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0801_T

Fishing for Souls

In Fishing for Souls, how is the Painting discussed?

Fishing for Souls shows an allegory of the jealousy between the various religious denominations during the Twelve Years' Truce between the Dutch Republic and Spain. The river signifies the split between the Northern and the Southern Netherlands that occurred with the Beeldenstorm. In the original painting the Protestant fishermen had successfully fished up some believers while the Catholic nets were empty. The "souls" near the Catholic boats were added later. On the left bank are the two princes of Orange behind an orange tree branch; Maurice and Frederick Henry. They are accompanied by Frederick V, Elector Palatine, King James I of England and the young Louis XIII of France with his mother Maria de' Medici. On the right bank of the river are the Catholic cardinals carrying their pope accompanied by Albert and Isabella. The various attributes of the fishermen (nets, boats, etc.) are labelled with Latin text to clarify the meaning. A large fly is painted on as a trompe-l'œil wink to Jan Brueghel the Elder, who created many similar amusing allegories with visual jokes in them.

0801_NT

Fishing for Souls

In this artwork, how is the Painting discussed?

Fishing for Souls shows an allegory of the jealousy between the various religious denominations during the Twelve Years' Truce between the Dutch Republic and Spain. The river signifies the split between the Northern and the Southern Netherlands that occurred with the Beeldenstorm. In the original painting the Protestant fishermen had successfully fished up some believers while the Catholic nets were empty. The "souls" near the Catholic boats were added later. On the left bank are the two princes of Orange behind an orange tree branch; Maurice and Frederick Henry. They are accompanied by Frederick V, Elector Palatine, King James I of England and the young Louis XIII of France with his mother Maria de' Medici. On the right bank of the river are the Catholic cardinals carrying their pope accompanied by Albert and Isabella. The various attributes of the fishermen (nets, boats, etc.) are labelled with Latin text to clarify the meaning. A large fly is painted on as a trompe-l'œil wink to Jan Brueghel the Elder, who created many similar amusing allegories with visual jokes in them.

0802_T

Moose (W-02-03)

Focus on Moose (W-02-03) and explore the abstract.

Moose (W-02-03) is a sculpture of a moose by John Kearney on the Magnificent Mile in front of 401 North Michigan and across Michigan Avenue from the Wrigley Building in the Near North Side community area of Chicago, Illinois. It is a welded steel (chrome bumpers) work of art created in between 2002 and 2003. Its dimensions are 8 ft 9 in (2.67 m) x 4 ft 2 in (1.27 m) x 9 ft 0 in (2.74 m)The sculpture was part of the Artists & Automobiles (June 16 – October 15, 2006) summer public art display at the Chicago Cultural Center of artwork from recycled automobiles. The display was co-hosted by the City of Chicago Department of Cultural Affairs' Public Art Program and Allstate in honor of the 75th anniversary of Allstate's founding in Chicago.

0802_NT

Moose (W-02-03)

Focus on this artwork and explore the abstract.

Moose (W-02-03) is a sculpture of a moose by John Kearney on the Magnificent Mile in front of 401 North Michigan and across Michigan Avenue from the Wrigley Building in the Near North Side community area of Chicago, Illinois. It is a welded steel (chrome bumpers) work of art created in between 2002 and 2003. Its dimensions are 8 ft 9 in (2.67 m) x 4 ft 2 in (1.27 m) x 9 ft 0 in (2.74 m)The sculpture was part of the Artists & Automobiles (June 16 – October 15, 2006) summer public art display at the Chicago Cultural Center of artwork from recycled automobiles. The display was co-hosted by the City of Chicago Department of Cultural Affairs' Public Art Program and Allstate in honor of the 75th anniversary of Allstate's founding in Chicago.

0803_T

The Nightmare

Focus on The Nightmare and explain the Description.

The Nightmare simultaneously offers both the image of a dream—by indicating the effect of the nightmare on the woman—and a dream image—in symbolically portraying the sleeping vision. It depicts a sleeping woman draped over the end of a bed with her head hanging down, exposing her long neck. She is surmounted by an incubus that peers out at the viewer. The sleeper seems lifeless and, lying on her back, takes a position then believed to encourage nightmares. Her brilliant coloration is set against the darker reds, yellows, and ochres of the background; Fuseli used a chiaroscuro effect to create strong contrasts between light and shade. The interior is contemporary and fashionable and contains a small table on which rests a mirror, phial, and book. The room is hung with red velvet curtains which drape behind the bed. Emerging from a parting in the curtain is the head of a horse with bold, featureless eyes. For contemporary viewers, the relationship of the incubus and the horse (mare) evoked the notion of nightmares. The work was likely inspired by the waking dreams experienced by Fuseli and his contemporaries, who found that these experiences related to folkloric beliefs like the Germanic tales about demons and witches that possessed people who slept alone. In these stories, men were visited by horses or hags, giving rise to the terms "hag-riding" and "mare-riding", and women were believed to engage in sex with the devil. The etymology of the word "nightmare", however, does not relate to horses. Rather, the word is derived from mara, a Scandinavian mythological term referring to a spirit sent to torment or suffocate sleepers. The early meaning of nightmare included the sleeper's experience of weight on the chest combined with sleep paralysis, dyspnea, or a feeling of dread. The painting incorporates a variety of imagery associated with these ideas, depicting a mare's head and a demon crouched atop the woman. Sleep and dreams were common subjects for the Zürich-born Henry Fuseli, though The Nightmare is unique among his paintings for its lack of reference to literary or religious themes (Fuseli was an ordained minister). His first known painting is Joseph Interpreting the Dreams of the Butler and Baker of Pharaoh (1768), and later he produced The Shepherd's Dream (1798) inspired by John Milton's Paradise Lost, and Richard III Visited by Ghosts (1798) based on Shakespeare's play. Fuseli's knowledge of art history was broad, allowing critics to propose sources for the painting's elements in antique, classical, and Renaissance art. According to art critic Nicholas Powell, the woman's pose may derive from the Vatican Ariadne, and the style of the incubus from figures at Selinunte, an archaeological site in Sicily. A source for the woman in Giulio Romano's The Dream of Hecuba at the Palazzo del Te has also been proposed. Powell links the horse to a woodcut by the German Renaissance artist Hans Baldung or to the marble Horse Tamers on Quirinal Hill, Rome. Fuseli may have added the horse as an afterthought, since a preliminary chalk sketch did not include it. Its presence in the painting has been viewed as a visual pun on the word "nightmare" and a self-conscious reference to folklore—the horse destabilises the painting's conceit and contributes to its Gothic tone.

0803_NT

The Nightmare

Focus on this artwork and explain the Description.

The Nightmare simultaneously offers both the image of a dream—by indicating the effect of the nightmare on the woman—and a dream image—in symbolically portraying the sleeping vision. It depicts a sleeping woman draped over the end of a bed with her head hanging down, exposing her long neck. She is surmounted by an incubus that peers out at the viewer. The sleeper seems lifeless and, lying on her back, takes a position then believed to encourage nightmares. Her brilliant coloration is set against the darker reds, yellows, and ochres of the background; Fuseli used a chiaroscuro effect to create strong contrasts between light and shade. The interior is contemporary and fashionable and contains a small table on which rests a mirror, phial, and book. The room is hung with red velvet curtains which drape behind the bed. Emerging from a parting in the curtain is the head of a horse with bold, featureless eyes. For contemporary viewers, the relationship of the incubus and the horse (mare) evoked the notion of nightmares. The work was likely inspired by the waking dreams experienced by Fuseli and his contemporaries, who found that these experiences related to folkloric beliefs like the Germanic tales about demons and witches that possessed people who slept alone. In these stories, men were visited by horses or hags, giving rise to the terms "hag-riding" and "mare-riding", and women were believed to engage in sex with the devil. The etymology of the word "nightmare", however, does not relate to horses. Rather, the word is derived from mara, a Scandinavian mythological term referring to a spirit sent to torment or suffocate sleepers. The early meaning of nightmare included the sleeper's experience of weight on the chest combined with sleep paralysis, dyspnea, or a feeling of dread. The painting incorporates a variety of imagery associated with these ideas, depicting a mare's head and a demon crouched atop the woman. Sleep and dreams were common subjects for the Zürich-born Henry Fuseli, though The Nightmare is unique among his paintings for its lack of reference to literary or religious themes (Fuseli was an ordained minister). His first known painting is Joseph Interpreting the Dreams of the Butler and Baker of Pharaoh (1768), and later he produced The Shepherd's Dream (1798) inspired by John Milton's Paradise Lost, and Richard III Visited by Ghosts (1798) based on Shakespeare's play. Fuseli's knowledge of art history was broad, allowing critics to propose sources for the painting's elements in antique, classical, and Renaissance art. According to art critic Nicholas Powell, the woman's pose may derive from the Vatican Ariadne, and the style of the incubus from figures at Selinunte, an archaeological site in Sicily. A source for the woman in Giulio Romano's The Dream of Hecuba at the Palazzo del Te has also been proposed. Powell links the horse to a woodcut by the German Renaissance artist Hans Baldung or to the marble Horse Tamers on Quirinal Hill, Rome. Fuseli may have added the horse as an afterthought, since a preliminary chalk sketch did not include it. Its presence in the painting has been viewed as a visual pun on the word "nightmare" and a self-conscious reference to folklore—the horse destabilises the painting's conceit and contributes to its Gothic tone.

0804_T

The Nightmare

Explore the Exhibition of this artwork, The Nightmare.

The painting is housed at the Detroit Institute of Arts. It was first shown at the Royal Academy of London in 1782, where it "excited ... an uncommon degree of interest", according to Fuseli's early biographer and friend John Knowles. It remained well-known decades later, and Fuseli painted other versions on the same theme. Fuseli sold the original for twenty guineas, and an inexpensive engraving by Thomas Burke circulated widely beginning in January 1783, earning publisher John Raphael Smith more than 500 pounds. The engraving was underscored by a short poem by Erasmus Darwin, "Night-Mare": So on his Nightmare through the evening fogFlits the squab Fiend o'er fen, and lake, and bog;Seeks some love-wilder'd maid with sleep oppress'd,Alights, and grinning sits upon her breast. Darwin included these lines and expanded upon them in his long poem The Loves of the Plants (1789), for which Fuseli provided the frontispiece: —Such as of late amid the murky skyWas mark'd by Fuseli's poetic eye;Whose daring tints, with Shakspeare's happiest grace,Gave to the airy phantom form and place.—Back o'er her pillow sinks her blushing head,Her snow-white limbs hang helpless from the bed;Her interrupted heart-pulse swims in death.O'er her fair limbs convulsive tremors fleet, Start in her hands, and struggle in her feet; In vain to scream with quivering lips she tries, And strains in palsy'd lids her tremulous eyes; In vain she wills to run, fly, swim, walk, creep; The Will presides not in the bower of Sleep. —On her fair bosom sits the Demon-Ape Erect, and balances his bloated shape; Rolls in their marble orbs his Gorgon-eyes, And drinks with leathern ears her tender cries.

0804_NT

The Nightmare

Explore the Exhibition of this artwork.

