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John Gubbins Newton and His Sister, Mary Newton

Focus on John Gubbins Newton and His Sister, Mary Newton and explain the Attribution.

The painting has been attributed to at least three painters. In 1963, Basil Taylor attributed the painting to Jacques-Laurent Agasse. In 1978, Judy Egerton attributed the painting to Scottish portrait and history painter John Zephaniah Bell. When the portrait was cleaned by Lance Mayer for the 2001 exhibition, The Paul Mellon Bequest: Treasures of a Lifetime, a signature ('R. Burnard pinxit') was discovered in the foliage in the upper left corner of the painting. On the basis of the signature, the painting was attributed to Robert Burnard.

0851_NT

John Gubbins Newton and His Sister, Mary Newton

Focus on this artwork and explain the Attribution.

The painting has been attributed to at least three painters. In 1963, Basil Taylor attributed the painting to Jacques-Laurent Agasse. In 1978, Judy Egerton attributed the painting to Scottish portrait and history painter John Zephaniah Bell. When the portrait was cleaned by Lance Mayer for the 2001 exhibition, The Paul Mellon Bequest: Treasures of a Lifetime, a signature ('R. Burnard pinxit') was discovered in the foliage in the upper left corner of the painting. On the basis of the signature, the painting was attributed to Robert Burnard.

0852_T

John Gubbins Newton and His Sister, Mary Newton

Explore the Provenance of this artwork, John Gubbins Newton and His Sister, Mary Newton.

John Gubbins Newton and Mary Newton were the only children of John Newton of Devon. The painting stayed at the Newton’s Millaton House for over a hundred years until 1955, when it was bought by J. Andrews, of Tavistock, Devon. Then it was bought by Cyril Steal who sold it to Jeremy Maas in 1961. Later that same year, Paul Mellon bought it. The painting remained in Mellon's house in Upperville, Virginia until 1999, when it was moved to the Yale Center for British Art in New Haven, Connecticut.

0852_NT

John Gubbins Newton and His Sister, Mary Newton

Explore the Provenance of this artwork.

John Gubbins Newton and Mary Newton were the only children of John Newton of Devon. The painting stayed at the Newton’s Millaton House for over a hundred years until 1955, when it was bought by J. Andrews, of Tavistock, Devon. Then it was bought by Cyril Steal who sold it to Jeremy Maas in 1961. Later that same year, Paul Mellon bought it. The painting remained in Mellon's house in Upperville, Virginia until 1999, when it was moved to the Yale Center for British Art in New Haven, Connecticut.

0853_T

Black Lives Matter street mural (Indianapolis)

Focus on Black Lives Matter street mural (Indianapolis) and discuss the abstract.

The Black Lives Matter street mural in Indianapolis is a large, colorful mural reading "#BLACKLIVESMATTER", with a raised fist, that 18 artists painted across a downtown roadway in August 2020, as part of the George Floyd protests. The mural is located on Indiana Avenue, the historic hub of the city's Black culture, on the same corner as the Madam C. J. Walker Building. 18 individual local African American artists created the artwork, each artist responsible for one of the images in the message, and organized activists working with local Black Lives Matter groups. In contrast to several of the other Black Lives Matter street murals created around the same time, Indianapolis's is not painted in yellow road markings, but instead consists of many different contributions from artists painting in their own distinct style, which comes together as a single artwork.

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Black Lives Matter street mural (Indianapolis)

Focus on this artwork and discuss the abstract.

The Black Lives Matter street mural in Indianapolis is a large, colorful mural reading "#BLACKLIVESMATTER", with a raised fist, that 18 artists painted across a downtown roadway in August 2020, as part of the George Floyd protests. The mural is located on Indiana Avenue, the historic hub of the city's Black culture, on the same corner as the Madam C. J. Walker Building. 18 individual local African American artists created the artwork, each artist responsible for one of the images in the message, and organized activists working with local Black Lives Matter groups. In contrast to several of the other Black Lives Matter street murals created around the same time, Indianapolis's is not painted in yellow road markings, but instead consists of many different contributions from artists painting in their own distinct style, which comes together as a single artwork.

0854_T

Black Lives Matter street mural (Indianapolis)

How does Black Lives Matter street mural (Indianapolis) elucidate its Design?

