tyrell family, Edward, presented it to the National Gallery, London, in 1863, after it had failed to sell at an auction at Christie's in 1854. The painting was transferred to the Tate Gallery in 1929, although it was actually on loan to Derby Museum and Art Gallery between 1912 and 1947. It has been lent out for exhibitions to the National Gallery of Art in Washington, D.C. in 1976, the National Museum of Fine Arts in Stockholm in 1979–1980, and Paris (Grand Palais), New York (Metropolitan) and the Tate in London in 1990. It was reclaimed by the National Gallery from the Tate in 1986. They describe its condition as good, with minor alterations visible on some figures. It was last cleaned in 1974.The painting is scheduled to be exhibited at the Huntington Library in California between February 12, 2022 and May 30, 2022.The striking scene has been used as the cover illustration for many books on topics both artistic and scientific. It has even spawned pastiches and parodies: the book cover of The Science of Discworld, by Terry Pratchett, Ian Stewart and Jack Cohen, is a tribute to the painting by artist Paul Kidby, who replaces Wright's figures with the book's protagonists. Shelagh Stephenson's play An Experiment with an Air Pump, inspired by the painting, was the joint winner of the 1997 Margaret Ramsay Award and had its premiere at the Royal Exchange Theatre, Manchester, in 1998.

0759_NT

An Experiment on a Bird in the Air Pump

Focus on this artwork and analyze the Reception.

The scientific subjects of Wright's paintings from this time were meant to appeal to the wealthy scientific circles in which he moved. While never a member himself, he had strong connections with the Lunar Society: he was friends with members John Whitehurst and Erasmus Darwin, as well as Josiah Wedgwood, who later commissioned paintings from him. The inclusion of the moon in the painting was a nod to their monthly meetings, which were held when the moon was full. Like The Orrery, Wright apparently painted Air Pump without a commission, and the picture was purchased by Dr Benjamin Bates, who already owned Wright's Gladiator. An Aylesbury physician, patron of the arts and hedonist, Bates was a diehard member of the Hellfire Club. Wright's account book shows a number of prices for the painting: Pd£200 is shown in one place and £210 in another, but Wright had written to Bates asking for £130, stating that the low price "might much injure me in the future sale of my pictures, and when I send you a receipt for the money I shall acknowledge a greater sum." Whether Bates ever paid the full amount is not recorded; Wright only notes in his account book that he received £30 in part payment. Wright exhibited the painting at the Society of Artists exhibition in 1768 and it was re-exhibited before Christian VII of Denmark in September the same year. Viewers remarked that it was "clever and vigorous", while Gustave Flaubert, who saw it on a visit to England in 1865–66, considered it "charmant de naïveté et profondeur". It was popular enough that a mezzotint was engraved from it by Valentine Green which was published by John Boydell on 24 June 1769, and initially sold for 15 shillings. This was reprinted throughout the 18th and 19th centuries, in increasingly weak impressions. Ellis Waterhouse called it "one of the wholly original masterpieces of British art".From Bates, the picture passed to Walter Tyrell; another member of the Tyrell family, Edward, presented it to the National Gallery, London, in 1863, after it had failed to sell at an auction at Christie's in 1854. The painting was transferred to the Tate Gallery in 1929, although it was actually on loan to Derby Museum and Art Gallery between 1912 and 1947. It has been lent out for exhibitions to the National Gallery of Art in Washington, D.C. in 1976, the National Museum of Fine Arts in Stockholm in 1979–1980, and Paris (Grand Palais), New York (Metropolitan) and the Tate in London in 1990. It was reclaimed by the National Gallery from the Tate in 1986. They describe its condition as good, with minor alterations visible on some figures. It was last cleaned in 1974.The painting is scheduled to be exhibited at the Huntington Library in California between February 12, 2022 and May 30, 2022.The striking scene has been used as the cover illustration for many books on topics both artistic and scientific. It has even spawned pastiches and parodies: the book cover of The Science of Discworld, by Terry Pratchett, Ian Stewart and Jack Cohen, is a tribute to the painting by artist Paul Kidby, who replaces Wright's figures with the book's protagonists. Shelagh Stephenson's play An Experiment with an Air Pump, inspired by the painting, was the joint winner of the 1997 Margaret Ramsay Award and had its premiere at the Royal Exchange Theatre, Manchester, in 1998.

0760_T

Greek Madonna

In Greek Madonna, how is the abstract discussed?

The Greek Madonna is a 1460–1470 tempera-on-panel painting by the Italian Renaissance artist Giovanni Bellini. It is named after the Greek monograms at top left and top right and after the major influence of Byzantine icons on the painting. The Christ Child holds a golden apple, perhaps referring to the Judgement of Paris and to Mary as the "new Venus". Pellizzari's theory that the work originally had a golden background like an icon was disproved by a 1986–87 restoration, which showed that the original background had been a blue sky, seen either side of a central curtain. The curtain remains, but the sky was hidden in the 16th century by two gold stripes. Infrared examination during the restoration also revealed the panel's preparation with glue and plaster and the chiaroscuro underdrawing, both typical of Bellini and both also mentioned in Paolo Pino's 1548 Dialogo di pittura.When the French invaded Venice in the late 18th century the painting was in the offices of the Regulatori di Scrittura in the Doge's Palace. It was confiscated and in 1808 assigned to the new Pinacoteca di Brera in Milan, where it now hangs.

0760_NT

Greek Madonna

In this artwork, how is the abstract discussed?

The Greek Madonna is a 1460–1470 tempera-on-panel painting by the Italian Renaissance artist Giovanni Bellini. It is named after the Greek monograms at top left and top right and after the major influence of Byzantine icons on the painting. The Christ Child holds a golden apple, perhaps referring to the Judgement of Paris and to Mary as the "new Venus". Pellizzari's theory that the work originally had a golden background like an icon was disproved by a 1986–87 restoration, which showed that the original background had been a blue sky, seen either side of a central curtain. The curtain remains, but the sky was hidden in the 16th century by two gold stripes. Infrared examination during the restoration also revealed the panel's preparation with glue and plaster and the chiaroscuro underdrawing, both typical of Bellini and both also mentioned in Paolo Pino's 1548 Dialogo di pittura.When the French invaded Venice in the late 18th century the painting was in the offices of the Regulatori di Scrittura in the Doge's Palace. It was confiscated and in 1808 assigned to the new Pinacoteca di Brera in Milan, where it now hangs.

0761_T

Bosnian Girl

Focus on Bosnian Girl and explain the abstract.

Bosnian Girl is a discriminator art work by a visual artist Šejla Kamerić that started in 2003 as a public project consisting of postcards, posters, billboards, that is exhibited either as an intervention into public space or as a black and white photograph in various dimensions. It was done in collaboration with photographer Tarik Samarah.

0761_NT

Bosnian Girl

Focus on this artwork and explain the abstract.

Bosnian Girl is a discriminator art work by a visual artist Šejla Kamerić that started in 2003 as a public project consisting of postcards, posters, billboards, that is exhibited either as an intervention into public space or as a black and white photograph in various dimensions. It was done in collaboration with photographer Tarik Samarah.

0762_T

Bosnian Girl

Explore the Description and analysis of this artwork, Bosnian Girl.

Denigrating phrases about Bosnian women are superimposed over a black and white photograph of the artist staring straight at the viewer. Taken from graffiti written by an unknown Dutch soldier in 1994–1995, a member of the Royal Netherlands Army who, as part of the UN Protection Force (UNPROFOR) in Bosnia and Herzegovina 1992-95, were responsible for protecting the Srebrenica safe area. The artist’s gaze is unflinching, direct and challenges not just the words pushed onto her, and all Bosnian women, but invites us to see their new form of identity – where victimhood and prejudice, the past and the future are intertwined in co-existing opposition. Originally a series of posters publicly displayed on the 2003 anniversary of the Srebenica genocide, this work has become iconic of post-war Bosnia and Herzegovina, a direct confrontation of war crimes committed against women and the prejudices that came during and after it. Part of the multiple permanent exhibitions and museum collections, Bosnian Girl is also on view as part of the permanent exhibition in the Memorial Centre Potočari, Srebrenica, Bosnia and Herzegovina.

0762_NT

Bosnian Girl

Explore the Description and analysis of this artwork.

Denigrating phrases about Bosnian women are superimposed over a black and white photograph of the artist staring straight at the viewer. Taken from graffiti written by an unknown Dutch soldier in 1994–1995, a member of the Royal Netherlands Army who, as part of the UN Protection Force (UNPROFOR) in Bosnia and Herzegovina 1992-95, were responsible for protecting the Srebrenica safe area. The artist’s gaze is unflinching, direct and challenges not just the words pushed onto her, and all Bosnian women, but invites us to see their new form of identity – where victimhood and prejudice, the past and the future are intertwined in co-existing opposition. Originally a series of posters publicly displayed on the 2003 anniversary of the Srebenica genocide, this work has become iconic of post-war Bosnia and Herzegovina, a direct confrontation of war crimes committed against women and the prejudices that came during and after it. Part of the multiple permanent exhibitions and museum collections, Bosnian Girl is also on view as part of the permanent exhibition in the Memorial Centre Potočari, Srebrenica, Bosnia and Herzegovina.

0763_T

Bosnian Girl

Focus on Bosnian Girl and discuss the Selected exhibitions.

2003 The Gorges of the Balkans, curated by Rene Block, 30.08. – 23.11.2003, Kunsthalle Fridericianum, Kassel, Germany. 2003 Balkan Konzulat: Sarajevo, curated by Lejla Hodžić, October – November 2003, Rotor Gallery, Graz, Austria. 2004 Others and Dreams, solo show, 18.09.–24.10.2004, Portikus Frankfurt am Main, Germany. 2005 Another Expo – Beyond the Nation-States, curated by Shinya Watanabe, June 2005, Gallery Level1, Kitakyushu, Japan. 2005 Another Expo – Beyond the Nation-States, curated by Shinya Watanabe, September 2005, Gallery White Box, New York, USA. 2007 L‘enfer, C‘est les Autres / ‘Hell is… other people’, 22.07. – 09.09.2007, curated by Nathalie Zonnenberg, Stedelijk Museum Bureau Amsterdam, the Netherlands. 2008 Šejla Kamerić, 22.11.2008 – 25.01.2009, Galerie im Taxispalais, Innsbruck, Austria. 2008 Cutting Realities: Gender Strategies in Art, curated by Walter Seidl, 23.09.-29.11.2008, Austrian Cultural Forum, New York, USA. 2009 Gender Check – Femininity and Masculinity in the Art of Eastern Europe, curated by Bojana Pejić, 13.11.2009 – 14.11.2010, Museum of Modern Art (MUMOK), Vienna, Austria. 2009 Windows upon Oceans – 8. Baltic Biennial of Contemporary Art, Muzeum Narodowe w Szczecinie, Szczecin, Poland. 2010 A Pair of Left Shoes, curated by Tihomir Milovac, 16.04. –27.05.2010, Museum of Contemporary Art Zagreb, Croatia. 2010 No More Drama, Röda Sten Centre for Contemporary Art and Culture, Göteborg, Sweden. 2011 1395 Days without Red, Museum of contemporary art Belgrade, Serbia. 2012 9th Gwangju Biennale: Round Table, Artistic Co-directors: Sunjung Kim, Mami Kataoka, Carol Yinghua Lu, Nancy Adajania, Wassan AI-Khudhairi, Alia Swastika, 7 September – 11 November 2012, Various venues, Gwangju, South Korea. 2012 Šejla Kamerić – 1395 Days without Red, 30.11.2012 – 20.01.2013, CAC Contemporary Art Centre, Vilnius, Lithuania. 2013 Public Diary, 5th Yebisu International Festival for Art and Alternative Visions, curated by Keiko Okamura, 08. – 28.02. 2013, Tokyo Metropolitan Museum of Photography, Tokyo, Japan. 2014 Memory Lane – Contemporary Art Scene from Bosnia and Herzegovina, curated by Pierre Courtin, 07.06. – 26.07. 2014, Galerie du Jour-agnés b., Paris, France. 2015 Remember Lidice, curated by Rene Block, 12.09.2015 – 13.02.2016, Edition Block, Berlin, Germany. 2015 Autonomy of Self. Rejecting violence with the lens in former Ottoman territories, curated by Joy Stacy, 11.09. – 31.10.2015, P21 Gallery, London, UK. 2015 30 Years After, curated by Erzen Shkololli, 04.05. – 04.06.2015, National Gallery of Kosovo, Prishtina, Kosovo. 2015 When the Heart Goes Bing Bam Boom, curated by, curated by Başak Doğa Temür, 11.12. 2015 – 28.02.2016, Arter – Space for Art, Vehbi Koç Foundation, Istanbul 2018 I Really Really Really Really Really, curated by Peter Tomaž Dobrila, 09.11. – 01.12.2018, ACE Kibla, Maribor.