The painting is housed at the Detroit Institute of Arts. It was first shown at the Royal Academy of London in 1782, where it "excited ... an uncommon degree of interest", according to Fuseli's early biographer and friend John Knowles. It remained well-known decades later, and Fuseli painted other versions on the same theme. Fuseli sold the original for twenty guineas, and an inexpensive engraving by Thomas Burke circulated widely beginning in January 1783, earning publisher John Raphael Smith more than 500 pounds. The engraving was underscored by a short poem by Erasmus Darwin, "Night-Mare": So on his Nightmare through the evening fogFlits the squab Fiend o'er fen, and lake, and bog;Seeks some love-wilder'd maid with sleep oppress'd,Alights, and grinning sits upon her breast. Darwin included these lines and expanded upon them in his long poem The Loves of the Plants (1789), for which Fuseli provided the frontispiece: —Such as of late amid the murky skyWas mark'd by Fuseli's poetic eye;Whose daring tints, with Shakspeare's happiest grace,Gave to the airy phantom form and place.—Back o'er her pillow sinks her blushing head,Her snow-white limbs hang helpless from the bed;Her interrupted heart-pulse swims in death.O'er her fair limbs convulsive tremors fleet, Start in her hands, and struggle in her feet; In vain to scream with quivering lips she tries, And strains in palsy'd lids her tremulous eyes; In vain she wills to run, fly, swim, walk, creep; The Will presides not in the bower of Sleep. —On her fair bosom sits the Demon-Ape Erect, and balances his bloated shape; Rolls in their marble orbs his Gorgon-eyes, And drinks with leathern ears her tender cries.

0805_T

The Nightmare

Focus on The Nightmare and discuss the Interpretation.

Contemporary critics often found the work scandalous due to its sexual themes. A few years earlier Fuseli had fallen for a woman named Anna Landholdt in Zürich, while travelling from Rome to London. Landholdt was the niece of his friend, the Swiss physiognomist Johann Kaspar Lavater. Fuseli wrote of his fantasies to Lavater in 1779; "Last night I had her in bed with me—tossed my bedclothes hugger-mugger—wound my hot and tight-clasped hands about her—fused her body and soul together with my own—poured into her my spirit, breath and strength. Anyone who touches her now commits adultery and incest! She is mine, and I am hers. And have her I will.…"Fuseli's marriage proposal met with disapproval from Landholdt's father, and in any case seems to have been unrequited—she married a family friend soon after. The Nightmare, then, can be seen as a personal portrayal of the erotic aspects of love lost. Art historian H. W. Janson suggests that the sleeping woman represents Landholdt and that the demon is Fuseli himself. Bolstering this claim is an unfinished portrait of a girl on the back of the painting's canvas, which may portray Landholdt. Anthropologist Charles Stewart characterises the sleeping woman as "voluptuous," and one scholar of the Gothic describes her as lying in a "sexually receptive position." In Woman as Sex Object (1972), Marcia Allentuck similarly argues that the painting's intent is to show female orgasm. This is supported by Fuseli's sexually overt and even pornographic private drawings (e.g., Symplegma of Man with Two Women, 1770–78). Fuseli's painting has been considered representative of sublimated sexual instincts. Related interpretations of the painting view the incubus as a dream symbol of male libido, with the sexual act represented by the horse's intrusion through the curtain. Fuseli himself provided no commentary on his painting. Both the English word nightmare and its German equivalent, Albtraum (literally 'elf dream'), evoke the image of a malevolent being that causes bad dreams by sitting on the chest of the sleeper.The Royal Academy exhibition brought Fuseli and his painting enduring fame. The exhibition included Shakespeare-themed works by Fuseli, which won him a commission to produce eight paintings for publisher John Boydell's Shakespeare Gallery. One version of The Nightmare hung in the home of Fuseli's close friend and publisher Joseph Johnson, gracing his weekly dinners for London thinkers and writers. The Nightmare was widely plagiarised, and parodies of it were commonly used for political caricature, by George Cruikshank, Thomas Rowlandson, and others. In these satirical scenes, the incubus afflicts subjects such as Napoleon Bonaparte, Louis XVIII, British politician Charles James Fox, and Prime Minister William Pitt. In another example, admiral Lord Nelson is the demon, and his mistress Emma, Lady Hamilton, the sleeper. While some observers have viewed the parodies as mocking Fuseli, it is more likely that The Nightmare was simply a vehicle for ridicule of the caricatured subject. The Danish painter, Nicolai Abraham Abildgaard, whom Fuseli had met in Rome, produced his own version of The Nightmare (Danish: Mareridt) which develops on the eroticism of Fuseli's work. Abildgaard's painting shows two naked women asleep in the bed; it is the woman in the foreground who is experiencing the nightmare and the incubus—which is crouched on the woman's stomach, facing her parted legs—has its tail nestling between her exposed breasts.Fuseli painted other versions of The Nightmare following the success of the first; at least three survive. The other important canvas was painted between 1790 and 1791 and is held at the Goethe Museum in Frankfurt. It is smaller than the original, and the woman's head lies to the left; a mirror opposes her on the right. The demon is looking at the woman rather than out of the picture, and it has pointed, catlike ears. The most significant difference in the remaining two versions is an erotic statuette of a couple on the table.

0805_NT

The Nightmare

Focus on this artwork and discuss the Interpretation.

Contemporary critics often found the work scandalous due to its sexual themes. A few years earlier Fuseli had fallen for a woman named Anna Landholdt in Zürich, while travelling from Rome to London. Landholdt was the niece of his friend, the Swiss physiognomist Johann Kaspar Lavater. Fuseli wrote of his fantasies to Lavater in 1779; "Last night I had her in bed with me—tossed my bedclothes hugger-mugger—wound my hot and tight-clasped hands about her—fused her body and soul together with my own—poured into her my spirit, breath and strength. Anyone who touches her now commits adultery and incest! She is mine, and I am hers. And have her I will.…"Fuseli's marriage proposal met with disapproval from Landholdt's father, and in any case seems to have been unrequited—she married a family friend soon after. The Nightmare, then, can be seen as a personal portrayal of the erotic aspects of love lost. Art historian H. W. Janson suggests that the sleeping woman represents Landholdt and that the demon is Fuseli himself. Bolstering this claim is an unfinished portrait of a girl on the back of the painting's canvas, which may portray Landholdt. Anthropologist Charles Stewart characterises the sleeping woman as "voluptuous," and one scholar of the Gothic describes her as lying in a "sexually receptive position." In Woman as Sex Object (1972), Marcia Allentuck similarly argues that the painting's intent is to show female orgasm. This is supported by Fuseli's sexually overt and even pornographic private drawings (e.g., Symplegma of Man with Two Women, 1770–78). Fuseli's painting has been considered representative of sublimated sexual instincts. Related interpretations of the painting view the incubus as a dream symbol of male libido, with the sexual act represented by the horse's intrusion through the curtain. Fuseli himself provided no commentary on his painting. Both the English word nightmare and its German equivalent, Albtraum (literally 'elf dream'), evoke the image of a malevolent being that causes bad dreams by sitting on the chest of the sleeper.The Royal Academy exhibition brought Fuseli and his painting enduring fame. The exhibition included Shakespeare-themed works by Fuseli, which won him a commission to produce eight paintings for publisher John Boydell's Shakespeare Gallery. One version of The Nightmare hung in the home of Fuseli's close friend and publisher Joseph Johnson, gracing his weekly dinners for London thinkers and writers. The Nightmare was widely plagiarised, and parodies of it were commonly used for political caricature, by George Cruikshank, Thomas Rowlandson, and others. In these satirical scenes, the incubus afflicts subjects such as Napoleon Bonaparte, Louis XVIII, British politician Charles James Fox, and Prime Minister William Pitt. In another example, admiral Lord Nelson is the demon, and his mistress Emma, Lady Hamilton, the sleeper. While some observers have viewed the parodies as mocking Fuseli, it is more likely that The Nightmare was simply a vehicle for ridicule of the caricatured subject. The Danish painter, Nicolai Abraham Abildgaard, whom Fuseli had met in Rome, produced his own version of The Nightmare (Danish: Mareridt) which develops on the eroticism of Fuseli's work. Abildgaard's painting shows two naked women asleep in the bed; it is the woman in the foreground who is experiencing the nightmare and the incubus—which is crouched on the woman's stomach, facing her parted legs—has its tail nestling between her exposed breasts.Fuseli painted other versions of The Nightmare following the success of the first; at least three survive. The other important canvas was painted between 1790 and 1791 and is held at the Goethe Museum in Frankfurt. It is smaller than the original, and the woman's head lies to the left; a mirror opposes her on the right. The demon is looking at the woman rather than out of the picture, and it has pointed, catlike ears. The most significant difference in the remaining two versions is an erotic statuette of a couple on the table.

0806_T

The Nightmare

In the context of The Nightmare, analyze the Influence on literature of the Legacy.

The Nightmare likely influenced Mary Shelley in a scene from her famous Gothic novel Frankenstein; or, The Modern Prometheus (1818). Shelley would have been familiar with the painting; her parents, Mary Wollstonecraft and William Godwin, knew Fuseli. The iconic imagery associated with the Creature's murder of the protagonist Victor's wife seems to draw from the canvas: "She was there, lifeless and inanimate, thrown across the bed, her head hanging down, and her pale and distorted features half covered by hair." The novel and Fuseli's biography share a parallel theme: just as Fuseli's incubus is infused with the artist's emotions in seeing Landholdt marry another man, Shelley's monster promises to get revenge on Victor on the night of his wedding. Like Frankenstein's monster, Fuseli's demon symbolically seeks to forestall a marriage.Edgar Allan Poe may have evoked The Nightmare in his short story "The Fall of the House of Usher" (1839). His narrator compares a painting hanging in Usher's house to a Fuseli work, and reveals that an "irrepressible tremor gradually pervaded my frame; and, at length, there sat upon my heart an incubus of utterly causeless alarm". Poe and Fuseli shared an interest in the subconscious; Fuseli is often quoted as saying, "One of the most unexplored regions of art are dreams".

0806_NT

The Nightmare

In the context of this artwork, analyze the Influence on literature of the Legacy.

The Nightmare likely influenced Mary Shelley in a scene from her famous Gothic novel Frankenstein; or, The Modern Prometheus (1818). Shelley would have been familiar with the painting; her parents, Mary Wollstonecraft and William Godwin, knew Fuseli. The iconic imagery associated with the Creature's murder of the protagonist Victor's wife seems to draw from the canvas: "She was there, lifeless and inanimate, thrown across the bed, her head hanging down, and her pale and distorted features half covered by hair." The novel and Fuseli's biography share a parallel theme: just as Fuseli's incubus is infused with the artist's emotions in seeing Landholdt marry another man, Shelley's monster promises to get revenge on Victor on the night of his wedding. Like Frankenstein's monster, Fuseli's demon symbolically seeks to forestall a marriage.Edgar Allan Poe may have evoked The Nightmare in his short story "The Fall of the House of Usher" (1839). His narrator compares a painting hanging in Usher's house to a Fuseli work, and reveals that an "irrepressible tremor gradually pervaded my frame; and, at length, there sat upon my heart an incubus of utterly causeless alarm". Poe and Fuseli shared an interest in the subconscious; Fuseli is often quoted as saying, "One of the most unexplored regions of art are dreams".

0807_T

The Nightmare

Describe the characteristics of the In the twentieth and twenty-first centuries in The Nightmare's Legacy.