Indiana Ave is a diagonal street, and the mural is oriented so that it reads left-to-right in the northwest direction. The mural is composed of 18 distinct pieces by different artists in their own style, but that all coalesce in a single work with common thematic elements, such as contrasting colors and geometric shapes. Beyond the Black Lives Matter mural, each of the artists work in different media or subject matter, and many of them do not specialize in street art at all. Artists sketched their work on the pavement using chalk and tape before applying paint, using both rollers and brushes. The mural was created with contributions from 18 artists:#: Jarrod Dortch B: Nathaniel Rhodes L: Rebecca Robinson (PSNOB) A: Amiah Mims C: Billy Hoodoo K: Kevin Wes L: John G. Moore I: Gary Gee V: Deonna Craig E: Rae Parker S: Ess McKee M: Wavy Blayne A: Harriet Watson T: Shane Young (FITZ) T: Israel Solomon E: Shamira Wilson R: Ashley Nora [Fist]: Kenneth Hordge (Fingercreations)Several of the pieces contain words and political messages, such as Kevin Wes' "K", which includes the name Michael Taylor, a Black teenager killed by Indianapolis police in 1987, who was also the artist's cousin. John G. Moore's "L" depicts the word "VOTE" written vertically, next to an image of a ballot and ballot box. Gary Gee's "I" contains an image of Taylor, whose death the artist stated was one of his earliest memories of police violence. Others were more abstract, focusing either on explicit symbols or using shape and color. Kenneth Hordge's raised fist is a scene of African symbolism, with a lion and acacia tree silhouetted in front of a setting sun, beneath the fist's fingers in Pan-African colors. Harriet Watson's "A", with drops of blood, is inspired by Faith Ringgold's The Flag is Bleeding.

0854_NT

Black Lives Matter street mural (Indianapolis)

How does this artwork elucidate its Design?

Indiana Ave is a diagonal street, and the mural is oriented so that it reads left-to-right in the northwest direction. The mural is composed of 18 distinct pieces by different artists in their own style, but that all coalesce in a single work with common thematic elements, such as contrasting colors and geometric shapes. Beyond the Black Lives Matter mural, each of the artists work in different media or subject matter, and many of them do not specialize in street art at all. Artists sketched their work on the pavement using chalk and tape before applying paint, using both rollers and brushes. The mural was created with contributions from 18 artists:#: Jarrod Dortch B: Nathaniel Rhodes L: Rebecca Robinson (PSNOB) A: Amiah Mims C: Billy Hoodoo K: Kevin Wes L: John G. Moore I: Gary Gee V: Deonna Craig E: Rae Parker S: Ess McKee M: Wavy Blayne A: Harriet Watson T: Shane Young (FITZ) T: Israel Solomon E: Shamira Wilson R: Ashley Nora [Fist]: Kenneth Hordge (Fingercreations)Several of the pieces contain words and political messages, such as Kevin Wes' "K", which includes the name Michael Taylor, a Black teenager killed by Indianapolis police in 1987, who was also the artist's cousin. John G. Moore's "L" depicts the word "VOTE" written vertically, next to an image of a ballot and ballot box. Gary Gee's "I" contains an image of Taylor, whose death the artist stated was one of his earliest memories of police violence. Others were more abstract, focusing either on explicit symbols or using shape and color. Kenneth Hordge's raised fist is a scene of African symbolism, with a lion and acacia tree silhouetted in front of a setting sun, beneath the fist's fingers in Pan-African colors. Harriet Watson's "A", with drops of blood, is inspired by Faith Ringgold's The Flag is Bleeding.

0855_T

Black Lives Matter street mural (Indianapolis)

Describe the characteristics of the Indiana Ave in Black Lives Matter street mural (Indianapolis)'s History.

The downtown Indiana Ave. location selected for the street mural is symbolic of both Indianapolis's Black history and its legacy of White supremacy. The street, which runs in a northwest diagonal outward from the city center, began to be populated by Blacks as early as the 1860s. by the early 20th century, it was the clear center of Black culture in the city, with Black-owned business and Black churches dotting the area. Then, beginning in the 1950s, the city of Indianapolis undertook a campaign of uprooting Indiana Ave's Black populace in a forced redevelopment plan that Wildstyle Paschall of New America describes as "ethnic cleansing". Utilizing legal tactics, such as declaring areas blighted and invoking eminent domain, Indianapolis's White leadership took over and demolished swaths of the area in order to make way for the construction of the Indiana University–Purdue University Indianapolis campus, an Indiana University Health medical campus, the downtown section of Interstate 65, and increased parking. This history made the mural's placement a reference to the city's history of racial injustice.