0763_NT

Bosnian Girl

Focus on this artwork and discuss the Selected exhibitions.

2003 The Gorges of the Balkans, curated by Rene Block, 30.08. – 23.11.2003, Kunsthalle Fridericianum, Kassel, Germany. 2003 Balkan Konzulat: Sarajevo, curated by Lejla Hodžić, October – November 2003, Rotor Gallery, Graz, Austria. 2004 Others and Dreams, solo show, 18.09.–24.10.2004, Portikus Frankfurt am Main, Germany. 2005 Another Expo – Beyond the Nation-States, curated by Shinya Watanabe, June 2005, Gallery Level1, Kitakyushu, Japan. 2005 Another Expo – Beyond the Nation-States, curated by Shinya Watanabe, September 2005, Gallery White Box, New York, USA. 2007 L‘enfer, C‘est les Autres / ‘Hell is… other people’, 22.07. – 09.09.2007, curated by Nathalie Zonnenberg, Stedelijk Museum Bureau Amsterdam, the Netherlands. 2008 Šejla Kamerić, 22.11.2008 – 25.01.2009, Galerie im Taxispalais, Innsbruck, Austria. 2008 Cutting Realities: Gender Strategies in Art, curated by Walter Seidl, 23.09.-29.11.2008, Austrian Cultural Forum, New York, USA. 2009 Gender Check – Femininity and Masculinity in the Art of Eastern Europe, curated by Bojana Pejić, 13.11.2009 – 14.11.2010, Museum of Modern Art (MUMOK), Vienna, Austria. 2009 Windows upon Oceans – 8. Baltic Biennial of Contemporary Art, Muzeum Narodowe w Szczecinie, Szczecin, Poland. 2010 A Pair of Left Shoes, curated by Tihomir Milovac, 16.04. –27.05.2010, Museum of Contemporary Art Zagreb, Croatia. 2010 No More Drama, Röda Sten Centre for Contemporary Art and Culture, Göteborg, Sweden. 2011 1395 Days without Red, Museum of contemporary art Belgrade, Serbia. 2012 9th Gwangju Biennale: Round Table, Artistic Co-directors: Sunjung Kim, Mami Kataoka, Carol Yinghua Lu, Nancy Adajania, Wassan AI-Khudhairi, Alia Swastika, 7 September – 11 November 2012, Various venues, Gwangju, South Korea. 2012 Šejla Kamerić – 1395 Days without Red, 30.11.2012 – 20.01.2013, CAC Contemporary Art Centre, Vilnius, Lithuania. 2013 Public Diary, 5th Yebisu International Festival for Art and Alternative Visions, curated by Keiko Okamura, 08. – 28.02. 2013, Tokyo Metropolitan Museum of Photography, Tokyo, Japan. 2014 Memory Lane – Contemporary Art Scene from Bosnia and Herzegovina, curated by Pierre Courtin, 07.06. – 26.07. 2014, Galerie du Jour-agnés b., Paris, France. 2015 Remember Lidice, curated by Rene Block, 12.09.2015 – 13.02.2016, Edition Block, Berlin, Germany. 2015 Autonomy of Self. Rejecting violence with the lens in former Ottoman territories, curated by Joy Stacy, 11.09. – 31.10.2015, P21 Gallery, London, UK. 2015 30 Years After, curated by Erzen Shkololli, 04.05. – 04.06.2015, National Gallery of Kosovo, Prishtina, Kosovo. 2015 When the Heart Goes Bing Bam Boom, curated by, curated by Başak Doğa Temür, 11.12. 2015 – 28.02.2016, Arter – Space for Art, Vehbi Koç Foundation, Istanbul 2018 I Really Really Really Really Really, curated by Peter Tomaž Dobrila, 09.11. – 01.12.2018, ACE Kibla, Maribor.

0764_T

Bosnian Girl

How does Bosnian Girl elucidate its Collections?

TATE Modern Collection, London Kontakt. The Art Collection of Erste Group and ERSTE Foundation, Vienna Art Collection Telekom, Bonn Vehbi Koç Foundation Contemporary Art Collection (2007+), Istanbul Haubrok Collection, Fahrbereitschaft, Berlin Memorial Center Potočari, Srebrenica

0764_NT

Bosnian Girl

How does this artwork elucidate its Collections?

TATE Modern Collection, London Kontakt. The Art Collection of Erste Group and ERSTE Foundation, Vienna Art Collection Telekom, Bonn Vehbi Koç Foundation Contemporary Art Collection (2007+), Istanbul Haubrok Collection, Fahrbereitschaft, Berlin Memorial Center Potočari, Srebrenica

0765_T

Bosnian Girl

Focus on Bosnian Girl and analyze the Selected bibliography.

TOMAŠOVIĆ, Joško. "Šejla Kamerić" in: Andre/Others, Sørlandets Kunstmuseum, 2005, pp. 42-45. HODŽIĆ, Lejla. "Balkan Konsulat. Sarajevo", in: Balkan Konsulat (ed. Makovec, Margarethe and Lederer, Anton), <rotor> and Revolver, Graz-Frankfurt am Main 2006, pp. 96-111. BLAŽEVIĆ, Dunja. "Šejla Kamerić", in: Vodič kroz izložbu Kontakt Beograd …dela iz kolekcije Erste Bank Grupe, Muzej savremene umetnosti Beograd (20.01.-1.03.2007), (ed. Seidl, Walter and Stellwag-Carion, Cornelia), Kontakt. Umetnička kolekcija Erste Bank Grupe, 2007. BLOCK, Rene and BABIS, Marius (ed.). Die Balkan-Trilogie/The Balkan Trilogy, Kunsthalle Fridericianum, Kassel 2007. HELMS, Elissa. “East and West Kiss. Gender, Orientalism, and Balkanism in Muslim-Majority Bosnia-Herzegovina”, in: Slavic Review, vol. 67, no. 1., 2008, pp. 88-119 HUGHS, Jeffrey and TURKOVIC, Dana (ed.). Odavde (from here), Otuda (from there), Webster University, St. Louis 2008 MEREWETHER, Charles. "Unerledigte Angelegenheiten: Dream House and Bosnian Girl/Unifinshed Business: Dream House and Bosnian Girl" in: Portikus 2004-2007. Book of a Sleeping Village, Frankfurt am Main – Cologne 2008, pp. 109-119. SEIDL, Walter (ed.). Cutting Realities. Gender Strategies in Art. Works from Kontakt. The Art Collection of Erste Bank Group, Vienna 2008. ĐORĐEVIĆ, Tamara. “Postkolonijalne studije i Balkanizam: Bosnian Girl”, 2009 NEUMAYR, Agnes. “Šejla Kamerić: Die Kunst vermag est, Vorurteile Aufzubrechen un das Bewusstsein der Menschen zu verandern”, in: Politik der Gefühle: Susanne K. Langer und Hannah Arendt, Innsbruck University Press, Innsburck 2009, pp. 354-369. PEJIĆ, Bojana (ed.). Gender Check: Femininity and Masculinity in the Art of Eastern Europe, Moderne Kunst Stiftung Ludiwg Wien, Vienna 2009 MUKA, Edi. Šejla Kamerić, (ed.) Meral Agish, Galerie Tanja Wagner, Berlin 2011 GRŽINIĆ, Marina. “Europe: Gender, Class, Race.”, in: The Scholar & Feminist Online, 10. 3. 2012 HELMS, Elissa. “Bosnian Girl’: Nationalism and Innocence through Images of Women”, in: Retracting Images: Visual Culture After Yugoslavia (ed. Šuber, Danilo and Karamanić, Slobodan), 2012, pp. 193 – 222 HOŠIĆ, Irfan. Iz/van konteksta. Ogledi i kritike iz umjetnosti, arhitekture i mode, Connectum Sarajevo, 2013 HOYOS, Nathalie and SCHUMAHER Rainald (ed.). "Fragile Sense of Hope", Berlin 2014. BALIÇ, İlkay (ed.). Šejla Kamerić. When The Heart Goes Bing Bam Boom, ARTER, Istanbul 2015 BLACKWOOD, Jonathan. Introduction to Contemporary Art in BiH, 2010. ĐELILOVIĆ, Asim. Muzej u Egzilu. Bosna i Hercegovina u modernom dobu (drugo dopunjeno izdajanje), Sarajevo 2015. MUKA, Edi (text). Šejla Kamerić. 30 Year After, National Gallery of Kosovo, Prishtina 2015. BUDEN, Boris. "Šejla Kamerić, Bosnian Girl, 2003", in: Kontakt (ed. Eiblmyr, Silvia, Ševčik, Jiří, Schöllhammer, Georg, Stipančić, Branka And Szymczyk, Adam), Vienna 2017, pp. 215-217. GOSLING, Lucinda, ROBINSON Hilary, TOBIN Amy (ed.). The Art of Feminism: Images that Shaped the Fight for Equality, 1857–2017, Chronicle Books LLC, San Francisco, 2018. ČVORO, Uroš. Transitional Aesthetics: Contemporary Art at the Edge of Europe, Bloomsbury Academic, 2018

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Bosnian Girl

Focus on this artwork and analyze the Selected bibliography.