Fuseli's Nightmare reverberated with twentieth-century psychological theorists. In 1926, American writer Max Eastman paid a visit to Sigmund Freud and claimed to have seen a print of The Nightmare displayed next to Rembrandt's The Anatomy Lesson in Freud's Vienna apartment. Psychoanalyst and Freud biographer Ernest Jones chose another version of Fuseli's painting as the frontispiece of his book On the Nightmare (1931); however, neither Freud nor Jones mentioned these paintings in their writings about dreams. Carl Jung included The Nightmare and other Fuseli works in his Man and His Symbols (1964).Tate Britain held an exhibition titled Gothic Nightmares: Fuseli, Blake and the Romantic Imagination between 15 February and 1 May 2006, with the Nightmare as the central exhibit. The catalogue indicated the painting's influence on films such as the original Frankenstein (1931) and The Marquise of O (1976). Among modern artists, Balthus incorporated elements of The Nightmare in his work (e.g., The Room (1952–54).The 2015 documentary The Nightmare may be a reference to the painting as it documents sleep paralysis sufferers (who often hallucinate creatures sitting on their chest). Famous drag queen Katya Zamolodchikova released an EP titled Vampire Fitness in November 2020. The EP cover art is a direct reference to The Nightmare, with Katya portraying both the woman and the demon over her body. She even included a horse statue in one corner of the room. It serves as a modern reinterpretation of the painting, with the woman appearing completely nude, except for a pair of sunglasses. In February 2021, Amaia Salazar, a postdoctoral researcher and visual artist, conducts intense research on the pictorial representation of sleep paralysis throughout the history of art (18th - 21st century), analysing and discovering similar prototypes and archetypes of artistic representation, inspired by Fuseli's artwork. In January 2023 Martin Rowson produced a cartoon, "after Fuseli (and everyone else)", for The Guardian to comment on the ethical problems of the UK government, with a Conservative Party majority. The cartoon features Rishi Sunak, Boris Johnson, and Nadhim Zahawi plus a horse with a hot water bottle.

0807_NT

The Nightmare

Describe the characteristics of the In the twentieth and twenty-first centuries in this artwork's Legacy.

Fuseli's Nightmare reverberated with twentieth-century psychological theorists. In 1926, American writer Max Eastman paid a visit to Sigmund Freud and claimed to have seen a print of The Nightmare displayed next to Rembrandt's The Anatomy Lesson in Freud's Vienna apartment. Psychoanalyst and Freud biographer Ernest Jones chose another version of Fuseli's painting as the frontispiece of his book On the Nightmare (1931); however, neither Freud nor Jones mentioned these paintings in their writings about dreams. Carl Jung included The Nightmare and other Fuseli works in his Man and His Symbols (1964).Tate Britain held an exhibition titled Gothic Nightmares: Fuseli, Blake and the Romantic Imagination between 15 February and 1 May 2006, with the Nightmare as the central exhibit. The catalogue indicated the painting's influence on films such as the original Frankenstein (1931) and The Marquise of O (1976). Among modern artists, Balthus incorporated elements of The Nightmare in his work (e.g., The Room (1952–54).The 2015 documentary The Nightmare may be a reference to the painting as it documents sleep paralysis sufferers (who often hallucinate creatures sitting on their chest). Famous drag queen Katya Zamolodchikova released an EP titled Vampire Fitness in November 2020. The EP cover art is a direct reference to The Nightmare, with Katya portraying both the woman and the demon over her body. She even included a horse statue in one corner of the room. It serves as a modern reinterpretation of the painting, with the woman appearing completely nude, except for a pair of sunglasses. In February 2021, Amaia Salazar, a postdoctoral researcher and visual artist, conducts intense research on the pictorial representation of sleep paralysis throughout the history of art (18th - 21st century), analysing and discovering similar prototypes and archetypes of artistic representation, inspired by Fuseli's artwork. In January 2023 Martin Rowson produced a cartoon, "after Fuseli (and everyone else)", for The Guardian to comment on the ethical problems of the UK government, with a Conservative Party majority. The cartoon features Rishi Sunak, Boris Johnson, and Nadhim Zahawi plus a horse with a hot water bottle.

0808_T

Around the Piano

Focus on Around the Piano and explore the abstract.

Around the Piano (French: Autour du piano) is an oil-on-canvas painting by French artist Henri Fantin-Latour, executed in 1885. It was exhibited at the Paris Salon the same year, then was bought by Adolphe Jullien. In 1915, it was given to the Musée du Luxembourg, then was at the Musée du Louvre until 1986. It is currently kept at the Musée d'Orsay in Paris.

0808_NT

Around the Piano

Focus on this artwork and explore the abstract.

Around the Piano (French: Autour du piano) is an oil-on-canvas painting by French artist Henri Fantin-Latour, executed in 1885. It was exhibited at the Paris Salon the same year, then was bought by Adolphe Jullien. In 1915, it was given to the Musée du Luxembourg, then was at the Musée du Louvre until 1986. It is currently kept at the Musée d'Orsay in Paris.

0809_T

Around the Piano

Focus on Around the Piano and explain the Background and reception.

The painting was the last of the four portraits of groups that Fantin-Latour devoted to his friends and celebrities in the arts world. He referred here to the concerts given by the group known as "Le Petit Bayreuth" initiated by Antoine Lascoux. Around the Piano received more critical acclaim than his previous works, but remains the least known of his series of four group portraits, perhaps because the people depicted are less famous. Exhibited at the Salon of 1885, the painting was called The Wagnerists by visitors, as the person seated at the piano was thought to be Camille Saint-Saëns, a composer who was an early supporter of Wagner. Adolphe Jullien, a close friend of Latour, rejected this name, saying that Fantin did not want to paint an artistic manifesto, but simply a gathering of friends, and that the score on the piano, although indistinct, was a piece by Brahms.

0809_NT

Around the Piano

Focus on this artwork and explain the Background and reception.

The painting was the last of the four portraits of groups that Fantin-Latour devoted to his friends and celebrities in the arts world. He referred here to the concerts given by the group known as "Le Petit Bayreuth" initiated by Antoine Lascoux. Around the Piano received more critical acclaim than his previous works, but remains the least known of his series of four group portraits, perhaps because the people depicted are less famous. Exhibited at the Salon of 1885, the painting was called The Wagnerists by visitors, as the person seated at the piano was thought to be Camille Saint-Saëns, a composer who was an early supporter of Wagner. Adolphe Jullien, a close friend of Latour, rejected this name, saying that Fantin did not want to paint an artistic manifesto, but simply a gathering of friends, and that the score on the piano, although indistinct, was a piece by Brahms.

0810_T

Around the Piano

Explore the Description of this artwork, Around the Piano.

Eight men are depicted around a piano, from left to right: Seated: Emmanuel Chabrier playing the piano, Edmond Maître and Amédée Pigeon Standing: Adolphe Jullien, Arthur Boisseau, Camille Benoît, Antoine Lascoux and Vincent d'Indy

0810_NT

Around the Piano

Explore the Description of this artwork.

Eight men are depicted around a piano, from left to right: Seated: Emmanuel Chabrier playing the piano, Edmond Maître and Amédée Pigeon Standing: Adolphe Jullien, Arthur Boisseau, Camille Benoît, Antoine Lascoux and Vincent d'Indy

0811_T

Mural of Marcus Rashford

Focus on Mural of Marcus Rashford and discuss the abstract.

In 2020, a mural of footballer Marcus Rashford by street artist Akse P19 was painted in the Withington area of Manchester, United Kingdom. The mural was created in recognition of the work Rashford did during the COVID-19 pandemic in the United Kingdom to help tackle child food poverty. After Rashford had missed a penalty kick for England in the UEFA Euro 2020 Final in July 2021, the mural was vandalised, prompting locals to post messages of support for Rashford before its restoration.

0811_NT

Mural of Marcus Rashford

Focus on this artwork and discuss the abstract.

In 2020, a mural of footballer Marcus Rashford by street artist Akse P19 was painted in the Withington area of Manchester, United Kingdom. The mural was created in recognition of the work Rashford did during the COVID-19 pandemic in the United Kingdom to help tackle child food poverty. After Rashford had missed a penalty kick for England in the UEFA Euro 2020 Final in July 2021, the mural was vandalised, prompting locals to post messages of support for Rashford before its restoration.

0812_T

Mural of Marcus Rashford

How does Mural of Marcus Rashford elucidate its Description?

Based on a photograph by Daniel Cheetham, the painting of Marcus Rashford was completed in 2020 by street artist Akse, in collaboration with the street art project Withington Walls, to commemorate the footballer's work to reduce child hunger. The mural is a black and white portrait painting, and appears on an exterior wall of Coffee House Café on Copson Street, near where Rashford was raised in Old Moat. The mural's quote, which reads, "Take pride in knowing that your struggle will play the biggest role in your purpose", was taken from a letter published as part of a campaign with Burberry to fund youth centres.

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Mural of Marcus Rashford

How does this artwork elucidate its Description?

Based on a photograph by Daniel Cheetham, the painting of Marcus Rashford was completed in 2020 by street artist Akse, in collaboration with the street art project Withington Walls, to commemorate the footballer's work to reduce child hunger. The mural is a black and white portrait painting, and appears on an exterior wall of Coffee House Café on Copson Street, near where Rashford was raised in Old Moat. The mural's quote, which reads, "Take pride in knowing that your struggle will play the biggest role in your purpose", was taken from a letter published as part of a campaign with Burberry to fund youth centres.

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Mural of Marcus Rashford

Focus on Mural of Marcus Rashford and analyze the History.

Aske spoke with Rashford while completing the artwork in November 2020 and said, "I hope the mural will inspire the local community as he has inspired the whole nation with his campaign to fight child food poverty." To celebrate Black History Month in 2021, a close-up of the mural was featured on Google Street View.

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Mural of Marcus Rashford

Focus on this artwork and analyze the History.

Aske spoke with Rashford while completing the artwork in November 2020 and said, "I hope the mural will inspire the local community as he has inspired the whole nation with his campaign to fight child food poverty." To celebrate Black History Month in 2021, a close-up of the mural was featured on Google Street View.

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Mural of Marcus Rashford

Describe the characteristics of the Vandalism in Mural of Marcus Rashford's History.

The painting was vandalized with the words "shite in a bucket, bastard", "fuck Sancho", and "fuck Saka" after those players and Rashford failed to score in a penalty shootout for England in the UEFA Euro 2020 Final, which meant Italy won the shootout 3-2. The Mayor of Greater Manchester, Andy Burnham, described the mural defacement as a "despicable, shameful act". Ed Wellard, co-founder of Withington Walls, worked to cover the profanity immediately; residents created a collage of supportive messages, flags, and hearts across the artwork, and Akse restored the mural. On 16 July, Manchester City Council announced plans to preserve the items left at the mural following the vandalism. A representative of the council described the public's response as a "Manchester moment we will all remember and should not forget", and BT created a virtual replication of the messages named the "Wall of Hope".A spokesperson for Greater Manchester Police (GMP) said, "While the content of the vandalism is not believed to be of a racial nature, officers are keeping an open mind as to the motive behind defacing the artwork". Hundreds of people participated in an anti-racism demonstration at the mural, leaving Rashford "lost for words". Rashford was moved by the messages of support. He shared images of the collage and tweeted, "The communities that wrapped their arms around me continue to hold me up... I can take critique of my performance all day long... but I will never apologise for who I am and where I came from." In October 2021, GMP released CCTV footage of a hooded man within the vicinity of the mural at 23:40 BST on 11 July, who they believed may be responsible for the crime.

0814_NT

Mural of Marcus Rashford

Describe the characteristics of the Vandalism in this artwork's History.