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Black Lives Matter street mural (Indianapolis)

Describe the characteristics of the Indiana Ave in this artwork's History.

The downtown Indiana Ave. location selected for the street mural is symbolic of both Indianapolis's Black history and its legacy of White supremacy. The street, which runs in a northwest diagonal outward from the city center, began to be populated by Blacks as early as the 1860s. by the early 20th century, it was the clear center of Black culture in the city, with Black-owned business and Black churches dotting the area. Then, beginning in the 1950s, the city of Indianapolis undertook a campaign of uprooting Indiana Ave's Black populace in a forced redevelopment plan that Wildstyle Paschall of New America describes as "ethnic cleansing". Utilizing legal tactics, such as declaring areas blighted and invoking eminent domain, Indianapolis's White leadership took over and demolished swaths of the area in order to make way for the construction of the Indiana University–Purdue University Indianapolis campus, an Indiana University Health medical campus, the downtown section of Interstate 65, and increased parking. This history made the mural's placement a reference to the city's history of racial injustice.

0856_T

Black Lives Matter street mural (Indianapolis)

In the context of Black Lives Matter street mural (Indianapolis), explore the Creation of the History.

On June 5, 2020, during the George Floyd protests, the city of Washington, D.C. painted the words "Black Lives Matter" near the White House, and, subsequently, similar messages were painted on streets in many cities, by activists or local governments. Around this time, Indy10, the local Black Lives Matter organizing group in Indianapolis, began planning for the possibility of a street mural in the city. On July 13, 2020, the Indianapolis City-County Council passed a resolution, with 21 of 25 councillors in favor—every Democrat supporting and every Republican opposing—directing the painting of "Black Lives Matter" on Indiana Ave, calling it "an anti-racist message". While the Indianapolis Department of Public Works was tasked with coordinating the painting, the effort was organized by Indy10, and funded with the support of local community organizations, including the Indianapolis Urban League and the Central Indiana Community Foundation. Artists were paid fees for their work by funding provided by Tamika Catchings, Naismith Memorial Basketball Hall of Fame player for the Indiana Fever. Soon after the council resolution, Indy10, working with local arts advocates Stacia Moon, Mali Jeffers and Alan Bacon, put out a call to the community seeking artists for the mural, as well as performers for the event when it would be painted.The mural was painted beginning on the morning of Saturday, August 1, 2020. The weekend of the painting, Indiana Ave was closed, and community groups organized a public festival with speakers, music, and spoken word performances. There was also a reading of names of people who had been killed by police, and involvement from family and community members connected with them. Like the mural, the event was described as not just about police killings, but as reclaiming Indiana Ave for its community and celebrating Black joy. The event was mostly full of supporters, but there were a small number of counter protestors and security was present. Despite Saturday rain, the painting was completed on Sunday.The block of Indiana Ave with the mural was first closed vehicular traffic through Monday, August 3, then extended to Thursday, August 6 to allow time for paint to dry. Eventually, the closure was extended to Labor Day to allow additional time for public viewing.

0856_NT

Black Lives Matter street mural (Indianapolis)

In the context of this artwork, explore the Creation of the History.