TOMAŠOVIĆ, Joško. "Šejla Kamerić" in: Andre/Others, Sørlandets Kunstmuseum, 2005, pp. 42-45. HODŽIĆ, Lejla. "Balkan Konsulat. Sarajevo", in: Balkan Konsulat (ed. Makovec, Margarethe and Lederer, Anton), <rotor> and Revolver, Graz-Frankfurt am Main 2006, pp. 96-111. BLAŽEVIĆ, Dunja. "Šejla Kamerić", in: Vodič kroz izložbu Kontakt Beograd …dela iz kolekcije Erste Bank Grupe, Muzej savremene umetnosti Beograd (20.01.-1.03.2007), (ed. Seidl, Walter and Stellwag-Carion, Cornelia), Kontakt. Umetnička kolekcija Erste Bank Grupe, 2007. BLOCK, Rene and BABIS, Marius (ed.). Die Balkan-Trilogie/The Balkan Trilogy, Kunsthalle Fridericianum, Kassel 2007. HELMS, Elissa. “East and West Kiss. Gender, Orientalism, and Balkanism in Muslim-Majority Bosnia-Herzegovina”, in: Slavic Review, vol. 67, no. 1., 2008, pp. 88-119 HUGHS, Jeffrey and TURKOVIC, Dana (ed.). Odavde (from here), Otuda (from there), Webster University, St. Louis 2008 MEREWETHER, Charles. "Unerledigte Angelegenheiten: Dream House and Bosnian Girl/Unifinshed Business: Dream House and Bosnian Girl" in: Portikus 2004-2007. Book of a Sleeping Village, Frankfurt am Main – Cologne 2008, pp. 109-119. SEIDL, Walter (ed.). Cutting Realities. Gender Strategies in Art. Works from Kontakt. The Art Collection of Erste Bank Group, Vienna 2008. ĐORĐEVIĆ, Tamara. “Postkolonijalne studije i Balkanizam: Bosnian Girl”, 2009 NEUMAYR, Agnes. “Šejla Kamerić: Die Kunst vermag est, Vorurteile Aufzubrechen un das Bewusstsein der Menschen zu verandern”, in: Politik der Gefühle: Susanne K. Langer und Hannah Arendt, Innsbruck University Press, Innsburck 2009, pp. 354-369. PEJIĆ, Bojana (ed.). Gender Check: Femininity and Masculinity in the Art of Eastern Europe, Moderne Kunst Stiftung Ludiwg Wien, Vienna 2009 MUKA, Edi. Šejla Kamerić, (ed.) Meral Agish, Galerie Tanja Wagner, Berlin 2011 GRŽINIĆ, Marina. “Europe: Gender, Class, Race.”, in: The Scholar & Feminist Online, 10. 3. 2012 HELMS, Elissa. “Bosnian Girl’: Nationalism and Innocence through Images of Women”, in: Retracting Images: Visual Culture After Yugoslavia (ed. Šuber, Danilo and Karamanić, Slobodan), 2012, pp. 193 – 222 HOŠIĆ, Irfan. Iz/van konteksta. Ogledi i kritike iz umjetnosti, arhitekture i mode, Connectum Sarajevo, 2013 HOYOS, Nathalie and SCHUMAHER Rainald (ed.). "Fragile Sense of Hope", Berlin 2014. BALIÇ, İlkay (ed.). Šejla Kamerić. When The Heart Goes Bing Bam Boom, ARTER, Istanbul 2015 BLACKWOOD, Jonathan. Introduction to Contemporary Art in BiH, 2010. ĐELILOVIĆ, Asim. Muzej u Egzilu. Bosna i Hercegovina u modernom dobu (drugo dopunjeno izdajanje), Sarajevo 2015. MUKA, Edi (text). Šejla Kamerić. 30 Year After, National Gallery of Kosovo, Prishtina 2015. BUDEN, Boris. "Šejla Kamerić, Bosnian Girl, 2003", in: Kontakt (ed. Eiblmyr, Silvia, Ševčik, Jiří, Schöllhammer, Georg, Stipančić, Branka And Szymczyk, Adam), Vienna 2017, pp. 215-217. GOSLING, Lucinda, ROBINSON Hilary, TOBIN Amy (ed.). The Art of Feminism: Images that Shaped the Fight for Equality, 1857–2017, Chronicle Books LLC, San Francisco, 2018. ČVORO, Uroš. Transitional Aesthetics: Contemporary Art at the Edge of Europe, Bloomsbury Academic, 2018

0766_T

Fuente de las Tarascas

In Fuente de las Tarascas, how is the abstract discussed?

The Fuente de las Tarascas (Las Tarascas Fountain), also known as the Fuente de la Fertilidad (Fertility Fountain), is a fountain, sculpture and landmark installed in Morelia, Michoacán, Mexico. The original work was created by Antonio Silva Díaz and Benigno Lara and was installed in 1931 in the intersection of Francisco I. Madero Avenue and Acueducto Avenue, in the historic center of the city. The fountain had three colorful concrete statues that depicted three bare-chested, kneeling women holding a basket of fruits. The sculpture was replaced in 1965 by another work. In 1984, a similar work, but sculpted in bronze by José Luis Padilla Retana, was installed where the original sculpture used to be placed. It features the same subject, but it is now believed to represent three Purépecha (externally known as "Tarascan") princesses named Atzimba, Eréndira and Tzetzangari. Like the original work, they are bare-chested and hold a basket of regional fruits.

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Fuente de las Tarascas

In this artwork, how is the abstract discussed?

The Fuente de las Tarascas (Las Tarascas Fountain), also known as the Fuente de la Fertilidad (Fertility Fountain), is a fountain, sculpture and landmark installed in Morelia, Michoacán, Mexico. The original work was created by Antonio Silva Díaz and Benigno Lara and was installed in 1931 in the intersection of Francisco I. Madero Avenue and Acueducto Avenue, in the historic center of the city. The fountain had three colorful concrete statues that depicted three bare-chested, kneeling women holding a basket of fruits. The sculpture was replaced in 1965 by another work. In 1984, a similar work, but sculpted in bronze by José Luis Padilla Retana, was installed where the original sculpture used to be placed. It features the same subject, but it is now believed to represent three Purépecha (externally known as "Tarascan") princesses named Atzimba, Eréndira and Tzetzangari. Like the original work, they are bare-chested and hold a basket of regional fruits.

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Fuente de las Tarascas

Focus on Fuente de las Tarascas and explore the History and description.

The original fountain was installed next to the city's aqueduct in October 1931 and featured a colorful concrete sculpture. It was a work by Antonio Silva Díaz and Benigno Lara. It featured three bare-chested kneeling women holding a basket of fruits. They wore blue rebozos on their heads and skirts of the same color. The meaning of the work was never explained and they never received an official name. Citizens commonly referred to them as "Fuente de las Indias" (Indians Fountain), but the government later promoted them as the "Fuente de las Tarascas" (Tarascans Fountain) after the indigenous group found in the state of Michoacán. The sculptures received criticism for being naked. On 25 August 1965, the sculptures were removed and were transported to the offices of the State Treasury, 800 m (2,600 ft) away from their original location. They were removed as the municipal president, Fernando Ochoa Ponce, considered them to be out of harmony with the area and lacked any value or meaning. They were replaced by a fountain named El Huarache by Ángel Díaz. Since 1967, the original sculpture is located at Expo Feria Morelia. At some point, the fair changed its location and the sculpture was moved to the new site. However, the fruit bowl was permanently damaged. It was replaced with a smaller version.Due to the unpopularity of El Huarache, between 1983 and 1984, José Luis Padilla Retana was requested to sculpt statues similar to the originals. They feature three bare-chested women speculated to represent the Purépecha princesses Atzimba, Eréndira and Tzetzangari. According to the legends, Atzimba was exiled after she fell in love with a Spaniard explorer; Eréndira was a leader and a heroine that fought against the Spanish conquistadors; Tzetzangari filled Lake Zirahuén with her tears. Their faces are based on that of a woman from Yunuén Island, Michoacán, while their bodies were invented by Padilla Retana. They hold a basket of regional fruits (including apples, maize and avocados) which they raise to the sky as a sign of prosperity, abundance, and fertility of the earth and mankind. The statues were installed on 18 May 1984. The replacement was paid for with people's donations. El Huarache was moved instead to a garden in the colonia of Lomas Hidalgo, in Morelia.

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Fuente de las Tarascas

Focus on this artwork and explore the History and description.

The original fountain was installed next to the city's aqueduct in October 1931 and featured a colorful concrete sculpture. It was a work by Antonio Silva Díaz and Benigno Lara. It featured three bare-chested kneeling women holding a basket of fruits. They wore blue rebozos on their heads and skirts of the same color. The meaning of the work was never explained and they never received an official name. Citizens commonly referred to them as "Fuente de las Indias" (Indians Fountain), but the government later promoted them as the "Fuente de las Tarascas" (Tarascans Fountain) after the indigenous group found in the state of Michoacán. The sculptures received criticism for being naked. On 25 August 1965, the sculptures were removed and were transported to the offices of the State Treasury, 800 m (2,600 ft) away from their original location. They were removed as the municipal president, Fernando Ochoa Ponce, considered them to be out of harmony with the area and lacked any value or meaning. They were replaced by a fountain named El Huarache by Ángel Díaz. Since 1967, the original sculpture is located at Expo Feria Morelia. At some point, the fair changed its location and the sculpture was moved to the new site. However, the fruit bowl was permanently damaged. It was replaced with a smaller version.Due to the unpopularity of El Huarache, between 1983 and 1984, José Luis Padilla Retana was requested to sculpt statues similar to the originals. They feature three bare-chested women speculated to represent the Purépecha princesses Atzimba, Eréndira and Tzetzangari. According to the legends, Atzimba was exiled after she fell in love with a Spaniard explorer; Eréndira was a leader and a heroine that fought against the Spanish conquistadors; Tzetzangari filled Lake Zirahuén with her tears. Their faces are based on that of a woman from Yunuén Island, Michoacán, while their bodies were invented by Padilla Retana. They hold a basket of regional fruits (including apples, maize and avocados) which they raise to the sky as a sign of prosperity, abundance, and fertility of the earth and mankind. The statues were installed on 18 May 1984. The replacement was paid for with people's donations. El Huarache was moved instead to a garden in the colonia of Lomas Hidalgo, in Morelia.

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Fuente de las Tarascas

Focus on Fuente de las Tarascas and explain the Impact.

After the 1984 installation, the fountain became a landmark and one of the most emblematic places in Morelia. The state government donated a replica by José de los Santos Sánchez Martínez to the government of Buenos Aires, Argentina, which was installed on 17 December 1998.In 2016, a book named Las Tarascas was published. It is based on research done by Elsa María Zertuche Zapata regarding the history of the modern fountain, from its installation where it replaced a previous statue, the rumors of the theft of one of the sculptures, as well as the political impact of the sculptures.Due to its location, the fountain receives constant vandalism and is a frequent site of protests.

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Fuente de las Tarascas

Focus on this artwork and explain the Impact.