The painting was vandalized with the words "shite in a bucket, bastard", "fuck Sancho", and "fuck Saka" after those players and Rashford failed to score in a penalty shootout for England in the UEFA Euro 2020 Final, which meant Italy won the shootout 3-2. The Mayor of Greater Manchester, Andy Burnham, described the mural defacement as a "despicable, shameful act". Ed Wellard, co-founder of Withington Walls, worked to cover the profanity immediately; residents created a collage of supportive messages, flags, and hearts across the artwork, and Akse restored the mural. On 16 July, Manchester City Council announced plans to preserve the items left at the mural following the vandalism. A representative of the council described the public's response as a "Manchester moment we will all remember and should not forget", and BT created a virtual replication of the messages named the "Wall of Hope".A spokesperson for Greater Manchester Police (GMP) said, "While the content of the vandalism is not believed to be of a racial nature, officers are keeping an open mind as to the motive behind defacing the artwork". Hundreds of people participated in an anti-racism demonstration at the mural, leaving Rashford "lost for words". Rashford was moved by the messages of support. He shared images of the collage and tweeted, "The communities that wrapped their arms around me continue to hold me up... I can take critique of my performance all day long... but I will never apologise for who I am and where I came from." In October 2021, GMP released CCTV footage of a hooded man within the vicinity of the mural at 23:40 BST on 11 July, who they believed may be responsible for the crime.

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Mural of Marcus Rashford

Focus on Mural of Marcus Rashford and explore the Reception.

Bradley Ormesher of The Times described the mural as "impressive" and "a real tourist attraction".

0815_NT

Mural of Marcus Rashford

Focus on this artwork and explore the Reception.

Bradley Ormesher of The Times described the mural as "impressive" and "a real tourist attraction".

0816_T

The Oyster Eater (Ensor)

Focus on The Oyster Eater (Ensor) and explain the abstract.

The Oyster Eater is an oil painting executed in 1882 by the Belgian Expressionist artist James Ensor which is now in the collection of the Royal Museum of Fine Arts, Antwerp. The genre work depicts the artist's sister Mitche eating oysters on her own at a well-appointed table replete with flowers, plates, wine and table linen. Although painted in an impressionist style Ensor himself disassociated himself from the French movement. Whilst in agreement with them that light and colour were more important than line, for him light in particular had an almost spiritual value.However the painting was refused by the Antwerp Salon of 1882, possibly because of the sexual overtones suggested by a single young woman eating oysters, then considered an aphrodisiac. In this respect the painting can be compared with Jan Steen's salacious The Oyster Eater of 1680. When also rejected by the alternative exhibitors l'Essor the following year, Ensor and his associates were provoked into establishing their own group, Les XX, to hold their own exhibitions of avant-garde works.

0816_NT

The Oyster Eater (Ensor)

Focus on this artwork and explain the abstract.

The Oyster Eater is an oil painting executed in 1882 by the Belgian Expressionist artist James Ensor which is now in the collection of the Royal Museum of Fine Arts, Antwerp. The genre work depicts the artist's sister Mitche eating oysters on her own at a well-appointed table replete with flowers, plates, wine and table linen. Although painted in an impressionist style Ensor himself disassociated himself from the French movement. Whilst in agreement with them that light and colour were more important than line, for him light in particular had an almost spiritual value.However the painting was refused by the Antwerp Salon of 1882, possibly because of the sexual overtones suggested by a single young woman eating oysters, then considered an aphrodisiac. In this respect the painting can be compared with Jan Steen's salacious The Oyster Eater of 1680. When also rejected by the alternative exhibitors l'Essor the following year, Ensor and his associates were provoked into establishing their own group, Les XX, to hold their own exhibitions of avant-garde works.

0817_T

The Oyster Eater (Ensor)

Explore the Description of this artwork, The Oyster Eater (Ensor).

A young woman enjoys a gastronomic feast at a table set for two. It is Ensor's sister, Mitche (Mariette). The absence of her table companion is not alarming. The carelessly left napkin suggests that he has only just left the table. Perhaps it was the artist himself who wanted to portray the scene. He placed his easel on the right, close to the table. The scene is set in their parental home in Ostend, which can still be visited today as the Ensor House Museum. It was built in 1874 and looked like most bourgeois houses of the time. It had two shops on the ground floor and a few rooms for rent. The furniture with some books is still part of the current Ensor house museum.The oyster-eater belongs to the series that he named The Burger Salon. That was a series of moments in the life of the small-town bourgeoisie. Compared to earlier works, the richer material differentiation is striking. In The Oyster Eater, Ensor set to work with light colours. The illusion of sunshine is created by the red, yellow and orange hues in the work. It is the bright color of its mature years. It soon becomes clear that the artist did not want to make an unambiguous portrait of his sister in her familiar environment. After all, he seems to lose himself in the endless variation, nuance, repetition and contrast of colours. One time he spreads the paint thinly and smoothly, the other time he opts for heavy, masonry stains that he applies with a palette knife.

0817_NT

The Oyster Eater (Ensor)

Explore the Description of this artwork.

A young woman enjoys a gastronomic feast at a table set for two. It is Ensor's sister, Mitche (Mariette). The absence of her table companion is not alarming. The carelessly left napkin suggests that he has only just left the table. Perhaps it was the artist himself who wanted to portray the scene. He placed his easel on the right, close to the table. The scene is set in their parental home in Ostend, which can still be visited today as the Ensor House Museum. It was built in 1874 and looked like most bourgeois houses of the time. It had two shops on the ground floor and a few rooms for rent. The furniture with some books is still part of the current Ensor house museum.The oyster-eater belongs to the series that he named The Burger Salon. That was a series of moments in the life of the small-town bourgeoisie. Compared to earlier works, the richer material differentiation is striking. In The Oyster Eater, Ensor set to work with light colours. The illusion of sunshine is created by the red, yellow and orange hues in the work. It is the bright color of its mature years. It soon becomes clear that the artist did not want to make an unambiguous portrait of his sister in her familiar environment. After all, he seems to lose himself in the endless variation, nuance, repetition and contrast of colours. One time he spreads the paint thinly and smoothly, the other time he opts for heavy, masonry stains that he applies with a palette knife.

0818_T

Obos (fountain)

Focus on Obos (fountain) and discuss the abstract.

Obos is a sculptural fountain that was commissioned for the Jefferson Plaza in front of the Jefferson National Life Building at 3 Virginia Avenue in downtown Indianapolis, Indiana. The hammered silicon bronze fountain was designed by George Tsutakawa and dedicated on September 9, 1971, but removed in 2008. In 2012 it was purchased by John Braseth, a Seattle art dealer, who has restored it in preparation for public display in the Seattle, Washington area.

0818_NT

Obos (fountain)

Focus on this artwork and discuss the abstract.

Obos is a sculptural fountain that was commissioned for the Jefferson Plaza in front of the Jefferson National Life Building at 3 Virginia Avenue in downtown Indianapolis, Indiana. The hammered silicon bronze fountain was designed by George Tsutakawa and dedicated on September 9, 1971, but removed in 2008. In 2012 it was purchased by John Braseth, a Seattle art dealer, who has restored it in preparation for public display in the Seattle, Washington area.

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Obos (fountain)

How does Obos (fountain) elucidate its Description?

The bronze fountain consists of multiple elements that appear to be stacked to form a tall abstract form with multiple water jet elements to create a fountain. The fountain has five main components, each of which are in an abstracted, lotus-like forms: a four-legged base, two rectilinear middle sections, an inverted four-legged base element with a smaller four-legged element in the center. It originally had a water capacity of 6,000 US gallons (23,000 L; 5,000 imp gal) and recirculated 2,000 US gallons (7,600 L; 1,700 imp gal) a minute. The name "obos" relates to formations or stacks of rocks made by travelers in the Himalayas.

0819_NT

Obos (fountain)

How does this artwork elucidate its Description?

The bronze fountain consists of multiple elements that appear to be stacked to form a tall abstract form with multiple water jet elements to create a fountain. The fountain has five main components, each of which are in an abstracted, lotus-like forms: a four-legged base, two rectilinear middle sections, an inverted four-legged base element with a smaller four-legged element in the center. It originally had a water capacity of 6,000 US gallons (23,000 L; 5,000 imp gal) and recirculated 2,000 US gallons (7,600 L; 1,700 imp gal) a minute. The name "obos" relates to formations or stacks of rocks made by travelers in the Himalayas.

0820_T

Obos (fountain)

Focus on Obos (fountain) and analyze the Historical information.

The sculptural fountain was commissioned by E. Kirk McKinney, who was at the time the president of Jefferson National Life Insurance. The fountain was on display in Jefferson Plaza for more than 40 years, until the building was sold to Allen Commercial Group, and the fountain was ultimately removed in 2008 to make room for outdoor seating of a new restaurant. The sculpture was purchased in 2012 by John Braseth, who hired Fabrication Specialties of Seattle to begin restoring and re-plumbing the fountain. It has not yet been re-installed by Braseth.

0820_NT

Obos (fountain)

Focus on this artwork and analyze the Historical information.

The sculptural fountain was commissioned by E. Kirk McKinney, who was at the time the president of Jefferson National Life Insurance. The fountain was on display in Jefferson Plaza for more than 40 years, until the building was sold to Allen Commercial Group, and the fountain was ultimately removed in 2008 to make room for outdoor seating of a new restaurant. The sculpture was purchased in 2012 by John Braseth, who hired Fabrication Specialties of Seattle to begin restoring and re-plumbing the fountain. It has not yet been re-installed by Braseth.

0821_T

Tío Paquete

In Tío Paquete, how is the abstract discussed?

Tío Paquete is an oil painting from around 1819–1820 by the Spanish painter Francisco de Goya. It is currently in the collection of the Thyssen-Bornemisza Museum in Madrid. Tío Paquete was a contemporary figure, an old blind beggar well known to Madrileños in the early 19th century. He would sit on the steps of the church of San Felipe el Real and beg, sing and play the guitar. Goya, passionate about the grotesqueness of everyday life, was inspired by him and immortalized his distorted features in a portrait. The viewer's attention is focused on the round face of the beggar that emerges from the dark background and occupies almost the entire canvas. Goya portrays the character's disability with strict realism but avoiding caricature. The beggar has sunken, closed eyes, a broad nose and open mouth, almost toothless, but laughing broadly. The portrait combines the drama of blindness with the comical temperament of the beggar, and at the same time has a strong Expressionist message, anticipating this movement by a hundred years. In technical terms, the painting is similar to Goya's series of Black Paintings: the colors are dark and the paint is applied thickly using the impasto technique. It is particularly similar to the painting Man Mocked by Two Women in this series. The portrait is dated to the same period as the Black Paintings. It is known from written sources that the portrait had the inscription El Célebre Ciego Fijo on the back, which disappeared after the painting was aligned and framed after 1887. The painting belonged to Goya's grandson, Mariano, and later passed to the collection of the Count of Doña Marina. The next owner was the Marqués de Heredia. Since 1935 the work has belonged to the Thyssen-Bornemisza collection.

0821_NT

Tío Paquete

In this artwork, how is the abstract discussed?

Tío Paquete is an oil painting from around 1819–1820 by the Spanish painter Francisco de Goya. It is currently in the collection of the Thyssen-Bornemisza Museum in Madrid. Tío Paquete was a contemporary figure, an old blind beggar well known to Madrileños in the early 19th century. He would sit on the steps of the church of San Felipe el Real and beg, sing and play the guitar. Goya, passionate about the grotesqueness of everyday life, was inspired by him and immortalized his distorted features in a portrait. The viewer's attention is focused on the round face of the beggar that emerges from the dark background and occupies almost the entire canvas. Goya portrays the character's disability with strict realism but avoiding caricature. The beggar has sunken, closed eyes, a broad nose and open mouth, almost toothless, but laughing broadly. The portrait combines the drama of blindness with the comical temperament of the beggar, and at the same time has a strong Expressionist message, anticipating this movement by a hundred years. In technical terms, the painting is similar to Goya's series of Black Paintings: the colors are dark and the paint is applied thickly using the impasto technique. It is particularly similar to the painting Man Mocked by Two Women in this series. The portrait is dated to the same period as the Black Paintings. It is known from written sources that the portrait had the inscription El Célebre Ciego Fijo on the back, which disappeared after the painting was aligned and framed after 1887. The painting belonged to Goya's grandson, Mariano, and later passed to the collection of the Count of Doña Marina. The next owner was the Marqués de Heredia. Since 1935 the work has belonged to the Thyssen-Bornemisza collection.