On June 5, 2020, during the George Floyd protests, the city of Washington, D.C. painted the words "Black Lives Matter" near the White House, and, subsequently, similar messages were painted on streets in many cities, by activists or local governments. Around this time, Indy10, the local Black Lives Matter organizing group in Indianapolis, began planning for the possibility of a street mural in the city. On July 13, 2020, the Indianapolis City-County Council passed a resolution, with 21 of 25 councillors in favor—every Democrat supporting and every Republican opposing—directing the painting of "Black Lives Matter" on Indiana Ave, calling it "an anti-racist message". While the Indianapolis Department of Public Works was tasked with coordinating the painting, the effort was organized by Indy10, and funded with the support of local community organizations, including the Indianapolis Urban League and the Central Indiana Community Foundation. Artists were paid fees for their work by funding provided by Tamika Catchings, Naismith Memorial Basketball Hall of Fame player for the Indiana Fever. Soon after the council resolution, Indy10, working with local arts advocates Stacia Moon, Mali Jeffers and Alan Bacon, put out a call to the community seeking artists for the mural, as well as performers for the event when it would be painted.The mural was painted beginning on the morning of Saturday, August 1, 2020. The weekend of the painting, Indiana Ave was closed, and community groups organized a public festival with speakers, music, and spoken word performances. There was also a reading of names of people who had been killed by police, and involvement from family and community members connected with them. Like the mural, the event was described as not just about police killings, but as reclaiming Indiana Ave for its community and celebrating Black joy. The event was mostly full of supporters, but there were a small number of counter protestors and security was present. Despite Saturday rain, the painting was completed on Sunday.The block of Indiana Ave with the mural was first closed vehicular traffic through Monday, August 3, then extended to Thursday, August 6 to allow time for paint to dry. Eventually, the closure was extended to Labor Day to allow additional time for public viewing.

0857_T

Black Lives Matter street mural (Indianapolis)

In the context of Black Lives Matter street mural (Indianapolis), explain the Vandalism of the History.

Overnight on the morning of Sunday, August 9, about one week after the mural was completed, it was defaced with white and gray paint splatter across the length of the mural. The Indianapolis Metropolitan Police Department stated that it was investigating the vandalism as a crime. Several of the mural's artists expressed their lack of surprise at the occurrence, and the group of artists and organizers released a statement that "the vandalism that occurred is a visual depiction of what hate looks like." Subsequently, the artists stated their intention to leave the vandalism in place, saying it was demonstrative of the racism the mural was seeking to address.

0857_NT

Black Lives Matter street mural (Indianapolis)

In the context of this artwork, explain the Vandalism of the History.

Overnight on the morning of Sunday, August 9, about one week after the mural was completed, it was defaced with white and gray paint splatter across the length of the mural. The Indianapolis Metropolitan Police Department stated that it was investigating the vandalism as a crime. Several of the mural's artists expressed their lack of surprise at the occurrence, and the group of artists and organizers released a statement that "the vandalism that occurred is a visual depiction of what hate looks like." Subsequently, the artists stated their intention to leave the vandalism in place, saying it was demonstrative of the racism the mural was seeking to address.

0858_T

Statue of Albert Gallatin

Explore the abstract of this artwork, Statue of Albert Gallatin.

Albert Gallatin is a bronze statue by James Earle Fraser. It commemorates Albert Gallatin, who founded New York University and served as United States Secretary of the Treasury. It is located north of the Treasury Building (Washington, D.C.), at 15th Street and Pennsylvania Avenue, N.W. Washington, D.C. It was authorized by Congress on January 11, 1927. It was dedicated on October 15, 1947.The inscription reads: (Base, front:)

0858_NT

Statue of Albert Gallatin

Explore the abstract of this artwork.

Albert Gallatin is a bronze statue by James Earle Fraser. It commemorates Albert Gallatin, who founded New York University and served as United States Secretary of the Treasury. It is located north of the Treasury Building (Washington, D.C.), at 15th Street and Pennsylvania Avenue, N.W. Washington, D.C. It was authorized by Congress on January 11, 1927. It was dedicated on October 15, 1947.The inscription reads: (Base, front:)

0859_T

Gettysburg Cyclorama

Focus on Gettysburg Cyclorama and discuss the abstract.

The Battle of Gettysburg, also known as the Gettysburg Cyclorama, is a cyclorama painting by the French artist Paul Philippoteaux depicting Pickett's Charge, the climactic Confederate attack on the Union forces during the Battle of Gettysburg on July 3, 1863.

0859_NT

Gettysburg Cyclorama

Focus on this artwork and discuss the abstract.

The Battle of Gettysburg, also known as the Gettysburg Cyclorama, is a cyclorama painting by the French artist Paul Philippoteaux depicting Pickett's Charge, the climactic Confederate attack on the Union forces during the Battle of Gettysburg on July 3, 1863.

0860_T

Gettysburg Cyclorama

How does Gettysburg Cyclorama elucidate its Description?