After the 1984 installation, the fountain became a landmark and one of the most emblematic places in Morelia. The state government donated a replica by José de los Santos Sánchez Martínez to the government of Buenos Aires, Argentina, which was installed on 17 December 1998.In 2016, a book named Las Tarascas was published. It is based on research done by Elsa María Zertuche Zapata regarding the history of the modern fountain, from its installation where it replaced a previous statue, the rumors of the theft of one of the sculptures, as well as the political impact of the sculptures.Due to its location, the fountain receives constant vandalism and is a frequent site of protests.

0769_T

Statue of Mao Zedong, Fuzhou

Explore the abstract of this artwork, Statue of Mao Zedong, Fuzhou.

The Mao Zedong Statue is located in Wuyi Square, Fuzhou, Fujian, China. The monument stands 10.1 m (33.1365 ft) tall and depicts Mao Zedong with an outstretched arm. The statue was built by Yang Zhengrong, a painter in Fujian, beginning in 1969; it was completed after a year and a half.

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Statue of Mao Zedong, Fuzhou

Explore the abstract of this artwork.

The Mao Zedong Statue is located in Wuyi Square, Fuzhou, Fujian, China. The monument stands 10.1 m (33.1365 ft) tall and depicts Mao Zedong with an outstretched arm. The statue was built by Yang Zhengrong, a painter in Fujian, beginning in 1969; it was completed after a year and a half.

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Statue of David Farragut (Boston)

Focus on Statue of David Farragut (Boston) and discuss the abstract.

A statue of David Farragut by Henry Hudson Kitson is installed in Boston's Marine Park, in the U.S. state of Massachusetts. The sculpture was cast in 1891. It was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1997.

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Statue of David Farragut (Boston)

Focus on this artwork and discuss the abstract.

A statue of David Farragut by Henry Hudson Kitson is installed in Boston's Marine Park, in the U.S. state of Massachusetts. The sculpture was cast in 1891. It was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1997.

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Adoration of the Magi (Artemisia Gentileschi)

How does Adoration of the Magi (Artemisia Gentileschi) elucidate its abstract?

Adoration of the Magi is a 1635–1637 painting by Artemisia Gentileschi. Along with Saint Januarius in the Amphitheatre at Pozzuoli and Saints Proculus and Nicea, it was commissioned by Martín de León Cárdenas, bishop of Pozzuoli for Pozzuoli Cathedral. Adoration was held in Naples for around fifty years for conservation before being returning to its original position in the Cathedral in May 2014.

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Adoration of the Magi (Artemisia Gentileschi)

How does this artwork elucidate its abstract?

Adoration of the Magi is a 1635–1637 painting by Artemisia Gentileschi. Along with Saint Januarius in the Amphitheatre at Pozzuoli and Saints Proculus and Nicea, it was commissioned by Martín de León Cárdenas, bishop of Pozzuoli for Pozzuoli Cathedral. Adoration was held in Naples for around fifty years for conservation before being returning to its original position in the Cathedral in May 2014.

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Adoration of the Magi (Artemisia Gentileschi)

Focus on Adoration of the Magi (Artemisia Gentileschi) and analyze the Patronage.

On the appointment of a new bishop in 1631, the cathedral of Pozzuoli underwent significant renovations. Gentileschi's painting was one of three she was commissioned to execute for placement above the cathedral's choir stalls. Saint Januarius in the Amphitheatre at Pozzuoli, and Saints Proculus and Nicea are also still in place in the cathedral. It is likely that existing contacts of Gentileschi, such as the Viceroy of Naples (Manuel de Acevedo y Zúñiga), helped secure the commission for her.

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Adoration of the Magi (Artemisia Gentileschi)

Focus on this artwork and analyze the Patronage.

On the appointment of a new bishop in 1631, the cathedral of Pozzuoli underwent significant renovations. Gentileschi's painting was one of three she was commissioned to execute for placement above the cathedral's choir stalls. Saint Januarius in the Amphitheatre at Pozzuoli, and Saints Proculus and Nicea are also still in place in the cathedral. It is likely that existing contacts of Gentileschi, such as the Viceroy of Naples (Manuel de Acevedo y Zúñiga), helped secure the commission for her.

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Adoration of the Magi (Artemisia Gentileschi)

In Adoration of the Magi (Artemisia Gentileschi), how is the Provenance discussed?

The group of paintings remained in the cathedral choir since their creation. After fire damage in 1964 they were transferred to the Certosa di San Martino. They were later moved to the Museo di Capodimonte in nearby Naples, before returning to Pozzuoli Cathedral in 2014.

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Adoration of the Magi (Artemisia Gentileschi)

In this artwork, how is the Provenance discussed?

The group of paintings remained in the cathedral choir since their creation. After fire damage in 1964 they were transferred to the Certosa di San Martino. They were later moved to the Museo di Capodimonte in nearby Naples, before returning to Pozzuoli Cathedral in 2014.

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Statue of Simón Bolívar, London

Focus on Statue of Simón Bolívar, London and explore the abstract.

An outdoor bronze sculpture depicting Venezuelan military and political leader Simón Bolívar (1783–1830), by Hugo Daini, is located at the south-east corner of Belgrave Square in London, United Kingdom. The statue was unveiled by James Callaghan, then Secretary of State for Foreign and Commonwealth Affairs, later Prime Minister of the United Kingdom, in 1974.On the plinth are the words: I am convinced that England alone is capable of protecting the world's rights as she is great, glorious and wise The names of countries liberated by Bolívar are inscribed on the base.

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Statue of Simón Bolívar, London

Focus on this artwork and explore the abstract.

An outdoor bronze sculpture depicting Venezuelan military and political leader Simón Bolívar (1783–1830), by Hugo Daini, is located at the south-east corner of Belgrave Square in London, United Kingdom. The statue was unveiled by James Callaghan, then Secretary of State for Foreign and Commonwealth Affairs, later Prime Minister of the United Kingdom, in 1974.On the plinth are the words: I am convinced that England alone is capable of protecting the world's rights as she is great, glorious and wise The names of countries liberated by Bolívar are inscribed on the base.

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We Come in Peace

Focus on We Come in Peace and explain the abstract.

We Come in Peace is a sculptural installation created in 2018 by Huma Bhabha, a New York–based Pakistani-American sculptor, originally commissioned for the Iris and B. Gerald Cantor Roof Garden of the Metropolitan Museum of Art. The original installation consisted of two sculptures, named We Come in Peace and Benaam, which means "nameless" in Urdu, and was first displayed from April to October 2018. We Come in Peace is a 12 ft (3.7 m) tall standing figure, while Benaam is a 18 ft (5.5 m) long figure lying prostrate. The standing figure was acquired by the Hirshhorn Museum and Sculpture Garden in Washington, DC.

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We Come in Peace

Focus on this artwork and explain the abstract.

We Come in Peace is a sculptural installation created in 2018 by Huma Bhabha, a New York–based Pakistani-American sculptor, originally commissioned for the Iris and B. Gerald Cantor Roof Garden of the Metropolitan Museum of Art. The original installation consisted of two sculptures, named We Come in Peace and Benaam, which means "nameless" in Urdu, and was first displayed from April to October 2018. We Come in Peace is a 12 ft (3.7 m) tall standing figure, while Benaam is a 18 ft (5.5 m) long figure lying prostrate. The standing figure was acquired by the Hirshhorn Museum and Sculpture Garden in Washington, DC.

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We Come in Peace

Explore the Description of this artwork, We Come in Peace.

The sculptures are made of clay, styrofoam, and cork, then cast in bronze to allow them to withstand the elements and look more demonic. The title of the installation makes reference to a 1951 film, The Day the Earth Stood Still. According to AM New York, Bhabha viewed the characters as cooperative, with We Come in Peace coming to aid Benaam, but arriving too late because Benaam has already died – though to her mind the latter might still "rise up ... [t]hings that you would not imagine might happen. That's the hope."While Bhabha considers the work to be "very much an anti-war statement", she also wanted it to be multi-layered and open to a wide variety of interpretations. According to AM New York, the We Come in Peace sculpture is gender fluid.

0776_NT

We Come in Peace

Explore the Description of this artwork.

The sculptures are made of clay, styrofoam, and cork, then cast in bronze to allow them to withstand the elements and look more demonic. The title of the installation makes reference to a 1951 film, The Day the Earth Stood Still. According to AM New York, Bhabha viewed the characters as cooperative, with We Come in Peace coming to aid Benaam, but arriving too late because Benaam has already died – though to her mind the latter might still "rise up ... [t]hings that you would not imagine might happen. That's the hope."While Bhabha considers the work to be "very much an anti-war statement", she also wanted it to be multi-layered and open to a wide variety of interpretations. According to AM New York, the We Come in Peace sculpture is gender fluid.

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We Come in Peace

Focus on We Come in Peace and discuss the Critical reception.

Scott Lynch of Gothamist, remarking on the pieces' diversity of inspiration, observed, "Both pieces allude to a wide swath of art history, from ancient African and Indian sculpture to contemporary works by the likes of Basquiat and David Hammons". He said that the sculptures created an "ominous but open-ended narrative, inviting visitors to explore their own thematic interpretations: subjugation and supplication, respect, fear, and/or adoration; social upheaval and displacement; gender, power, and 'memories of place.'"Martha Schwendener of The New York Times described the installation as "a spare and unsettling sculptural installation", that "ripples" with associations of "colonization, invasion, imperialism". She suggests that the work invites the observer to consider the sheer strangeness of extraterrestrial or "post-humanity" lifeforms as they would likely be experienced by humankind, but that such encounters may ultimately offer the possibility of a "melding of cultures and aesthetics that might be harmonious rather than imperialist."Describing the work as "eerie, other, unnerving, ambiguous, even alarming", Jerry Saltz for Vulture saw the work as a critique of the West: its "vivisected, gouged idol covered in blotchy graffiti could be from any photograph seen daily of the mayhem in the Middle East, just part of the carnage, interventions, and wars [Bhabha] has called a 'systematic demonization and humiliation of the people and their ancient and present Islamic cultures' ... [h]er Met installation is a vivid rebuke of what the West says to all the cultures it invades: We come in peace." He assessed the work as "among the best Met roof sculpture installations since the program began in 1987."

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We Come in Peace

Focus on this artwork and discuss the Critical reception.

Scott Lynch of Gothamist, remarking on the pieces' diversity of inspiration, observed, "Both pieces allude to a wide swath of art history, from ancient African and Indian sculpture to contemporary works by the likes of Basquiat and David Hammons". He said that the sculptures created an "ominous but open-ended narrative, inviting visitors to explore their own thematic interpretations: subjugation and supplication, respect, fear, and/or adoration; social upheaval and displacement; gender, power, and 'memories of place.'"Martha Schwendener of The New York Times described the installation as "a spare and unsettling sculptural installation", that "ripples" with associations of "colonization, invasion, imperialism". She suggests that the work invites the observer to consider the sheer strangeness of extraterrestrial or "post-humanity" lifeforms as they would likely be experienced by humankind, but that such encounters may ultimately offer the possibility of a "melding of cultures and aesthetics that might be harmonious rather than imperialist."Describing the work as "eerie, other, unnerving, ambiguous, even alarming", Jerry Saltz for Vulture saw the work as a critique of the West: its "vivisected, gouged idol covered in blotchy graffiti could be from any photograph seen daily of the mayhem in the Middle East, just part of the carnage, interventions, and wars [Bhabha] has called a 'systematic demonization and humiliation of the people and their ancient and present Islamic cultures' ... [h]er Met installation is a vivid rebuke of what the West says to all the cultures it invades: We come in peace." He assessed the work as "among the best Met roof sculpture installations since the program began in 1987."