0822_T

British Air Transport (painting)

Focus on British Air Transport (painting) and explore the abstract.

British Air Transport – The Pioneering Days 1919–1934 is an 8.44-metre (27.7 ft)-long mural by William Kempster depicting, from left to right, a chronological sequence of events in the history of British aviation on the London to Paris route starting on the left with Hounslow Heath Aerodrome in 1919 and finishing on the right at Croydon Aerodrome (now Airport House) in 1931. The most recent aircraft shown is the Short L.17 Scylla of 1934. It was commissioned by the British Airports Authority in 1969 to mark the opening of Heathrow Terminal 1, London, where it was displayed until 2015. It was sold in 2016 and in 2018, the Maas Gallery loaned it to the Historic Croydon Airport Trust to be displayed in the original booking hall of Croydon Airport.

0822_NT

British Air Transport (painting)

Focus on this artwork and explore the abstract.

British Air Transport – The Pioneering Days 1919–1934 is an 8.44-metre (27.7 ft)-long mural by William Kempster depicting, from left to right, a chronological sequence of events in the history of British aviation on the London to Paris route starting on the left with Hounslow Heath Aerodrome in 1919 and finishing on the right at Croydon Aerodrome (now Airport House) in 1931. The most recent aircraft shown is the Short L.17 Scylla of 1934. It was commissioned by the British Airports Authority in 1969 to mark the opening of Heathrow Terminal 1, London, where it was displayed until 2015. It was sold in 2016 and in 2018, the Maas Gallery loaned it to the Historic Croydon Airport Trust to be displayed in the original booking hall of Croydon Airport.

0823_T

British Air Transport (painting)

Focus on British Air Transport (painting) and explain the History.

The painting was commissioned by the British Airports Authority in 1969 to mark the opening of Heathrow Terminal 1, London. It is of oil paint and tempera on three plywood panels of 1.55 metres in height and totalling 8.44 metres (27.7 ft) in length. A number of the photographs used to plan the painting were supplied by the Flight photographic library.It was unveiled at Heathrow's Terminal One on 17 April 1969 by Prince Philip, in the presence of Queen Elizabeth II. From 1969 to 2015, it remained on display at the Terminal before being sold by Roseberys of London for £3,800 in 2016. In 2018, it was loaned by the Maas Gallery to the Historic Croydon Airport Trust to be displayed in the original Croydon Airport (now Airport House) booking hall.

0823_NT

British Air Transport (painting)

Focus on this artwork and explain the History.

The painting was commissioned by the British Airports Authority in 1969 to mark the opening of Heathrow Terminal 1, London. It is of oil paint and tempera on three plywood panels of 1.55 metres in height and totalling 8.44 metres (27.7 ft) in length. A number of the photographs used to plan the painting were supplied by the Flight photographic library.It was unveiled at Heathrow's Terminal One on 17 April 1969 by Prince Philip, in the presence of Queen Elizabeth II. From 1969 to 2015, it remained on display at the Terminal before being sold by Roseberys of London for £3,800 in 2016. In 2018, it was loaned by the Maas Gallery to the Historic Croydon Airport Trust to be displayed in the original Croydon Airport (now Airport House) booking hall.

0824_T

British Air Transport (painting)

Explore the Composition of this artwork, British Air Transport (painting).

The painting depicts, from left to right, a chronological sequence of events in the history of British aviation on the London to Paris route (1919–1934).

0824_NT

British Air Transport (painting)

Explore the Composition of this artwork.

The painting depicts, from left to right, a chronological sequence of events in the history of British aviation on the London to Paris route (1919–1934).

0825_T

British Air Transport (painting)

In the context of British Air Transport (painting), discuss the Aircraft of the Composition.

A highly competitive London to Paris route was operated by the Aircraft Transport and Travel (AT&T) company, from Hounslow Heath Aerodrome. AT&T owned Airco de Havilland DH16s, the first aircraft illustrated in the painting. On 25 August 1919, Cyril Patterson, shown in the foreground, flew the first commercial flight to Le Bourget in a DH16 K-130.The dark green aircraft is the converted First World War bomber aircraft, the Handley Page Type O/400 HP-16 (Vulture). In May 1919, it carried eight passengers. Flying above, is a later Handley Page H.P.20.A white Handley Page W8, named the Newcastle (later the Duchess of York), is seen behind and slightly to the right of the green Vulture. It was Handley Page's first civil aircraft with the world's first in-built lavatory and it first flew in November 1919.Next is the blue Vickers Vimy Commercial, City of London. Although it has an open cockpit for the pilot and co-pilot, its 10 passengers were under cover. It also had 300 cubic feet (8.5 m3) of luggage space.Above is the R33-class airship, built in 1918 and based on a wrecked Zeppelin.Following from the Vickers Vimy Commercial is a red de Havilland DH.34 which flew in March 1922, a British single engine biplane owned by Daimler Hire Ltd. A Havilland DH18A can be seen in the background, which first flew in July 1920. Above is the British Marine Air Navigation Company Ltd's Supermarine Sea Eagle flying boat, which flew from March 1923.Also in the air is the Short L.17 Scylla, a biplane designed by the Short Brothers in 1934 at Imperial's request. It had 39 seats and is the painting's most modern feature. Next, on the ground, is a blue Handley Page W10 (City of Pretoria) which first flew in November 1925.Then there is the Armstrong Whitworth Argosy City of Glasgow, operated by Imperial Airways, which first flew in May 1925. It is the aircraft that carried Edward, Prince of Wales, and his brother Prince George from Le Bourget to Windsor Great Park in 1931.At the painting's far right is the Handley Page HP42 Heracles, mostly made of metal and which first flew in August 1931 with the pilot now under cover.

0825_NT

British Air Transport (painting)

In the context of this artwork, discuss the Aircraft of the Composition.

A highly competitive London to Paris route was operated by the Aircraft Transport and Travel (AT&T) company, from Hounslow Heath Aerodrome. AT&T owned Airco de Havilland DH16s, the first aircraft illustrated in the painting. On 25 August 1919, Cyril Patterson, shown in the foreground, flew the first commercial flight to Le Bourget in a DH16 K-130.The dark green aircraft is the converted First World War bomber aircraft, the Handley Page Type O/400 HP-16 (Vulture). In May 1919, it carried eight passengers. Flying above, is a later Handley Page H.P.20.A white Handley Page W8, named the Newcastle (later the Duchess of York), is seen behind and slightly to the right of the green Vulture. It was Handley Page's first civil aircraft with the world's first in-built lavatory and it first flew in November 1919.Next is the blue Vickers Vimy Commercial, City of London. Although it has an open cockpit for the pilot and co-pilot, its 10 passengers were under cover. It also had 300 cubic feet (8.5 m3) of luggage space.Above is the R33-class airship, built in 1918 and based on a wrecked Zeppelin.Following from the Vickers Vimy Commercial is a red de Havilland DH.34 which flew in March 1922, a British single engine biplane owned by Daimler Hire Ltd. A Havilland DH18A can be seen in the background, which first flew in July 1920. Above is the British Marine Air Navigation Company Ltd's Supermarine Sea Eagle flying boat, which flew from March 1923.Also in the air is the Short L.17 Scylla, a biplane designed by the Short Brothers in 1934 at Imperial's request. It had 39 seats and is the painting's most modern feature. Next, on the ground, is a blue Handley Page W10 (City of Pretoria) which first flew in November 1925.Then there is the Armstrong Whitworth Argosy City of Glasgow, operated by Imperial Airways, which first flew in May 1925. It is the aircraft that carried Edward, Prince of Wales, and his brother Prince George from Le Bourget to Windsor Great Park in 1931.At the painting's far right is the Handley Page HP42 Heracles, mostly made of metal and which first flew in August 1931 with the pilot now under cover.

0826_T

British Air Transport (painting)

In British Air Transport (painting), how is the People of the Composition elucidated?

A number of well known aviators are depicted in the painting, including Sir Alan Cobham. A man identical to a description of the first pilot to circumnavigate the world via flight, Wiley Post, is seen in the centre of the painting.Other people in the painting are: George Holt Thomas – aviation industry pioneer and newspaper proprietor. Frederick Handley Page – founded Handley Page Limited in 1919. The Instone brothers (Samuel, Alfred and Theodore) – established the Instone Airline. Walter G. R. Hinchliffe – Royal Air Force flying ace of the First World War who died during his 1927 transatlantic flight attempt. Sir Eric Geddes – Chairman of Imperial Airways, 1924–1937. Hubert Scott-Paine – founded the Supermarine Aviation Works and was later a director of Imperial Airways. Lord Thomson of Cardington – British Secretary of State for Air, 1924 and 1930. Sefton Brancker – senior officer of the Royal Flying Corps and later the Royal Air Force.

0826_NT

British Air Transport (painting)

In this artwork, how is the People of the Composition elucidated?

A number of well known aviators are depicted in the painting, including Sir Alan Cobham. A man identical to a description of the first pilot to circumnavigate the world via flight, Wiley Post, is seen in the centre of the painting.Other people in the painting are: George Holt Thomas – aviation industry pioneer and newspaper proprietor. Frederick Handley Page – founded Handley Page Limited in 1919. The Instone brothers (Samuel, Alfred and Theodore) – established the Instone Airline. Walter G. R. Hinchliffe – Royal Air Force flying ace of the First World War who died during his 1927 transatlantic flight attempt. Sir Eric Geddes – Chairman of Imperial Airways, 1924–1937. Hubert Scott-Paine – founded the Supermarine Aviation Works and was later a director of Imperial Airways. Lord Thomson of Cardington – British Secretary of State for Air, 1924 and 1930. Sefton Brancker – senior officer of the Royal Flying Corps and later the Royal Air Force.

0827_T

British Air Transport (painting)

In the context of British Air Transport (painting), analyze the Structures of the Composition.

From left to right, the painting shows progression from Hounslow Heath Aerodrome's apron and hangars in 1919, then the old wooden air traffic control tower of the first Croydon Aerodrome (1920–1928), on Plough Lane, Wallington. To the right of the centre is the later air traffic control tower at Croydon Aerodrome on Purley Way (1928–1959), and further to the right are its hangars.

0827_NT

British Air Transport (painting)

In the context of this artwork, analyze the Structures of the Composition.

From left to right, the painting shows progression from Hounslow Heath Aerodrome's apron and hangars in 1919, then the old wooden air traffic control tower of the first Croydon Aerodrome (1920–1928), on Plough Lane, Wallington. To the right of the centre is the later air traffic control tower at Croydon Aerodrome on Purley Way (1928–1959), and further to the right are its hangars.

0828_T

The Promised Land (sculpture)

In The Promised Land (sculpture), how is the Description and history discussed?