The painting is the work of French artist Paul Dominique Philippoteaux. It depicts Pickett's Charge, the failed infantry assault that was the climax of the Battle of Gettysburg. The painting is a cyclorama, a type of 360° cylindrical painting. The intended effect is to immerse the viewer in the scene being depicted, often with the addition of foreground models and life-sized replicas to enhance the illusion. Among the sites documented in the painting are Cemetery Ridge, the Angle, and the "High-water mark of the Confederacy". The completed original painting was 22 feet (6.7 m) high and 279 feet (85 m) in circumference. The version that hangs in Gettysburg, a recent (2005) restoration of the version created for Boston, is 42 feet (13 m) high and 377 feet (115 m) in circumference.Details of the painting:

0860_NT

Gettysburg Cyclorama

How does this artwork elucidate its Description?

The painting is the work of French artist Paul Dominique Philippoteaux. It depicts Pickett's Charge, the failed infantry assault that was the climax of the Battle of Gettysburg. The painting is a cyclorama, a type of 360° cylindrical painting. The intended effect is to immerse the viewer in the scene being depicted, often with the addition of foreground models and life-sized replicas to enhance the illusion. Among the sites documented in the painting are Cemetery Ridge, the Angle, and the "High-water mark of the Confederacy". The completed original painting was 22 feet (6.7 m) high and 279 feet (85 m) in circumference. The version that hangs in Gettysburg, a recent (2005) restoration of the version created for Boston, is 42 feet (13 m) high and 377 feet (115 m) in circumference.Details of the painting:

0861_T

Gettysburg Cyclorama

Focus on Gettysburg Cyclorama and analyze the Chicago version.

In 1879, the National Panorama Company, led by Charles Louis Willoughby and supported by Marshall Field, Judge Treat, Jefferson Printing Company and an assortment of other capitalists commissioned the artist Paul Dominique Philippoteaux to begin works on a cyclorama of the Battle of Gettysburg. Preparation began in 1880 and by 1883 the National Panorama Company had taken possession of the monumental cyclorama painting which became known as the Gettysburg Cyclorama, Chicago version (so-named for the city in which it was first exhibited). The work opened to the public in Chicago on October 22, 1883, to critical acclaim. General John Gibbon, one of the commanders of the Union forces who repelled Pickett's Charge, was among the veterans of the battle who gave it favorable reviews. So realistic was the painting that many veterans of the war were reported to have wept upon seeing it. Wake Forest University/ Joe King Version (hereinafter WFU version) It was originally believed that Joe King, a Winston-Salem artist tracked down this Chicago version and later donated it to Wake Forest University, where it was then sold to three NC investors before it was donated in 6/2019 to the Civil War and Reconstruction History Center. However, The authors of Gettysburg Cyclorama, The Turning Point of the Civil War on Canvas, Boardman and Brenneman present extensive historical research that concludes that the WFU version is not one of the original four done directly under Philippoteaux's direction, but is rather one done under the direction of Austen, using Philippoteaux's drawings, and with many artists from Philippoteaux's studio. Furthermore, they cite newspaper articles showing that what they believe to be the Chicago version was destroyed in a storm in Omaha in 1894, and they also present evidence that Austen directed the production of the WFU cyclorama in 1905. This WFU version was recently featured on WRAL's Tarheel Traveler program.

0861_NT

Gettysburg Cyclorama

Focus on this artwork and analyze the Chicago version.

In 1879, the National Panorama Company, led by Charles Louis Willoughby and supported by Marshall Field, Judge Treat, Jefferson Printing Company and an assortment of other capitalists commissioned the artist Paul Dominique Philippoteaux to begin works on a cyclorama of the Battle of Gettysburg. Preparation began in 1880 and by 1883 the National Panorama Company had taken possession of the monumental cyclorama painting which became known as the Gettysburg Cyclorama, Chicago version (so-named for the city in which it was first exhibited). The work opened to the public in Chicago on October 22, 1883, to critical acclaim. General John Gibbon, one of the commanders of the Union forces who repelled Pickett's Charge, was among the veterans of the battle who gave it favorable reviews. So realistic was the painting that many veterans of the war were reported to have wept upon seeing it. Wake Forest University/ Joe King Version (hereinafter WFU version) It was originally believed that Joe King, a Winston-Salem artist tracked down this Chicago version and later donated it to Wake Forest University, where it was then sold to three NC investors before it was donated in 6/2019 to the Civil War and Reconstruction History Center. However, The authors of Gettysburg Cyclorama, The Turning Point of the Civil War on Canvas, Boardman and Brenneman present extensive historical research that concludes that the WFU version is not one of the original four done directly under Philippoteaux's direction, but is rather one done under the direction of Austen, using Philippoteaux's drawings, and with many artists from Philippoteaux's studio. Furthermore, they cite newspaper articles showing that what they believe to be the Chicago version was destroyed in a storm in Omaha in 1894, and they also present evidence that Austen directed the production of the WFU cyclorama in 1905. This WFU version was recently featured on WRAL's Tarheel Traveler program.