0778_T

The Rhodes Colossus

How does The Rhodes Colossus elucidate its abstract?

The Rhodes Colossus is an editorial cartoon illustrated by English cartoonist Edward Linley Sambourne and published by Punch magazine in 1892. It alludes to the Scramble for Africa during the New Imperialism period, in which the European powers, beginning in 1884, expanded their colonial expansion in Africa by dividing the continent up amongst themselves. The image depicts British business magnate Cecil Rhodes as a giant standing over the continent holding a telegraphic line, a reference to his desire to build a "Cape to Cairo" rail and telegraph line and connect most of the British colonies in Africa. It is a visual pun based on the Colossus of Rhodes, one of the Seven Wonders of the Ancient World.

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The Rhodes Colossus

How does this artwork elucidate its abstract?

The Rhodes Colossus is an editorial cartoon illustrated by English cartoonist Edward Linley Sambourne and published by Punch magazine in 1892. It alludes to the Scramble for Africa during the New Imperialism period, in which the European powers, beginning in 1884, expanded their colonial expansion in Africa by dividing the continent up amongst themselves. The image depicts British business magnate Cecil Rhodes as a giant standing over the continent holding a telegraphic line, a reference to his desire to build a "Cape to Cairo" rail and telegraph line and connect most of the British colonies in Africa. It is a visual pun based on the Colossus of Rhodes, one of the Seven Wonders of the Ancient World.

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The Rhodes Colossus

Focus on The Rhodes Colossus and analyze the History.

The Rhodes Colossus was drawn by English cartoonist Edward Linley Sambourne, and first appeared in Punch magazine in 1892. It was widely reprinted, and has since become a standard illustration in history texts. The cartoon was published in the 10 December 1892 edition of Punch, accompanied by a recent excerpt from The Times about a Rhodes plan to extend an electrical telegraph line from Cape Town to Cairo. The excerpt from The Times reads: Mr. Rhodes announced that it was his intention, either with the help of his friends or by himself, to continue the telegraph northwards, across the Zambesi, through Nyassaland, and along Lake Tanganyika to Uganda. Nor is this all.... This colossal Monte Cristo means to cross the Soudan ... and to complete the overland telegraph line from Cape Town to Cairo; that is, from England to the whole of her possessions or colonies, or 'spheres of influence' in Africa.The cartoon and excerpt were followed by a piece of satirical verse by Edwin J. Milliken, on the character and ambitions of Rhodes. Satirical verses and stories often accompanied cartoons in Punch magazine. In the verse, Rhodes is described as a "Director and Statesman in one" and a "Seven-League-Booted Colossus" that stands "O'er Africa striding from dark end to end, to forward black emancipation." He is also described as a "shrewd trader" and a "diplomat full of finesse and sharp schemes with a touch of the pious Crusader".The Rhodes as Colossus pun used in this artwork was a well-known joke that originated in South Africa and that Punch had used before, as well as many others.

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The Rhodes Colossus

Focus on this artwork and analyze the History.

The Rhodes Colossus was drawn by English cartoonist Edward Linley Sambourne, and first appeared in Punch magazine in 1892. It was widely reprinted, and has since become a standard illustration in history texts. The cartoon was published in the 10 December 1892 edition of Punch, accompanied by a recent excerpt from The Times about a Rhodes plan to extend an electrical telegraph line from Cape Town to Cairo. The excerpt from The Times reads: Mr. Rhodes announced that it was his intention, either with the help of his friends or by himself, to continue the telegraph northwards, across the Zambesi, through Nyassaland, and along Lake Tanganyika to Uganda. Nor is this all.... This colossal Monte Cristo means to cross the Soudan ... and to complete the overland telegraph line from Cape Town to Cairo; that is, from England to the whole of her possessions or colonies, or 'spheres of influence' in Africa.The cartoon and excerpt were followed by a piece of satirical verse by Edwin J. Milliken, on the character and ambitions of Rhodes. Satirical verses and stories often accompanied cartoons in Punch magazine. In the verse, Rhodes is described as a "Director and Statesman in one" and a "Seven-League-Booted Colossus" that stands "O'er Africa striding from dark end to end, to forward black emancipation." He is also described as a "shrewd trader" and a "diplomat full of finesse and sharp schemes with a touch of the pious Crusader".The Rhodes as Colossus pun used in this artwork was a well-known joke that originated in South Africa and that Punch had used before, as well as many others.

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The Rhodes Colossus

In The Rhodes Colossus, how is the Iconography discussed?

Sambourne illustrated this visual pun to depict Cecil Rhodes as the ancient Greek statue the Colossus of Rhodes, one of the Seven Wonders of the Ancient World, following the traditional (and architecturally unlikely) depiction of the Colossus with wide-set legs across Rhodes harbour (above). Rhodes measures with the telegraphic line the distance from Cape Town (at his right foot) in South Africa to Cairo (at his left foot) in Egypt, illustrating his broader "Cape to Cairo" concept for further colonial expansion in Africa. In his right hand Rhodes holds a pith helmet with a rifle slung around his right shoulder. Rhodes stands in a powerful, open armed stance. This has been seen by scholars an indication of his power and influence during the European colonisation of Africa. His giant size indicates his larger than life aspirations and desire for further influence in the continent.

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The Rhodes Colossus

In this artwork, how is the Iconography discussed?

Sambourne illustrated this visual pun to depict Cecil Rhodes as the ancient Greek statue the Colossus of Rhodes, one of the Seven Wonders of the Ancient World, following the traditional (and architecturally unlikely) depiction of the Colossus with wide-set legs across Rhodes harbour (above). Rhodes measures with the telegraphic line the distance from Cape Town (at his right foot) in South Africa to Cairo (at his left foot) in Egypt, illustrating his broader "Cape to Cairo" concept for further colonial expansion in Africa. In his right hand Rhodes holds a pith helmet with a rifle slung around his right shoulder. Rhodes stands in a powerful, open armed stance. This has been seen by scholars an indication of his power and influence during the European colonisation of Africa. His giant size indicates his larger than life aspirations and desire for further influence in the continent.

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The Rhodes Colossus

Focus on The Rhodes Colossus and explore the Influence.

The cartoon quickly became widely referenced in historical texts as an illustrated representation of the Scramble for Africa, and the New Imperialism era as a whole. The original context of a proposed telegraph line is rarely mentioned in such reproductions, which take the "Cape to Cairo" concept more generally.In Adam Hochschild's King Leopold’s Ghost: A Story of Greed, Terror, and Heroism, in Colonial Africa, Rhodes is introduced as the "future South African politician and diamond magnate" who claimed he "would annex the planets" if he could. The South African cartoonist Jonathan Shapiro parodied the cartoon in a 2009 work by placing Chinese premier Wen Jiabao in place of Rhodes holding up Nkosazana Dlamini-Zuma, the-then Minister of International Relations and Cooperation (as a marionette) while the Dalai Lama looks on from Asia. The cartoon satirized Sino-African relations in general, and recent China–South Africa relations in particular, after the Dalai Lama was denied a visa to attend an international peace conference in Johannesburg, a move that was perceived to be the result of Chinese diplomatic pressure.In 2013, political cartoonist Martin Rowson referenced Sambourne's cartoon in an satirical illustration published on 1 February in The Guardian on British Prime Minister David Cameron's policies regarding Algeria and the French intervention in Mali.

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The Rhodes Colossus

Focus on this artwork and explore the Influence.

The cartoon quickly became widely referenced in historical texts as an illustrated representation of the Scramble for Africa, and the New Imperialism era as a whole. The original context of a proposed telegraph line is rarely mentioned in such reproductions, which take the "Cape to Cairo" concept more generally.In Adam Hochschild's King Leopold’s Ghost: A Story of Greed, Terror, and Heroism, in Colonial Africa, Rhodes is introduced as the "future South African politician and diamond magnate" who claimed he "would annex the planets" if he could. The South African cartoonist Jonathan Shapiro parodied the cartoon in a 2009 work by placing Chinese premier Wen Jiabao in place of Rhodes holding up Nkosazana Dlamini-Zuma, the-then Minister of International Relations and Cooperation (as a marionette) while the Dalai Lama looks on from Asia. The cartoon satirized Sino-African relations in general, and recent China–South Africa relations in particular, after the Dalai Lama was denied a visa to attend an international peace conference in Johannesburg, a move that was perceived to be the result of Chinese diplomatic pressure.In 2013, political cartoonist Martin Rowson referenced Sambourne's cartoon in an satirical illustration published on 1 February in The Guardian on British Prime Minister David Cameron's policies regarding Algeria and the French intervention in Mali.

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The Rhodes Colossus

Focus on The Rhodes Colossus and explain the Legacy.

The cartoon has become one of the most frequently used images to represent the era of New Imperialism and the European colonisation of Africa. Rhodes' legacy in modern-day South Africa has been described by scholar Patrick Bond as "one of the world's most lucrative, and destructive", referencing the numerous fraudulent and misleading treaties he signed with various African peoples which ceded portions of their territory to him.

0782_NT

The Rhodes Colossus

Focus on this artwork and explain the Legacy.

The cartoon has become one of the most frequently used images to represent the era of New Imperialism and the European colonisation of Africa. Rhodes' legacy in modern-day South Africa has been described by scholar Patrick Bond as "one of the world's most lucrative, and destructive", referencing the numerous fraudulent and misleading treaties he signed with various African peoples which ceded portions of their territory to him.

0783_T

99 Cent (photograph)

Explore the abstract of this artwork, 99 Cent (photograph).

99 Cent is a colour photograph by German photographer Andreas Gursky, created in 1999. It depicts a view of the interior of a 99 cent store in Los Angeles. It was created with the use of digital manipulation, like the artist has done for his work since 1990. The photograph was included in Time magazine's 1999 list of the 100 most important photographs ever taken. Gursky made a new version of this photograph, 99 Cent II Diptychon, in 2001, which would be one of the most expensive ever sold.

0783_NT

99 Cent (photograph)

Explore the abstract of this artwork.

99 Cent is a colour photograph by German photographer Andreas Gursky, created in 1999. It depicts a view of the interior of a 99 cent store in Los Angeles. It was created with the use of digital manipulation, like the artist has done for his work since 1990. The photograph was included in Time magazine's 1999 list of the 100 most important photographs ever taken. Gursky made a new version of this photograph, 99 Cent II Diptychon, in 2001, which would be one of the most expensive ever sold.

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99 Cent (photograph)

Focus on 99 Cent (photograph) and discuss the History and description.