The Promised Land is a bronze sculpture depicting a pioneer family, including a father, mother and son, at the end of their journey. It was commissioned by the Oregon Trail Coordinating Council for $150,000 to commemorate the 150th anniversary of the Oregon Trail. The sculpture measures approximately 10 feet (3.0 m) x 5.5 feet (1.7 m) x 5.5 feet (1.7 m). The Smithsonian Institution offers the following description:Standing figures of a pioneer family, circa 1843. The parents stand to the back and their son stands between them in front. The father is bearded and wearing a long-sleeve shirt, trousers with suspenders and mid-calf boots. He points with his proper right hand and his proper left arm is around his wife, who wears a long prairie dress shawl, and apron. Her hair is in a bun, and she holds a doll to her chest in her proper left hand. The boy wears trousers with suspenders and his shirt sleeves are rolled up. He holds a Bible in his proper right hand, against his proper right leg. A wagon wheel and leaning rifle stand behind the father figure. The sculpture was completed and copyrighted in 1993, and dedicated on March 17 of that year. According to the Smithsonian, which surveyed the work through its "Save Outdoor Sculpture!" program in October 1993, the sculpture was located at the Oregon History Center at 1200 Southeast Park Avenue and was administered by the Oregon Trail Coordinating Council. It was set on a laminated board base which measured approximately 2.5 feet (0.76 m) x 7 feet (2.1 m) x 6 feet (1.8 m) and weighed 3,000 lbs., and was considered "well maintained" at the time of the survey.The sculpture was installed at Chapman Square, one of the Plaza Blocks, and rested on a red granite slab which contains an inscription of a quote by Thomas Jefferson. The plaza in front of the sculpture has sandblasted black bear, coyote, elk, grouse, jackrabbit, black bear and porcupine footprints, plus moccasin prints.Portland's art commission objected to the statue as culturally insensitive at the time of its installation, arguing that its celebration of white settlers excluded other groups present in Oregon at the time and criticizing what they described as a lack of artistic merit. The Oregon Trail Coordinating Council, who had commissioned the piece, responded that works representing other groups were in progress.

0828_NT

The Promised Land (sculpture)

In this artwork, how is the Description and history discussed?

The Promised Land is a bronze sculpture depicting a pioneer family, including a father, mother and son, at the end of their journey. It was commissioned by the Oregon Trail Coordinating Council for $150,000 to commemorate the 150th anniversary of the Oregon Trail. The sculpture measures approximately 10 feet (3.0 m) x 5.5 feet (1.7 m) x 5.5 feet (1.7 m). The Smithsonian Institution offers the following description:Standing figures of a pioneer family, circa 1843. The parents stand to the back and their son stands between them in front. The father is bearded and wearing a long-sleeve shirt, trousers with suspenders and mid-calf boots. He points with his proper right hand and his proper left arm is around his wife, who wears a long prairie dress shawl, and apron. Her hair is in a bun, and she holds a doll to her chest in her proper left hand. The boy wears trousers with suspenders and his shirt sleeves are rolled up. He holds a Bible in his proper right hand, against his proper right leg. A wagon wheel and leaning rifle stand behind the father figure. The sculpture was completed and copyrighted in 1993, and dedicated on March 17 of that year. According to the Smithsonian, which surveyed the work through its "Save Outdoor Sculpture!" program in October 1993, the sculpture was located at the Oregon History Center at 1200 Southeast Park Avenue and was administered by the Oregon Trail Coordinating Council. It was set on a laminated board base which measured approximately 2.5 feet (0.76 m) x 7 feet (2.1 m) x 6 feet (1.8 m) and weighed 3,000 lbs., and was considered "well maintained" at the time of the survey.The sculpture was installed at Chapman Square, one of the Plaza Blocks, and rested on a red granite slab which contains an inscription of a quote by Thomas Jefferson. The plaza in front of the sculpture has sandblasted black bear, coyote, elk, grouse, jackrabbit, black bear and porcupine footprints, plus moccasin prints.Portland's art commission objected to the statue as culturally insensitive at the time of its installation, arguing that its celebration of white settlers excluded other groups present in Oregon at the time and criticizing what they described as a lack of artistic merit. The Oregon Trail Coordinating Council, who had commissioned the piece, responded that works representing other groups were in progress.

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The Promised Land (sculpture)

Focus on The Promised Land (sculpture) and explore the Vandalism and removal.

The artwork was vandalized during the local George Floyd protests, and later removed and stored out of public view.In June 2023, the Mellon Foundation awarded the city of Portland and Lewis & Clark College a joint grant to hold public talks about the possible restoration of "The Promised Land" and other statues removed during the Floyd protests.

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The Promised Land (sculpture)

Focus on this artwork and explore the Vandalism and removal.

The artwork was vandalized during the local George Floyd protests, and later removed and stored out of public view.In June 2023, the Mellon Foundation awarded the city of Portland and Lewis & Clark College a joint grant to hold public talks about the possible restoration of "The Promised Land" and other statues removed during the Floyd protests.

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The Pioneer (Eugene, Oregon)

Focus on The Pioneer (Eugene, Oregon) and explain the abstract.

The Pioneer is a thirteen-foot-tall bronze sculpture formerly located on the University of Oregon campus in Eugene, Oregon, United States. It was the artistic work of Alexander Phimister Proctor, commissioned by Joseph Nathan Teal, a Portland attorney. A ceremony celebrated its unveiling on May 22, 1919. It included attendance from persons all across the state, the majority of enrolled students, and a special section of the crowd was reserved for the remaining settlers. T. G. Hendricks and his granddaughter removed the canvas cover, unveiling the statue. As of June 13, 2020, the statue is no longer standing on the University of Oregon campus.

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The Pioneer (Eugene, Oregon)

Focus on this artwork and explain the abstract.

The Pioneer is a thirteen-foot-tall bronze sculpture formerly located on the University of Oregon campus in Eugene, Oregon, United States. It was the artistic work of Alexander Phimister Proctor, commissioned by Joseph Nathan Teal, a Portland attorney. A ceremony celebrated its unveiling on May 22, 1919. It included attendance from persons all across the state, the majority of enrolled students, and a special section of the crowd was reserved for the remaining settlers. T. G. Hendricks and his granddaughter removed the canvas cover, unveiling the statue. As of June 13, 2020, the statue is no longer standing on the University of Oregon campus.

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The Pioneer (Eugene, Oregon)

Explore the Creation and design of this artwork, The Pioneer (Eugene, Oregon).

The Pioneer was a long time in the making. Proctor had completed sculptures of settler groups, but he searched for a model that would "typify the real spirit of the West." After a ten-year search, he found the image in J. C. Cravens, an "old trapper bewhiskered without a haircut heavy boots thick plants a buckskin coat carrying his rifle and leading a nag." Once he had this model, Proctor took the idea to Portland lawyer and businessman Joseph Teal, who commissioned the sculpture. It was the first statue placed on the University of Oregon campus.The Pioneer is about ruggedness and movement. In form, the sculpture follows attributes of the model, with him being portrayed in similar garb, with a full beard and a rifle slung over his shoulder. His body language is proud, as seen in the set of his shoulders and the level of his chin. Further, his open stance implies movement, with his eyes gazing forward and his weight seeming to be in the process of shifting from one foot to the next. The natural, hard organic sentiment flows all the way to his rock pedestal. The basalt was "one that had weathered many storms and had been tossed about by the river currents yet enduring ... [Proctor] thought it was in keeping with the ideals of the Pioneer who had weathered similar storms."

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The Pioneer (Eugene, Oregon)

Explore the Creation and design of this artwork.

The Pioneer was a long time in the making. Proctor had completed sculptures of settler groups, but he searched for a model that would "typify the real spirit of the West." After a ten-year search, he found the image in J. C. Cravens, an "old trapper bewhiskered without a haircut heavy boots thick plants a buckskin coat carrying his rifle and leading a nag." Once he had this model, Proctor took the idea to Portland lawyer and businessman Joseph Teal, who commissioned the sculpture. It was the first statue placed on the University of Oregon campus.The Pioneer is about ruggedness and movement. In form, the sculpture follows attributes of the model, with him being portrayed in similar garb, with a full beard and a rifle slung over his shoulder. His body language is proud, as seen in the set of his shoulders and the level of his chin. Further, his open stance implies movement, with his eyes gazing forward and his weight seeming to be in the process of shifting from one foot to the next. The natural, hard organic sentiment flows all the way to his rock pedestal. The basalt was "one that had weathered many storms and had been tossed about by the river currents yet enduring ... [Proctor] thought it was in keeping with the ideals of the Pioneer who had weathered similar storms."

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The Pioneer (Eugene, Oregon)

Focus on The Pioneer (Eugene, Oregon) and discuss the Location.

The statue's location was chosen deliberately--both in its general location and in its specific position. The bronze was cast from a plaster form in Rhode Island and its trip to Oregon took over a month by train. When Proctor gave his presentation address of the sculpture he said:"It is sufficient to say that here the Willamette and McKenzie rivers join their waters into one grand channel and create this beautiful valley, the paradise to which the pioneer struggled over great mountains and across desert plains to which he first came in numbers, and in which he made home. No more fitting place than the campus of University of Oregon could be found for the memorial."A committee including Mr. and Mrs. Teal, Dean Ellis F. Lawrence, and Irene Hazard Gerlinger chose the statue's exact physical location. It was placed within the Oregon fir trees facing the Administrative Building between the library (Fenton Hall) and Friendly Hall on the University of Oregon campus. The statue was situated facing southward, as requested by the artist, to ensure that the figure's front received as much natural light exposure as possible.

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The Pioneer (Eugene, Oregon)

Focus on this artwork and discuss the Location.

The statue's location was chosen deliberately--both in its general location and in its specific position. The bronze was cast from a plaster form in Rhode Island and its trip to Oregon took over a month by train. When Proctor gave his presentation address of the sculpture he said:"It is sufficient to say that here the Willamette and McKenzie rivers join their waters into one grand channel and create this beautiful valley, the paradise to which the pioneer struggled over great mountains and across desert plains to which he first came in numbers, and in which he made home. No more fitting place than the campus of University of Oregon could be found for the memorial."A committee including Mr. and Mrs. Teal, Dean Ellis F. Lawrence, and Irene Hazard Gerlinger chose the statue's exact physical location. It was placed within the Oregon fir trees facing the Administrative Building between the library (Fenton Hall) and Friendly Hall on the University of Oregon campus. The statue was situated facing southward, as requested by the artist, to ensure that the figure's front received as much natural light exposure as possible.

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The Pioneer (Eugene, Oregon)

How does The Pioneer (Eugene, Oregon) elucidate its Naming?

When this sculpture was created and placed its official name was The Pioneer, not The Pioneer Father. The name "Pioneer Father" only came about after the intentions of the creation of the Pioneer Mother was made public in the late 1920s; it was an edit that provided a means to distinguish between the two sculptures. However, with this change, the original intent was misconstrued or lost altogether. When The Pioneer was unveiled, Joseph Teal said:"This statue is erected and dedicated to the memory of all Oregon pioneers. It is in no sense personal or individual and it is my earnest wish and hope that this fact may ever be kept in mind." "The pioneer represents all that noblest and best in our history. The men and women who saved the west for this country were animated by the highest motives. They made untold sacrifices and endured hardships of every kind in order that their children might enjoy the fruits of their labor."At the 1919 dedication, the President of the Oregon Historical Society extolled the virtues of the Anglo-Saxon race, stating,"the Anglo-Saxon race is a branch of the Teutonic race. It was and is a liberty-loving race. It believes in the protection of life and of liberty an in the rights of property and the pursuit of happiness. This race has large powers of assimilation, and its great ideas of liberty and of the rights of mankind caused other races to become a part of it, so it became a people as well as a race."It was designed to be a memorial for all Oregon settlers, men and women alike. Marc Carpenter, who researched the history of the statue in 2018, stated, "A monument is a celebration. Monuments innately celebrate that which they depict. So, to me, it feels very similar to the confederate monuments that speckled a large part of the rest of the country. It’s a monument to violence and white supremacy."