0862_T

Gettysburg Cyclorama

In Gettysburg Cyclorama, how is the Boston version discussed?

The Chicago exhibition was sufficiently successful to prompt businessman Charles L. Willoughby to commission a second version, which opened in Boston, Massachusetts, on December 22, 1884. From its opening until 1892, approximately 200,000 people viewed the painting. The Boston version was housed in a specially designed building, the Cyclorama Building, on Tremont Street, and was the site of popular public lectures on the battle. Two additional copies of the cyclorama were made: the third was first exhibited in Philadelphia, Pennsylvania, beginning in February 1886 and a fourth debuted in Brooklyn, New York, in October 1886.Many reviewers and visitors agreed with the Boston Daily Advertiser that "it is impossible to tell where reality ends and the painting begins." One veteran, pointing at the painting, said to his friend: "You see that puff of smoke? Just wait a moment till that clears away, and I'll show you just where I stood." In New York, police responding to a report of a nighttime burglary and disoriented by the illusion twice seized dummies representing dead soldiers, convinced that they were live burglars.In 1891, the Boston cyclorama, housed in the Cyclorama Building, was exchanged temporarily with the cyclorama Crucifixion of Christ, also one of Philippoteaux's works When it returned in 1892, it was stored in a 50-foot (15 m) crate behind the exhibition hall, where it was subjected to damage from weather, vandals removing boards from the crate, and two fires. It was eventually purchased in its deteriorated state by Albert J. Hahne of Newark, New Jersey, in 1910. Hahne displayed sections of the cyclorama in his department store in Newark beginning in 1911, and sections were also shown in government buildings in New York City, Baltimore, Maryland, and Washington, D.C. In the Baltimore exhibition, George E. Pickett's widow, "Sallie" Pickett, lectured on her husband's experiences and found herself very moved by the experience. In 1894, Chase & Everhart displayed their Cyclorama of the Battle of Gettysburg during a National Guard encampment at Gettysburg.On September 3, 1912, ground was broken for a new cyclorama building on Baltimore Street in Gettysburg, on Cemetery Hill (on the site of the present day Holiday Inn), near the entrance to the Soldiers' National Cemetery. It opened to the public in 1913, in time for the 50th anniversary of the battle, once again displayed as a full circular painting, rather than in sections. The unheated, leaky brick building took a further toll on the condition of the painting. The Boston cyclorama was purchased by the National Park Service in 1942, and moved to a site on Ziegler's Grove near the new Visitor's Center in 1961, after a second round of restoration.The exhibition remained open to the public until 2005, when it was closed for a third restoration. The $12-million restoration, by Olin Conservation, Inc., of Great Falls, Virginia, started with the 26 sections of the painting and recreated its original shape of 14 panels hung from a circular railing, slightly flared out at the bottom. In the process, some original pieces were found of the 12 circumferential feet that had been cut away. Fourteen vertical feet of sky was also restored.The painting restoration was accompanied by the construction of a facility to house the painting, the new Gettysburg Museum and Visitor Center on Hunt Avenue, located away from any areas in which fighting occurred in 1863. The restored Cyclorama exhibition was reopened to the public in September 2008. The proposed demolition of the old Cyclorama building in Ziegler's Grove was a source of some controversy among history and architecture buffs, with some opposing the destruction of the modernist structure designed by architect Richard Neutra. Nevertheless, it was razed in early 2013, and the site restored to its wartime appearance.

0862_NT

Gettysburg Cyclorama

In this artwork, how is the Boston version discussed?