Gursky explained that he was inspired to create this photograph one day while driving in Los Angeles, on his first time there, when he became fascinated by a similar store window. The current photograph depicts several shelves of consuming goods aligned in a row, all with the same price, including recognizable brands of chocolates, beverages, peanut butter and tooth paste. The result is a large colourful composition, where six white poles standout and conduct the viewers gaze to the posters that advertise the brand of supermarkets at the wall of the background. Some people are also visible in the composition. The official website of The Broad states that "The spectacle of consumerism appears composed in an organized, rigorous, formal fashion. The presented image is hyperreal. While it is rooted in reality, it is somehow more than real; it is familiar and yet there is no physical space quite like it. By portraying such heightened constructions of our shared existence — from the dollar store to the soccer field to the sprawling cityscape — Gursky’s photographs act as symbols of contemporary life."Sophie Duplaix stated that "The succession of shelves, like a wave, gives a dizzying dimension to the image, which is reinforced by the reflection on the ceiling of the displays. It is in a second phase that the figures of the customers of the store emerge, which the profusion of packaging seemed to have swallowed up. We can read here all the ambiguity of the presence of man in Gursky, a presence which, when it is not as a crowd, multitude or gathering, the subject of the work – where it is just as instrumentalized –, serves as an indicator of scale rather than as a support for a narration."Naomi Blumberg observes: "He manipulated the colour to create an explosion of repeating reds, yellows, and oranges dotted with blue, pink, white, and black. He also digitally inserted a reflection of the merchandise onto the ceiling, adding to the overwhelming visual effect and to the sensation of being surrounded by consumer culture gone mad."

0784_NT

99 Cent (photograph)

Focus on this artwork and discuss the History and description.

Gursky explained that he was inspired to create this photograph one day while driving in Los Angeles, on his first time there, when he became fascinated by a similar store window. The current photograph depicts several shelves of consuming goods aligned in a row, all with the same price, including recognizable brands of chocolates, beverages, peanut butter and tooth paste. The result is a large colourful composition, where six white poles standout and conduct the viewers gaze to the posters that advertise the brand of supermarkets at the wall of the background. Some people are also visible in the composition. The official website of The Broad states that "The spectacle of consumerism appears composed in an organized, rigorous, formal fashion. The presented image is hyperreal. While it is rooted in reality, it is somehow more than real; it is familiar and yet there is no physical space quite like it. By portraying such heightened constructions of our shared existence — from the dollar store to the soccer field to the sprawling cityscape — Gursky’s photographs act as symbols of contemporary life."Sophie Duplaix stated that "The succession of shelves, like a wave, gives a dizzying dimension to the image, which is reinforced by the reflection on the ceiling of the displays. It is in a second phase that the figures of the customers of the store emerge, which the profusion of packaging seemed to have swallowed up. We can read here all the ambiguity of the presence of man in Gursky, a presence which, when it is not as a crowd, multitude or gathering, the subject of the work – where it is just as instrumentalized –, serves as an indicator of scale rather than as a support for a narration."Naomi Blumberg observes: "He manipulated the colour to create an explosion of repeating reds, yellows, and oranges dotted with blue, pink, white, and black. He also digitally inserted a reflection of the merchandise onto the ceiling, adding to the overwhelming visual effect and to the sensation of being surrounded by consumer culture gone mad."

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99 Cent (photograph)

How does 99 Cent (photograph) elucidate its Public collections?

There are prints of the photograph at the San Francisco Museum of Modern Art, at The Broad, in Los Angeles, the Museum of Contemporary Art, in Los Angeles, and at the Musée National d'Art Moderne, in Paris.

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99 Cent (photograph)

How does this artwork elucidate its Public collections?

There are prints of the photograph at the San Francisco Museum of Modern Art, at The Broad, in Los Angeles, the Museum of Contemporary Art, in Los Angeles, and at the Musée National d'Art Moderne, in Paris.

0786_T

The Coronation of Napoleon

Focus on The Coronation of Napoleon and analyze the History of the work.

The work was commissioned by Napoleon orally in September 1804, and Jacques-Louis David started work on it on 21 December 1805 in the former chapel of the College of Cluny, near the Sorbonne, which served as a workshop. Assisted by his student Georges Rouget, he put the finishing touches in January 1808. From 7 February to 22 March 1808, the work was exhibited at the Salon annual painting display in 1808, and it was presented to the Salon decennial prize competition in 1810. The painting remained the property of David until 1819, when it was transferred to the Royal Museums, where it was stored in the reserves until 1837. Then, it was installed in the Chamber Sacre of the museum of the historical Palace of Versailles on the orders of King Louis-Philippe. In 1889, the painting was transferred to the Louvre from Versailles. David was commissioned by American entrepreneurs to paint a full size replica, in 1808, immediately after the release of the original. He began work that year, painting it from memory, but didn't finish until 1822, during his exile in Brussels. The replica was eventually returned to France in 1947, to the original's place in the Palace of Versailles.The painting is a subject of The Public Viewing David's 'Coronation' at the Louvre, a painting by Louis-Léopold Boilly done in 1810, in the collection of the Metropolitan Museum of Art in New York.

0786_NT

The Coronation of Napoleon

Focus on this artwork and analyze the History of the work.

The work was commissioned by Napoleon orally in September 1804, and Jacques-Louis David started work on it on 21 December 1805 in the former chapel of the College of Cluny, near the Sorbonne, which served as a workshop. Assisted by his student Georges Rouget, he put the finishing touches in January 1808. From 7 February to 22 March 1808, the work was exhibited at the Salon annual painting display in 1808, and it was presented to the Salon decennial prize competition in 1810. The painting remained the property of David until 1819, when it was transferred to the Royal Museums, where it was stored in the reserves until 1837. Then, it was installed in the Chamber Sacre of the museum of the historical Palace of Versailles on the orders of King Louis-Philippe. In 1889, the painting was transferred to the Louvre from Versailles. David was commissioned by American entrepreneurs to paint a full size replica, in 1808, immediately after the release of the original. He began work that year, painting it from memory, but didn't finish until 1822, during his exile in Brussels. The replica was eventually returned to France in 1947, to the original's place in the Palace of Versailles.The painting is a subject of The Public Viewing David's 'Coronation' at the Louvre, a painting by Louis-Léopold Boilly done in 1810, in the collection of the Metropolitan Museum of Art in New York.

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The Coronation of Napoleon

In The Coronation of Napoleon, how is the Composition discussed?

The composition is organized around several axes, and incorporates the rules of neoclassicism. One axis is that which passes through the cross and has a vertical orientation. A diagonal line runs from the pope to the empress. All eyes are turned towards Napoleon, who is the center of the composition.

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The Coronation of Napoleon

In this artwork, how is the Composition discussed?

The composition is organized around several axes, and incorporates the rules of neoclassicism. One axis is that which passes through the cross and has a vertical orientation. A diagonal line runs from the pope to the empress. All eyes are turned towards Napoleon, who is the center of the composition.

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The Coronation of Napoleon

Focus on The Coronation of Napoleon and explore the Characters.

Napoleon I (1769–1821), is standing, dressed in coronation robes similar to those of Roman emperors. Others are merely passive spectators. In the actual painting it is possible to see the outline of what was originally painted: Napoleon holding the crown above his own head, as if placing it on himself. Joséphine de Beauharnais (1763–1814), is kneeling in a submissive position, as called for in the French Civil Code. She received the crown from the hands of her husband, not the pope. Her robe is decorated with silk, according to a contemporary cartoon by Jean-Francois Bony. Maria Letizia Ramolino (1750–1836), mother of Napoleon, was placed in the stands by the painter. She occupies a place more important than the pope. Actually, she did not attend the ceremony to protest the friction of Napoleon with his brothers Lucien and Joseph. Maria Letizia asked the painter to give Lucien a place of honour. In 1808, when Napoleon discovered the canvas completed in the workshop of David, he was enthralled, and expressed his gratitude to the painter who had managed to convey to posterity the tribute paid to the affection he had towards a woman who shared with him the burden of his office. Louis Bonaparte (1778–1846), who at the beginning of the empire received the title of grand constable, King of Holland, in 1806. He married Hortense de Beauharnais, the daughter of Josephine. Joseph Bonaparte (1768–1844), who, after the coronation, received the title of Prince Imperial. Afterwards, he was King of Naples in 1806 and Spain in 1808. The young Napoleon Charles Bonaparte (1802–1807), son of Louis Bonaparte and Hortense de Beauharnais. The sisters of Napoleon. In the replica, the dress of Napoleon's favorite sister is pink. This is the only change in the replica, despite it having been painted from memory. Charles-Francois Lebrun (1739–1824), the third consul alongside Napoleon and Cambacérès. Under the First Empire, he took the place of prince-architrésorier. He holds the sceptre. Jean Jacques Régis de Cambacérès (1753–1824), arch-chancellor prince of the empire. He takes the hand of justice. Louis-Alexandre Berthier (1753–1815), minister of war under the Consulate. Marshal of the Empire in 1805. He keeps the globe surmounted by a cross. Talleyrand (1754–1836), grand chamberlain since July 11, 1804. Joachim Murat (1767–1815), Marshal of the Empire, king of Naples after 1808, brother-in-law of Napoleon and husband of Caroline Bonaparte. Pope Pius VII (1742–1823), was content to bless the coronation. He is surrounded by clerics, appointed by Napoleon since the Concordat. In order not to jeopardize the new balance between church and state, the Pope accepted to attend the coronation. The original sketches (as was typical in those days) showed the (key) subjects - including the Pope - minus their clothing, which was added in the actual painting. The Pope was originally pictured with his hands crossed in his lap, but Napoleon, supposedly claiming that the Pope was not present to do nothing, instructed that the painting should depict him anointing the proceedings. The painter Jacques-Louis David is depicted in the stands as well. Halet Efendi, an Ottoman ambassador, was also present. He is shown below in the detailed picture. Dom Raphaël de Monachis, Greek-Egyptian monk and member of the Institut d'Égypte, is depicted among the clergymen, standing to the right of the Bishop, with a beard and a red hood. The female robe bearer in front, right behind Josephine, on the right side from the viewer's point of view, is Elisabeth-Hélène-Pierre de Montmorency-Laval, mother of politician Sosthènes II de La Rochefoucauld. She was a court lady of Josephine.

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The Coronation of Napoleon

Focus on this artwork and explore the Characters.