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The Pioneer (Eugene, Oregon)

How does this artwork elucidate its Naming?

When this sculpture was created and placed its official name was The Pioneer, not The Pioneer Father. The name "Pioneer Father" only came about after the intentions of the creation of the Pioneer Mother was made public in the late 1920s; it was an edit that provided a means to distinguish between the two sculptures. However, with this change, the original intent was misconstrued or lost altogether. When The Pioneer was unveiled, Joseph Teal said:"This statue is erected and dedicated to the memory of all Oregon pioneers. It is in no sense personal or individual and it is my earnest wish and hope that this fact may ever be kept in mind." "The pioneer represents all that noblest and best in our history. The men and women who saved the west for this country were animated by the highest motives. They made untold sacrifices and endured hardships of every kind in order that their children might enjoy the fruits of their labor."At the 1919 dedication, the President of the Oregon Historical Society extolled the virtues of the Anglo-Saxon race, stating,"the Anglo-Saxon race is a branch of the Teutonic race. It was and is a liberty-loving race. It believes in the protection of life and of liberty an in the rights of property and the pursuit of happiness. This race has large powers of assimilation, and its great ideas of liberty and of the rights of mankind caused other races to become a part of it, so it became a people as well as a race."It was designed to be a memorial for all Oregon settlers, men and women alike. Marc Carpenter, who researched the history of the statue in 2018, stated, "A monument is a celebration. Monuments innately celebrate that which they depict. So, to me, it feels very similar to the confederate monuments that speckled a large part of the rest of the country. It’s a monument to violence and white supremacy."

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The Pioneer (Eugene, Oregon)

Focus on The Pioneer (Eugene, Oregon) and analyze the History.

In a 1928 newspaper article, the statue was described as standing "in the center of the campus", and depicting "the pioneer spirit of the West". In 1929, the statue was guarded against vandalism, along with other Eugene landmarks, prior to the homecoming football game rivalry with Oregon State University. An editorial in the Eugene Guard in 1931 mentioned, in the context of the in-state rivalry: "Orange paint of the hue so popular in the vicinity of Corvallis daubs the pavements at the University, the big 'O' on Skinner's Butte, even the famous Pioneer statue."In 1963, describing "Goblin antics", the Eugene Guard reported, "Someone took the Halloween occasion Thursday night to decorate the Pioneer Father statue on the University of Oregon campus. Arrows 'protruded' from his body and a tomahawk was 'imbedded' in his head."

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The Pioneer (Eugene, Oregon)

Focus on this artwork and analyze the History.

In a 1928 newspaper article, the statue was described as standing "in the center of the campus", and depicting "the pioneer spirit of the West". In 1929, the statue was guarded against vandalism, along with other Eugene landmarks, prior to the homecoming football game rivalry with Oregon State University. An editorial in the Eugene Guard in 1931 mentioned, in the context of the in-state rivalry: "Orange paint of the hue so popular in the vicinity of Corvallis daubs the pavements at the University, the big 'O' on Skinner's Butte, even the famous Pioneer statue."In 1963, describing "Goblin antics", the Eugene Guard reported, "Someone took the Halloween occasion Thursday night to decorate the Pioneer Father statue on the University of Oregon campus. Arrows 'protruded' from his body and a tomahawk was 'imbedded' in his head."

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The Pioneer (Eugene, Oregon)

In The Pioneer (Eugene, Oregon), how is the Removal discussed?

The statue was vandalized in April 2019; it was painted red both in the groin area and on the whip. Then on May 20, 2019--the hundredth anniversary of the statue's installation--students from the Native American Students Union held a protest, calling for the Pioneer to be removed due to the experience of Native American peoples of Oregon. Michael Schill, who was President of UO at the time, created a committee with the charge "to make recommendations to balance the representation of history on campus to include people of diverse backgrounds".On June 13, 2020, following a rally at Deady Hall (renamed University Hall on June 24), a group of unknown individuals pulled down and vandalized the statue and moved it to the front steps of Johnson Hall, also toppling and defacing The Pioneer Mother. On June 14, the university put both statues into storage.

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The Pioneer (Eugene, Oregon)

In this artwork, how is the Removal discussed?

The statue was vandalized in April 2019; it was painted red both in the groin area and on the whip. Then on May 20, 2019--the hundredth anniversary of the statue's installation--students from the Native American Students Union held a protest, calling for the Pioneer to be removed due to the experience of Native American peoples of Oregon. Michael Schill, who was President of UO at the time, created a committee with the charge "to make recommendations to balance the representation of history on campus to include people of diverse backgrounds".On June 13, 2020, following a rally at Deady Hall (renamed University Hall on June 24), a group of unknown individuals pulled down and vandalized the statue and moved it to the front steps of Johnson Hall, also toppling and defacing The Pioneer Mother. On June 14, the university put both statues into storage.

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Sabado por la Noche

Focus on Sabado por la Noche and explore the abstract.

Sabado por la Noche (English: Saturday Night) is a painting created by American artist Jean-Michel Basquiat in 1984. It sold for $10.7 million at Christie's in 2019.

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Sabado por la Noche

Focus on this artwork and explore the abstract.

Sabado por la Noche (English: Saturday Night) is a painting created by American artist Jean-Michel Basquiat in 1984. It sold for $10.7 million at Christie's in 2019.

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Sabado por la Noche

Focus on Sabado por la Noche and explain the Exhibitions.

The painting has been exhibited at the following art institutions:Jean-Michel Basquiat: Une Rétrospective at Musée Cantini in Marseille, July–September 1992.

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Sabado por la Noche

Focus on this artwork and explain the Exhibitions.

The painting has been exhibited at the following art institutions:Jean-Michel Basquiat: Une Rétrospective at Musée Cantini in Marseille, July–September 1992.

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Coalbrookdale by Night

Explore the abstract of this artwork, Coalbrookdale by Night.

Coalbrookdale by Night is an 1801 oil painting by Philip James de Loutherbourg.The painting depicts the Madeley Wood (or Bedlam) Furnaces, which belonged to the Coalbrookdale Company from 1776 to 1796. The picture has come to symbolize the birth of the Industrial Revolution in the Ironbridge Gorge, Shropshire, England. It is held in the collections of the Science Museum in London. Loutherbourg undertook tours of England and Wales during 1786 and 1800, observing industrial activity at the time. Coalbrookdale by Night provides a view of the Bedlam Furnaces in Madeley Dale, downstream along the River Severn from the town of Ironbridge itself.

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Coalbrookdale by Night

Explore the abstract of this artwork.

Coalbrookdale by Night is an 1801 oil painting by Philip James de Loutherbourg.The painting depicts the Madeley Wood (or Bedlam) Furnaces, which belonged to the Coalbrookdale Company from 1776 to 1796. The picture has come to symbolize the birth of the Industrial Revolution in the Ironbridge Gorge, Shropshire, England. It is held in the collections of the Science Museum in London. Loutherbourg undertook tours of England and Wales during 1786 and 1800, observing industrial activity at the time. Coalbrookdale by Night provides a view of the Bedlam Furnaces in Madeley Dale, downstream along the River Severn from the town of Ironbridge itself.

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Farm with Stacks of Peat

Focus on Farm with Stacks of Peat and discuss the abstract.

Farm with Stacks of Peat is an oil painting created by Vincent van Gogh in October or November 1883, early in his artistic career, and which is now in the collection of the Van Gogh Museum, Amsterdam. It was painted near the village of Nieuw-Amsterdam during the artist's short stay at Drenthe in the northern Netherlands.

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Farm with Stacks of Peat

Focus on this artwork and discuss the abstract.

Farm with Stacks of Peat is an oil painting created by Vincent van Gogh in October or November 1883, early in his artistic career, and which is now in the collection of the Van Gogh Museum, Amsterdam. It was painted near the village of Nieuw-Amsterdam during the artist's short stay at Drenthe in the northern Netherlands.

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Broadway Boogie Woogie

How does Broadway Boogie Woogie elucidate its abstract?

Broadway Boogie Woogie is a painting by Piet Mondrian completed in 1943, after he had moved to New York in 1940. Compared to his earlier work, the canvas is divided into many more squares. Although he spent most of his career creating abstract work, this painting is inspired by clear real-world examples: the city grid of Manhattan, and boogie-woogie, an African-American Blues music Mondrian loved. The painting was bought by the Brazilian sculptor Maria Martins for the price of $800 at the Valentine Gallery in New York City, after Martins and Mondrian both exhibited there in 1943. Martins later donated the painting to the Museum of Modern Art in New York City.

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Broadway Boogie Woogie

How does this artwork elucidate its abstract?

Broadway Boogie Woogie is a painting by Piet Mondrian completed in 1943, after he had moved to New York in 1940. Compared to his earlier work, the canvas is divided into many more squares. Although he spent most of his career creating abstract work, this painting is inspired by clear real-world examples: the city grid of Manhattan, and boogie-woogie, an African-American Blues music Mondrian loved. The painting was bought by the Brazilian sculptor Maria Martins for the price of $800 at the Valentine Gallery in New York City, after Martins and Mondrian both exhibited there in 1943. Martins later donated the painting to the Museum of Modern Art in New York City.

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Broadway Boogie Woogie

Focus on Broadway Boogie Woogie and analyze the Analysis.

When Piet Mondrian arrived in New York he became fond of the neat, rigid architecture. He integrated the mood and tone of jazz into this work. Mondrian called it the “destruction of natural appearance; and construction through continuous opposition of pure means - dynamic rhythm.”

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Broadway Boogie Woogie

Focus on this artwork and analyze the Analysis.

When Piet Mondrian arrived in New York he became fond of the neat, rigid architecture. He integrated the mood and tone of jazz into this work. Mondrian called it the “destruction of natural appearance; and construction through continuous opposition of pure means - dynamic rhythm.”

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Rhythms (Delaunay)

In Rhythms (Delaunay), how is the abstract discussed?

Rhythms (French: Rythmes) is an oil on canvas painting by the French artist Robert Delaunay, from 1934. It is part of the collection of the Musée National d'Art Moderne, in Paris.The painting was inspired by the round shapes that marked the return of the artist to orphism and study of harmony in painting.

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Rhythms (Delaunay)

In this artwork, how is the abstract discussed?

Rhythms (French: Rythmes) is an oil on canvas painting by the French artist Robert Delaunay, from 1934. It is part of the collection of the Musée National d'Art Moderne, in Paris.The painting was inspired by the round shapes that marked the return of the artist to orphism and study of harmony in painting.

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Walk Like a River

Focus on Walk Like a River and explore the Description.

The elements of Walk Like a River are made of open bronze cages filled with fist-sized glacial stones in a variety of natural shapes and colors. Drop is one large round form, Gather is five round forms of varying sizes stacked together, and Flow is shaped like a wave or squiggle with squared-off ends.

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Walk Like a River

Focus on this artwork and explore the Description.

The elements of Walk Like a River are made of open bronze cages filled with fist-sized glacial stones in a variety of natural shapes and colors. Drop is one large round form, Gather is five round forms of varying sizes stacked together, and Flow is shaped like a wave or squiggle with squared-off ends.