The Chicago exhibition was sufficiently successful to prompt businessman Charles L. Willoughby to commission a second version, which opened in Boston, Massachusetts, on December 22, 1884. From its opening until 1892, approximately 200,000 people viewed the painting. The Boston version was housed in a specially designed building, the Cyclorama Building, on Tremont Street, and was the site of popular public lectures on the battle. Two additional copies of the cyclorama were made: the third was first exhibited in Philadelphia, Pennsylvania, beginning in February 1886 and a fourth debuted in Brooklyn, New York, in October 1886.Many reviewers and visitors agreed with the Boston Daily Advertiser that "it is impossible to tell where reality ends and the painting begins." One veteran, pointing at the painting, said to his friend: "You see that puff of smoke? Just wait a moment till that clears away, and I'll show you just where I stood." In New York, police responding to a report of a nighttime burglary and disoriented by the illusion twice seized dummies representing dead soldiers, convinced that they were live burglars.In 1891, the Boston cyclorama, housed in the Cyclorama Building, was exchanged temporarily with the cyclorama Crucifixion of Christ, also one of Philippoteaux's works When it returned in 1892, it was stored in a 50-foot (15 m) crate behind the exhibition hall, where it was subjected to damage from weather, vandals removing boards from the crate, and two fires. It was eventually purchased in its deteriorated state by Albert J. Hahne of Newark, New Jersey, in 1910. Hahne displayed sections of the cyclorama in his department store in Newark beginning in 1911, and sections were also shown in government buildings in New York City, Baltimore, Maryland, and Washington, D.C. In the Baltimore exhibition, George E. Pickett's widow, "Sallie" Pickett, lectured on her husband's experiences and found herself very moved by the experience. In 1894, Chase & Everhart displayed their Cyclorama of the Battle of Gettysburg during a National Guard encampment at Gettysburg.On September 3, 1912, ground was broken for a new cyclorama building on Baltimore Street in Gettysburg, on Cemetery Hill (on the site of the present day Holiday Inn), near the entrance to the Soldiers' National Cemetery. It opened to the public in 1913, in time for the 50th anniversary of the battle, once again displayed as a full circular painting, rather than in sections. The unheated, leaky brick building took a further toll on the condition of the painting. The Boston cyclorama was purchased by the National Park Service in 1942, and moved to a site on Ziegler's Grove near the new Visitor's Center in 1961, after a second round of restoration.The exhibition remained open to the public until 2005, when it was closed for a third restoration. The $12-million restoration, by Olin Conservation, Inc., of Great Falls, Virginia, started with the 26 sections of the painting and recreated its original shape of 14 panels hung from a circular railing, slightly flared out at the bottom. In the process, some original pieces were found of the 12 circumferential feet that had been cut away. Fourteen vertical feet of sky was also restored.The painting restoration was accompanied by the construction of a facility to house the painting, the new Gettysburg Museum and Visitor Center on Hunt Avenue, located away from any areas in which fighting occurred in 1863. The restored Cyclorama exhibition was reopened to the public in September 2008. The proposed demolition of the old Cyclorama building in Ziegler's Grove was a source of some controversy among history and architecture buffs, with some opposing the destruction of the modernist structure designed by architect Richard Neutra. Nevertheless, it was razed in early 2013, and the site restored to its wartime appearance.

0863_T

Gettysburg Cyclorama

Focus on Gettysburg Cyclorama and explore the The Benedict "Buck-eye".