Napoleon I (1769–1821), is standing, dressed in coronation robes similar to those of Roman emperors. Others are merely passive spectators. In the actual painting it is possible to see the outline of what was originally painted: Napoleon holding the crown above his own head, as if placing it on himself. Joséphine de Beauharnais (1763–1814), is kneeling in a submissive position, as called for in the French Civil Code. She received the crown from the hands of her husband, not the pope. Her robe is decorated with silk, according to a contemporary cartoon by Jean-Francois Bony. Maria Letizia Ramolino (1750–1836), mother of Napoleon, was placed in the stands by the painter. She occupies a place more important than the pope. Actually, she did not attend the ceremony to protest the friction of Napoleon with his brothers Lucien and Joseph. Maria Letizia asked the painter to give Lucien a place of honour. In 1808, when Napoleon discovered the canvas completed in the workshop of David, he was enthralled, and expressed his gratitude to the painter who had managed to convey to posterity the tribute paid to the affection he had towards a woman who shared with him the burden of his office. Louis Bonaparte (1778–1846), who at the beginning of the empire received the title of grand constable, King of Holland, in 1806. He married Hortense de Beauharnais, the daughter of Josephine. Joseph Bonaparte (1768–1844), who, after the coronation, received the title of Prince Imperial. Afterwards, he was King of Naples in 1806 and Spain in 1808. The young Napoleon Charles Bonaparte (1802–1807), son of Louis Bonaparte and Hortense de Beauharnais. The sisters of Napoleon. In the replica, the dress of Napoleon's favorite sister is pink. This is the only change in the replica, despite it having been painted from memory. Charles-Francois Lebrun (1739–1824), the third consul alongside Napoleon and Cambacérès. Under the First Empire, he took the place of prince-architrésorier. He holds the sceptre. Jean Jacques Régis de Cambacérès (1753–1824), arch-chancellor prince of the empire. He takes the hand of justice. Louis-Alexandre Berthier (1753–1815), minister of war under the Consulate. Marshal of the Empire in 1805. He keeps the globe surmounted by a cross. Talleyrand (1754–1836), grand chamberlain since July 11, 1804. Joachim Murat (1767–1815), Marshal of the Empire, king of Naples after 1808, brother-in-law of Napoleon and husband of Caroline Bonaparte. Pope Pius VII (1742–1823), was content to bless the coronation. He is surrounded by clerics, appointed by Napoleon since the Concordat. In order not to jeopardize the new balance between church and state, the Pope accepted to attend the coronation. The original sketches (as was typical in those days) showed the (key) subjects - including the Pope - minus their clothing, which was added in the actual painting. The Pope was originally pictured with his hands crossed in his lap, but Napoleon, supposedly claiming that the Pope was not present to do nothing, instructed that the painting should depict him anointing the proceedings. The painter Jacques-Louis David is depicted in the stands as well. Halet Efendi, an Ottoman ambassador, was also present. He is shown below in the detailed picture. Dom Raphaël de Monachis, Greek-Egyptian monk and member of the Institut d'Égypte, is depicted among the clergymen, standing to the right of the Bishop, with a beard and a red hood. The female robe bearer in front, right behind Josephine, on the right side from the viewer's point of view, is Elisabeth-Hélène-Pierre de Montmorency-Laval, mother of politician Sosthènes II de La Rochefoucauld. She was a court lady of Josephine.

0789_T

Madonna with the Blue Diadem

Focus on Madonna with the Blue Diadem and explain the abstract.

The Madonna with the Blue Diadem is a painting by Raphael and his pupil Gianfrancesco Penni, and was most likely painted in Rome around 1510-1512, now at the Louvre. In the Louvre, the painting is named Virgin and Child with the Infant Saint John, also known as Virgin with the Veil or Virgin with the Blue Diadem. Additional names include Virgin with the Linen, Slumbering Child and Silence of the Holy Virgin.

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Madonna with the Blue Diadem

Focus on this artwork and explain the abstract.

The Madonna with the Blue Diadem is a painting by Raphael and his pupil Gianfrancesco Penni, and was most likely painted in Rome around 1510-1512, now at the Louvre. In the Louvre, the painting is named Virgin and Child with the Infant Saint John, also known as Virgin with the Veil or Virgin with the Blue Diadem. Additional names include Virgin with the Linen, Slumbering Child and Silence of the Holy Virgin.

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Madonna with the Blue Diadem

Explore the History of this artwork, Madonna with the Blue Diadem.

Legend has it that at one time the panel, split in two, was used to cover casks in Pescia. Once found, they are said to have been expertly joined. There is also a different version where the panel was split into three pieces to make a screen, which was made whole again.By the later part of the 16th century, it had been in the Chateauneuf Collection, Paris and descended to his heir, the Marquis de la Vallière. In 1620 the painting was owned by the Marquis de la Vallière, Secretary of State, as part of the La Vallière Collection in Paris. In 1713, Prince Louis Alexandre de Bourbon, Comte de Toulouse, owned the painting and from him it passed in 1728 into the collection of the Prince de Carignan.From at least 1728 to 1743 it was in the possession of Victor Amadeus I, Prince of Carignan. After he died, the painting fell to his son Louis de Carignan and painter Rigauld mediated the sale in 1742 dispersed to Louis XV in 1743.The last Raphael painting to enter the French Royal Collection, it was acquired from the Prince of Carignan in 1742 dispersed to Louis XV in 1743.

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Madonna with the Blue Diadem

Explore the History of this artwork.

Legend has it that at one time the panel, split in two, was used to cover casks in Pescia. Once found, they are said to have been expertly joined. There is also a different version where the panel was split into three pieces to make a screen, which was made whole again.By the later part of the 16th century, it had been in the Chateauneuf Collection, Paris and descended to his heir, the Marquis de la Vallière. In 1620 the painting was owned by the Marquis de la Vallière, Secretary of State, as part of the La Vallière Collection in Paris. In 1713, Prince Louis Alexandre de Bourbon, Comte de Toulouse, owned the painting and from him it passed in 1728 into the collection of the Prince de Carignan.From at least 1728 to 1743 it was in the possession of Victor Amadeus I, Prince of Carignan. After he died, the painting fell to his son Louis de Carignan and painter Rigauld mediated the sale in 1742 dispersed to Louis XV in 1743.The last Raphael painting to enter the French Royal Collection, it was acquired from the Prince of Carignan in 1742 dispersed to Louis XV in 1743.

0791_T

Madonna with the Blue Diadem

Focus on Madonna with the Blue Diadem and discuss the Description.

Although there are several artists involved, the composition is almost certainly that of Raphael. Due to the use of bright, acid colors and the porcelain-like finish, it is thought that the finishing of the composition may have been the work of one of his pupils, Giovanfrancesco Penni, and to be dated around 1518.The painting is similar to the Madonna of Loreto (Musée Condé, Chantilly), featuring the symbolic lifting of the veil. The use of veil in Renaissance paintings, from the Meditations on the Life of Christ, symbolizes the manner in which the Madonna wrapped the Child in the veil from her head at the Nativity and, prophetically, again at the Crucifixion.Here the Virgin lifts the veil over the sleeping Child, who is turned toward the audience, with her other arm around the young John the Baptist, who has a reed across his shoulder. Both the Virgin and John are in profile. Attached to a blue diadem, a veil that flows down her head, across her shoulders and clings to her arms. A draped tunic, belted at the waist, flowing overtop her red underdress.While the paintings has some similarity to the Madonna of Loreto, Raphael make a more dramatic statement, such as through the use of ruins of the Sacchetti Villa and vineyard, near the St. Peter's Basilica in Rome.There is also refinement in the features and limbs of the Christ child. The child is very calm, contrasted to the expression of awe and adoration by the young John.

0791_NT

Madonna with the Blue Diadem

Focus on this artwork and discuss the Description.

Although there are several artists involved, the composition is almost certainly that of Raphael. Due to the use of bright, acid colors and the porcelain-like finish, it is thought that the finishing of the composition may have been the work of one of his pupils, Giovanfrancesco Penni, and to be dated around 1518.The painting is similar to the Madonna of Loreto (Musée Condé, Chantilly), featuring the symbolic lifting of the veil. The use of veil in Renaissance paintings, from the Meditations on the Life of Christ, symbolizes the manner in which the Madonna wrapped the Child in the veil from her head at the Nativity and, prophetically, again at the Crucifixion.Here the Virgin lifts the veil over the sleeping Child, who is turned toward the audience, with her other arm around the young John the Baptist, who has a reed across his shoulder. Both the Virgin and John are in profile. Attached to a blue diadem, a veil that flows down her head, across her shoulders and clings to her arms. A draped tunic, belted at the waist, flowing overtop her red underdress.While the paintings has some similarity to the Madonna of Loreto, Raphael make a more dramatic statement, such as through the use of ruins of the Sacchetti Villa and vineyard, near the St. Peter's Basilica in Rome.There is also refinement in the features and limbs of the Christ child. The child is very calm, contrasted to the expression of awe and adoration by the young John.

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Windfall (sculpture)

How does Windfall (sculpture) elucidate its abstract?

Windfall is a public art work by Canadian artist Robert Murray located at the Lynden Sculpture Garden near Milwaukee, Wisconsin. The sculpture is an abstract form made of aluminum panels set at angles; it is painted bright red and installed on the lawn.

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Windfall (sculpture)

How does this artwork elucidate its abstract?

Windfall is a public art work by Canadian artist Robert Murray located at the Lynden Sculpture Garden near Milwaukee, Wisconsin. The sculpture is an abstract form made of aluminum panels set at angles; it is painted bright red and installed on the lawn.

0793_T

Abraham Lincoln (relief by Schwarz)

Focus on Abraham Lincoln (relief by Schwarz) and analyze the abstract.

The Abraham Lincoln commemorative plaque is a work of public art designed by Marie Stewart in 1906, created by Rudolph Schwarz, and dedicated on 12 February 1907. The bronze plaque is set in a limestone base and stands near the Indiana Government Center South, at the intersection of West Washington and South Missouri Streets in downtown Indianapolis, Indiana. Stewart, an Indianapolis high school student, submitted the winning entry in a citywide design contest to commemorate Lincoln's visit to Indianapolis on 11 February 1861. Lincoln was traveling to Washington D.C. for his inauguration and first term as president of the United States. The bronze plaque's relief depicts Lincoln's profile in a medallion at the center; the U.S. Capitol is on the proper left; a log cabin is on the proper right. The plaque's inscription quotes a speech that Lincoln delivered on 11 February 1861 in Indianapolis. The base remains rough, with the exception of a carved Corinthian column and capital adhered to the southeast corner.

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Abraham Lincoln (relief by Schwarz)

Focus on this artwork and analyze the abstract.

The Abraham Lincoln commemorative plaque is a work of public art designed by Marie Stewart in 1906, created by Rudolph Schwarz, and dedicated on 12 February 1907. The bronze plaque is set in a limestone base and stands near the Indiana Government Center South, at the intersection of West Washington and South Missouri Streets in downtown Indianapolis, Indiana. Stewart, an Indianapolis high school student, submitted the winning entry in a citywide design contest to commemorate Lincoln's visit to Indianapolis on 11 February 1861. Lincoln was traveling to Washington D.C. for his inauguration and first term as president of the United States. The bronze plaque's relief depicts Lincoln's profile in a medallion at the center; the U.S. Capitol is on the proper left; a log cabin is on the proper right. The plaque's inscription quotes a speech that Lincoln delivered on 11 February 1861 in Indianapolis. The base remains rough, with the exception of a carved Corinthian column and capital adhered to the southeast corner.

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Abraham Lincoln (relief by Schwarz)

In Abraham Lincoln (relief by Schwarz), how is the Description discussed?