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Walk Like a River

Focus on Walk Like a River and explain the Historical information.

The works are arrayed throughout the neighborhood portion of Riverside Park, creating a path between N. Oakland Avenue and the Urban Ecology Center. According to the Riverwest Currents, the Urban Ecology Center's goal was to install artwork that would create a pathway to its new building in the southwest corner of Riverside Park. The Milwaukee Arts Board, Murph Burke, and Mary L. Nohl Fund of the Greater Milwaukee Foundation contributed financial support to the project.

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Walk Like a River

Focus on this artwork and explain the Historical information.

The works are arrayed throughout the neighborhood portion of Riverside Park, creating a path between N. Oakland Avenue and the Urban Ecology Center. According to the Riverwest Currents, the Urban Ecology Center's goal was to install artwork that would create a pathway to its new building in the southwest corner of Riverside Park. The Milwaukee Arts Board, Murph Burke, and Mary L. Nohl Fund of the Greater Milwaukee Foundation contributed financial support to the project.

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Walk Like a River

Explore the Artist of this artwork, Walk Like a River.

Peter Flanary grew up in the Milwaukee area, and currently has a studio in Mineral Point, Wisconsin. He was a part-time lecturer in the art department at the University of Wisconsin-Madison His work frequently incorporates rocks and other environmental objects. His creation process is rarely direct. "He tries to grasp the space in its complexity and wants to create something that can be remarked on by people." "He likes material and form and works to have his piece support and work in its environment, growing out of, rather than intruding into the landscape."Flanary's work is all over Wisconsin, including three pieces at the Urban Ecology Center in Milwaukee.

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Walk Like a River

Explore the Artist of this artwork.

Peter Flanary grew up in the Milwaukee area, and currently has a studio in Mineral Point, Wisconsin. He was a part-time lecturer in the art department at the University of Wisconsin-Madison His work frequently incorporates rocks and other environmental objects. His creation process is rarely direct. "He tries to grasp the space in its complexity and wants to create something that can be remarked on by people." "He likes material and form and works to have his piece support and work in its environment, growing out of, rather than intruding into the landscape."Flanary's work is all over Wisconsin, including three pieces at the Urban Ecology Center in Milwaukee.

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The Nativity (Victor)

Focus on The Nativity (Victor) and discuss the abstract.

The Nativity is an egg tempera painting by Victor. Victor is sometimes referred to as Victor of Crete. Victor was active from 1645 to 1696. He traveled all over the Venetian empire. He settled in Zakinthos. Some of his important works can be found in the church San Giorgio dei Greci in Venice. He is a very important Greek painter because of his existing catalog. His works of art exceed ninety-five paintings. One of his notable works was his version of Christ the Vine.The Nativity is one of the most important symbols of Christianity. The subject has been depicted countless times by both Greek and Italian artists since the inception of the new religion. Proto-Renaissance paintings and Cretan art share common characteristics. Greek painters continued painting in the traditional Greek-Italian Byzantine style. The style became known as the maniera greca. The phrase was coined by art critic and painter Giorgio Vasari. He wrote the famous book the Lives of the Most Excellent Painters, Sculptors, and Architects. . It was one of the first post-classical European terms for style in art.By the 1500s both Greek and Italian patrons preferred the manner to the Italian Renaissance style because they desired traditional art. Greek painting workshops in Crete mass-produced different versions of icons in the style. Some artists signed their work and added their own unique characteristics. Victor's nativity is a mixture of the traditional style and Venetian painting. Duccio completed a similar work. Greek painter Konstantinos Tzanes also created a similar version in the same style. An unknown Cretan painter completed a mixed version of the work sometime in the 1500s. One of the most prolific painters of the Cretan School Michael Damaskinos also created a more modern complex version of the subject known as the Adoration of the Kings. The Nativity by Victor is part of the collection of the National Gallery of Victoria in Australia.

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The Nativity (Victor)

Focus on this artwork and discuss the abstract.

The Nativity is an egg tempera painting by Victor. Victor is sometimes referred to as Victor of Crete. Victor was active from 1645 to 1696. He traveled all over the Venetian empire. He settled in Zakinthos. Some of his important works can be found in the church San Giorgio dei Greci in Venice. He is a very important Greek painter because of his existing catalog. His works of art exceed ninety-five paintings. One of his notable works was his version of Christ the Vine.The Nativity is one of the most important symbols of Christianity. The subject has been depicted countless times by both Greek and Italian artists since the inception of the new religion. Proto-Renaissance paintings and Cretan art share common characteristics. Greek painters continued painting in the traditional Greek-Italian Byzantine style. The style became known as the maniera greca. The phrase was coined by art critic and painter Giorgio Vasari. He wrote the famous book the Lives of the Most Excellent Painters, Sculptors, and Architects. . It was one of the first post-classical European terms for style in art.By the 1500s both Greek and Italian patrons preferred the manner to the Italian Renaissance style because they desired traditional art. Greek painting workshops in Crete mass-produced different versions of icons in the style. Some artists signed their work and added their own unique characteristics. Victor's nativity is a mixture of the traditional style and Venetian painting. Duccio completed a similar work. Greek painter Konstantinos Tzanes also created a similar version in the same style. An unknown Cretan painter completed a mixed version of the work sometime in the 1500s. One of the most prolific painters of the Cretan School Michael Damaskinos also created a more modern complex version of the subject known as the Adoration of the Kings. The Nativity by Victor is part of the collection of the National Gallery of Victoria in Australia.

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The Nativity (Victor)

How does The Nativity (Victor) elucidate its History?

The work of art consists of tempera and gold leaf. It follows the traditional Greek Italian Byzantine manner. The height is 22.3 in (56.6 cm) and the width is 16.1 in (40.8 cm). The work was completed sometime in the late 17th century possibly on the island of Zakynthos. The work is part of the Late Cretan School. Victor followed the traditional lines frequently used by Proto-Renaissance painters. Countless patrons preferred the style. The Madonna follows the traditional Greek Byzantine style it shares similar characteristics with Duccio's masterpiece. A shepherd visits Joseph in the lower left-hand corner of the work. He is troubled because his child was born in a barn. A maiden to the right of the Joseph figure is cleaning Jesus near a bucket full of water. In the center of the work, the Virgin Mary is painted following the lines of the Greek-Italian traditional Byzantine style. The painter employs complex lines and shading to visually portray her heavenly robe. The Virgin looks away from the viewers as if she is troubled. An ox and donkey greet the Christ Child. An angel instructs one of the shepherds in the background. To our left, a cavalry of wealthy Magi are approaching to give gifts to the worried holy couple. The painter attempts to create a multidimensional landscape. The work of art is filled with animals and vegetation and a superlative mountainous environment. An unknown Cretan painter sometime in the 16th century created a similar work and added a more complex landscape but preserved the heavenly figures. Victor's work is an excellent example of traditional Greek Italian Byzantine craftsmanship mixed with Venetian painting.

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The Nativity (Victor)

How does this artwork elucidate its History?

The work of art consists of tempera and gold leaf. It follows the traditional Greek Italian Byzantine manner. The height is 22.3 in (56.6 cm) and the width is 16.1 in (40.8 cm). The work was completed sometime in the late 17th century possibly on the island of Zakynthos. The work is part of the Late Cretan School. Victor followed the traditional lines frequently used by Proto-Renaissance painters. Countless patrons preferred the style. The Madonna follows the traditional Greek Byzantine style it shares similar characteristics with Duccio's masterpiece. A shepherd visits Joseph in the lower left-hand corner of the work. He is troubled because his child was born in a barn. A maiden to the right of the Joseph figure is cleaning Jesus near a bucket full of water. In the center of the work, the Virgin Mary is painted following the lines of the Greek-Italian traditional Byzantine style. The painter employs complex lines and shading to visually portray her heavenly robe. The Virgin looks away from the viewers as if she is troubled. An ox and donkey greet the Christ Child. An angel instructs one of the shepherds in the background. To our left, a cavalry of wealthy Magi are approaching to give gifts to the worried holy couple. The painter attempts to create a multidimensional landscape. The work of art is filled with animals and vegetation and a superlative mountainous environment. An unknown Cretan painter sometime in the 16th century created a similar work and added a more complex landscape but preserved the heavenly figures. Victor's work is an excellent example of traditional Greek Italian Byzantine craftsmanship mixed with Venetian painting.

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Lipstick (Ascending) on Caterpillar Tracks

Focus on Lipstick (Ascending) on Caterpillar Tracks and analyze the abstract.

Lipstick (Ascending) on Caterpillar Tracks is a weathering steel sculpture by Claes Oldenburg. It is located at Morse College Courtyard, at Yale University, in New Haven, Connecticut.

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Lipstick (Ascending) on Caterpillar Tracks

Focus on this artwork and analyze the abstract.

Lipstick (Ascending) on Caterpillar Tracks is a weathering steel sculpture by Claes Oldenburg. It is located at Morse College Courtyard, at Yale University, in New Haven, Connecticut.

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Lipstick (Ascending) on Caterpillar Tracks

In Lipstick (Ascending) on Caterpillar Tracks, how is the History discussed?

Stuart Wrede and a group of fellow Yale architecture students raised money under the name of the Colossal Keepsake Corporation of Connecticut, working in collaboration with Oldenburg, who charged no fee for his work. The piece was installed on the campus on May 15, 1969, in Beinecke Plaza, as a speakers' platform for anti-war protests. (In the autumn of 1969, women were admitted to Yale University, leading some to view the sculpture as a symbol of female empowerment and coeducation.)The original iteration had a soft, inflated lipstick section, and wooden treads. The sculpture deteriorated and was removed by Oldenburg in March 1970. It was redone in weathering steel and fiberglass, and reinstalled at Morse College, on October 17, 1974. As of 2019, Wrede was leading an effort to move the piece back to its original location in Beinecke Plaza.Lipstick (Ascending) on Caterpillar Tracks has been shown at the Guggenheim Museum and National Gallery of Art.

0849_NT

Lipstick (Ascending) on Caterpillar Tracks

In this artwork, how is the History discussed?

Stuart Wrede and a group of fellow Yale architecture students raised money under the name of the Colossal Keepsake Corporation of Connecticut, working in collaboration with Oldenburg, who charged no fee for his work. The piece was installed on the campus on May 15, 1969, in Beinecke Plaza, as a speakers' platform for anti-war protests. (In the autumn of 1969, women were admitted to Yale University, leading some to view the sculpture as a symbol of female empowerment and coeducation.)The original iteration had a soft, inflated lipstick section, and wooden treads. The sculpture deteriorated and was removed by Oldenburg in March 1970. It was redone in weathering steel and fiberglass, and reinstalled at Morse College, on October 17, 1974. As of 2019, Wrede was leading an effort to move the piece back to its original location in Beinecke Plaza.Lipstick (Ascending) on Caterpillar Tracks has been shown at the Guggenheim Museum and National Gallery of Art.

0850_T

John Gubbins Newton and His Sister, Mary Newton

Focus on John Gubbins Newton and His Sister, Mary Newton and explore the abstract.

John Gubbins Newton and His Sister, Mary Newton is an 1833 painting by Robert Burnard. It is now in the Yale Center for British Art, as part of the Paul Mellon collection, where it has the accession number B2001.2.66.

0850_NT

John Gubbins Newton and His Sister, Mary Newton

Focus on this artwork and explore the abstract.

John Gubbins Newton and His Sister, Mary Newton is an 1833 painting by Robert Burnard. It is now in the Yale Center for British Art, as part of the Paul Mellon collection, where it has the accession number B2001.2.66.