The rectangular, coated-bronze plaque measures approximately 65 in. x 37 in. x 1 1/3 in.; it is set in a rough-hewn limestone base measuring approximately 89 in x 54 in. x 39 in. A relief comprises the upper one-third, 17 inches (43 centimeters), of the plaque. At its center a medallion has relief of Abraham Lincoln's proper right profile; he does not have a beard. A relief of the U.S. Capitol appears on the proper left side; a tree and a log cabin are on the proper right side. A large palm frond beneath the medallion extends to the proper left. A shield with an eagle design is on the proper left, below the Capitol building. The log cabin represents Lincoln's boyhood home in southern Indiana; the Capitol building relates to his future as president of the United States. Lincoln's profile faces the Capitol. The lower two-thirds of the plaque bears an inscription in raised, capital letters: Here Feb 11 1861 Abraham Lincoln on his way to Washington to assume the Presidency in an address said: "I appeal to you to constantly bear in mind that not with politicians not with presidents not with office seekers but with you is the question: Shall the Union and shall the liberties of this country be preserved to the latest generations?" The base is rough-hewn limestone with the exception of the southeast corner, where stonework adhered to the base is finished in the style of a Corinthian column and capital and gives the base an overall appearance of a single, solid piece. The plaque is affixed to the base with four large bolts on each corner of the inscription. There are no visible foundry marks. The memorial was surveyed in October 1992 as part of the Save Outdoor Sculpture project, in conjunction with the Smithsonian American Art Museum's Inventories of American Painting and Sculpture. The monument's condition at that time was described as well maintained.

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Abraham Lincoln (relief by Schwarz)

In this artwork, how is the Description discussed?

The rectangular, coated-bronze plaque measures approximately 65 in. x 37 in. x 1 1/3 in.; it is set in a rough-hewn limestone base measuring approximately 89 in x 54 in. x 39 in. A relief comprises the upper one-third, 17 inches (43 centimeters), of the plaque. At its center a medallion has relief of Abraham Lincoln's proper right profile; he does not have a beard. A relief of the U.S. Capitol appears on the proper left side; a tree and a log cabin are on the proper right side. A large palm frond beneath the medallion extends to the proper left. A shield with an eagle design is on the proper left, below the Capitol building. The log cabin represents Lincoln's boyhood home in southern Indiana; the Capitol building relates to his future as president of the United States. Lincoln's profile faces the Capitol. The lower two-thirds of the plaque bears an inscription in raised, capital letters: Here Feb 11 1861 Abraham Lincoln on his way to Washington to assume the Presidency in an address said: "I appeal to you to constantly bear in mind that not with politicians not with presidents not with office seekers but with you is the question: Shall the Union and shall the liberties of this country be preserved to the latest generations?" The base is rough-hewn limestone with the exception of the southeast corner, where stonework adhered to the base is finished in the style of a Corinthian column and capital and gives the base an overall appearance of a single, solid piece. The plaque is affixed to the base with four large bolts on each corner of the inscription. There are no visible foundry marks. The memorial was surveyed in October 1992 as part of the Save Outdoor Sculpture project, in conjunction with the Smithsonian American Art Museum's Inventories of American Painting and Sculpture. The monument's condition at that time was described as well maintained.

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Abraham Lincoln (relief by Schwarz)

Focus on Abraham Lincoln (relief by Schwarz) and explore the Historical information.

In 1906 the Commercial Club of Indianapolis, a forerunner to the Indianapolis Chamber of Commerce, hosted a citywide contest for students to design a plaque to commemorate President-elect Lincoln's visit to Indianapolis on 11 February 1861. Lincoln traveled by train from his home in Springfield, Illinois, to Washington, D.C. for his inauguration and first term as president of the United States and stayed overnight in Indianapolis. Marie Stewart, an Indianapolis high school student, submitted the winning design to commemorate the event. Sculptor Rudolf Schwarz executed Stewart's design for the bronze plaque, which was dedicated in 1907.

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Abraham Lincoln (relief by Schwarz)

Focus on this artwork and explore the Historical information.

In 1906 the Commercial Club of Indianapolis, a forerunner to the Indianapolis Chamber of Commerce, hosted a citywide contest for students to design a plaque to commemorate President-elect Lincoln's visit to Indianapolis on 11 February 1861. Lincoln traveled by train from his home in Springfield, Illinois, to Washington, D.C. for his inauguration and first term as president of the United States and stayed overnight in Indianapolis. Marie Stewart, an Indianapolis high school student, submitted the winning design to commemorate the event. Sculptor Rudolf Schwarz executed Stewart's design for the bronze plaque, which was dedicated in 1907.

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Abraham Lincoln (relief by Schwarz)

In the context of Abraham Lincoln (relief by Schwarz), explain the Location history of the Historical information.

The plaque was originally installed at the Claypool Hotel, which stood on the site of the Bates House, at the corner of Illinois and Washington Streets in Indianapolis. Lincoln stayed at the Bates House during his 1861 visit and spoke to a crowd from one of the hotel balconies. Lincoln's remarks urged Americans to preserve the Union; however, the American Civil War began two months later. The plaque commemorating Lincoln's visit was dedicated at the hotel on 12 February 1907.After the Claypool Hotel was demolished in 1969, the plaque was installed on a new base designed by Benno Schum and relocated to the west, near the intersection of Washington and Missouri Streets. Lincoln delivered a speech near this location when his arrived in Indianapolis on 11 February 1861; the commemorative plaque contains a quote from Lincoln's response to Indiana Governor Oliver P. Morton's welcoming address. The plaque was rededicated on 12 February 1971.The monument was removed when construction began on a new state office building in 1988; it was reinstalled in 1991 at nearly the same site after the Indiana Government Center South was completed. The memorial is located on the building's south side, near the intersection of West Washington and South Missouri Streets. The monument is owned and administered by the State of Indiana, Department of Administration.

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Abraham Lincoln (relief by Schwarz)

In the context of this artwork, explain the Location history of the Historical information.

The plaque was originally installed at the Claypool Hotel, which stood on the site of the Bates House, at the corner of Illinois and Washington Streets in Indianapolis. Lincoln stayed at the Bates House during his 1861 visit and spoke to a crowd from one of the hotel balconies. Lincoln's remarks urged Americans to preserve the Union; however, the American Civil War began two months later. The plaque commemorating Lincoln's visit was dedicated at the hotel on 12 February 1907.After the Claypool Hotel was demolished in 1969, the plaque was installed on a new base designed by Benno Schum and relocated to the west, near the intersection of Washington and Missouri Streets. Lincoln delivered a speech near this location when his arrived in Indianapolis on 11 February 1861; the commemorative plaque contains a quote from Lincoln's response to Indiana Governor Oliver P. Morton's welcoming address. The plaque was rededicated on 12 February 1971.The monument was removed when construction began on a new state office building in 1988; it was reinstalled in 1991 at nearly the same site after the Indiana Government Center South was completed. The memorial is located on the building's south side, near the intersection of West Washington and South Missouri Streets. The monument is owned and administered by the State of Indiana, Department of Administration.

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Abraham Lincoln (relief by Schwarz)

Explore the Artist of this artwork, Abraham Lincoln (relief by Schwarz).

Marie Stewart, a student at Indianapolis's Shortridge High School, submitted the winning entry in a citywide contest to design the commemorative plaque. Vienna-born sculptor Rudolf Schwarz, who came to Indianapolis in 1897, created the bronze plaque in 1907. Schwarz is known for crafting the limestone sculptures at the base of the Soldiers and Sailors Monument on Indianapolis's Monument Circle; the bronze statue for the Indiana Governor Oliver P. Morton monument on the east side of the Indiana Statehouse; and sculptures for American Civil War memorials in several Indiana counties. Benno Schum fabricated a new base for the plaque when it was relocated to Indianapolis's West Washington Street in 1971.

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Abraham Lincoln (relief by Schwarz)

Explore the Artist of this artwork.

Marie Stewart, a student at Indianapolis's Shortridge High School, submitted the winning entry in a citywide contest to design the commemorative plaque. Vienna-born sculptor Rudolf Schwarz, who came to Indianapolis in 1897, created the bronze plaque in 1907. Schwarz is known for crafting the limestone sculptures at the base of the Soldiers and Sailors Monument on Indianapolis's Monument Circle; the bronze statue for the Indiana Governor Oliver P. Morton monument on the east side of the Indiana Statehouse; and sculptures for American Civil War memorials in several Indiana counties. Benno Schum fabricated a new base for the plaque when it was relocated to Indianapolis's West Washington Street in 1971.

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The Goat Amalthea with the Infant Jupiter and a Faun

Focus on The Goat Amalthea with the Infant Jupiter and a Faun and discuss the abstract.

The Goat Amalthea with the Infant Jupiter and a Faun is the earliest known work by the Italian artist Gian Lorenzo Bernini. Produced sometime between 1609 and 1615, the sculpture is now in the Borghese Collection at the Galleria Borghese in Rome.

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The Goat Amalthea with the Infant Jupiter and a Faun

Focus on this artwork and discuss the abstract.

The Goat Amalthea with the Infant Jupiter and a Faun is the earliest known work by the Italian artist Gian Lorenzo Bernini. Produced sometime between 1609 and 1615, the sculpture is now in the Borghese Collection at the Galleria Borghese in Rome.

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The Goat Amalthea with the Infant Jupiter and a Faun

How does The Goat Amalthea with the Infant Jupiter and a Faun elucidate its Background?

According to Filippo Baldinucci, even before Pietro Bernini moved his family from Naples to Rome, eight-year-old Gian Lorenzo created a "small marble head of a child that was the marvel of everyone". Throughout his teenage years, he produced numerous images containing putti, chubby male children usually nude and sometimes winged. Distinct from cherubim, who represent the second order of angels, these putti figures were secular and presented a non-religious passion.Of the three surviving marble groups of putti that can be attributed to Bernini, The Goat Amalthea with the Infant Jupiter and a Faun is the only one that is approximately dateable. In 1615, a carpenter was paid for providing a wooden pedestal for the sculpture group. Some writers date the work as early as 1609, based on stylistic grounds and an interpretation of the 1615 pedestal invoice indicating that the base was a replacement.

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The Goat Amalthea with the Infant Jupiter and a Faun

How does this artwork elucidate its Background?

According to Filippo Baldinucci, even before Pietro Bernini moved his family from Naples to Rome, eight-year-old Gian Lorenzo created a "small marble head of a child that was the marvel of everyone". Throughout his teenage years, he produced numerous images containing putti, chubby male children usually nude and sometimes winged. Distinct from cherubim, who represent the second order of angels, these putti figures were secular and presented a non-religious passion.Of the three surviving marble groups of putti that can be attributed to Bernini, The Goat Amalthea with the Infant Jupiter and a Faun is the only one that is approximately dateable. In 1615, a carpenter was paid for providing a wooden pedestal for the sculpture group. Some writers date the work as early as 1609, based on stylistic grounds and an interpretation of the 1615 pedestal invoice indicating that the base was a replacement.

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Fishing for Souls

Focus on Fishing for Souls and analyze the abstract.

Fishing for Souls is a 1614 oil on panel painting by the Dutch Golden Age artist Adriaen van de Venne in the collection of the Rijksmuseum.

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Fishing for Souls

Focus on this artwork and analyze the abstract.

Fishing for Souls is a 1614 oil on panel painting by the Dutch Golden Age artist Adriaen van de Venne in the collection of the Rijksmuseum.