A buck-eye cyclorama is a cyclorama painting of the same or roughly the same dimensions as an original, which is a very slavish copy. These were often created cheaply by painters of little skill and almost always with sub-standard materials. Several buck-eye cycloramas were exhibited in the United States during the time when cyclorama paintings were popular attractions, including several copies of the Gettysburg Cyclorama. Once an individual had seen a particular cyclorama, it was unlikely that they would purchase a ticket to revisit it. This meant that the low-quality copies could be exhibited with a very low risk that a ticket holder would request a refund, as they would likely never have seen the original. Tickets could be sold at the same price as the admission to see an original and the exhibitor of a buck-eye could visit the original themselves, obtain copies of all of the pamphlets and promotional materials, and have them cheaply copied for sale alongside the attraction. In fact, copy houses were formed in order to meet the demand for such paintings, one being the Milwaukee Panorama Painters. In 1885 the Milwaukee Panorama Painters were commissioned by Mr. Myron Herrick (at that time a banker, who later twice served as the U.S. Ambassador to France) to create a copy of the Gettysburg Cyclorama, which was later purchased by E. W. McConnell (the "Cyclorama King") and exhibited by McConnell at: the Cotton States Exposition, Atlanta, Georgia in 1895; the Tennessee Centennial Exposition, Nashville, Tennessee in 1897; before moving to Louisville, Kentucky; and finally, to Nashville, Tennessee in 1898 before it was placed in storage in that city. During the time of McConnell's ownership, McConnell sold a share of the painting to a Mr. Benedict who, in turn, sold a share of his share to a Mr. Graves. In 1920, more than 20 years after the buck-eye had been placed into storage, Benedict informed McConnell that a flood had ruined the buck-eye painting, but failed to inform Graves. Graves was not available to be consulted when questions from his family arose regarding the whereabouts of the buck-eye (in 1957) and the beneficiaries of Graves' Estate later made the assumption that the painting purchased by Mr. Joseph Wallace King (the Chicago Version) in 1964 was this 'missing' buck-eye painting. The estate then launched a legal action against King, claiming that a share of the painting King had purchased was theirs. This case was settled in arbitration by the comparison of photographs of the buck-eye with the painting King had purchased and the matters were resolved in King's favour, as the buck-eye was obviously of inferior quality to the Chicago Version which King had in his possession. In 1957 the Milwaukee County Historical Society contacted the firm of lawyers who had been acting for McConnell and asked if they could purchase the painting and were informed that it had been destroyed.

0863_NT

Gettysburg Cyclorama

Focus on this artwork and explore the The Benedict "Buck-eye".

A buck-eye cyclorama is a cyclorama painting of the same or roughly the same dimensions as an original, which is a very slavish copy. These were often created cheaply by painters of little skill and almost always with sub-standard materials. Several buck-eye cycloramas were exhibited in the United States during the time when cyclorama paintings were popular attractions, including several copies of the Gettysburg Cyclorama. Once an individual had seen a particular cyclorama, it was unlikely that they would purchase a ticket to revisit it. This meant that the low-quality copies could be exhibited with a very low risk that a ticket holder would request a refund, as they would likely never have seen the original. Tickets could be sold at the same price as the admission to see an original and the exhibitor of a buck-eye could visit the original themselves, obtain copies of all of the pamphlets and promotional materials, and have them cheaply copied for sale alongside the attraction. In fact, copy houses were formed in order to meet the demand for such paintings, one being the Milwaukee Panorama Painters. In 1885 the Milwaukee Panorama Painters were commissioned by Mr. Myron Herrick (at that time a banker, who later twice served as the U.S. Ambassador to France) to create a copy of the Gettysburg Cyclorama, which was later purchased by E. W. McConnell (the "Cyclorama King") and exhibited by McConnell at: the Cotton States Exposition, Atlanta, Georgia in 1895; the Tennessee Centennial Exposition, Nashville, Tennessee in 1897; before moving to Louisville, Kentucky; and finally, to Nashville, Tennessee in 1898 before it was placed in storage in that city. During the time of McConnell's ownership, McConnell sold a share of the painting to a Mr. Benedict who, in turn, sold a share of his share to a Mr. Graves. In 1920, more than 20 years after the buck-eye had been placed into storage, Benedict informed McConnell that a flood had ruined the buck-eye painting, but failed to inform Graves. Graves was not available to be consulted when questions from his family arose regarding the whereabouts of the buck-eye (in 1957) and the beneficiaries of Graves' Estate later made the assumption that the painting purchased by Mr. Joseph Wallace King (the Chicago Version) in 1964 was this 'missing' buck-eye painting. The estate then launched a legal action against King, claiming that a share of the painting King had purchased was theirs. This case was settled in arbitration by the comparison of photographs of the buck-eye with the painting King had purchased and the matters were resolved in King's favour, as the buck-eye was obviously of inferior quality to the Chicago Version which King had in his possession. In 1957 the Milwaukee County Historical Society contacted the firm of lawyers who had been acting for McConnell and asked if they could purchase the painting and were informed that it had been destroyed.

0864_T

The Chess Players (Daumier)

Explore the History of this artwork, The Chess Players (Daumier).

The exact date of creation of the painting is unknown. The painting was supposedly created between 1863 and 1867. At the lower left is the signature of the artist, "h Daumier". In the catalog of the artist's works, the painting is listed as DR Number 7168.A replica formerly in the Thannhauser collection in Munich (listed as DR Number 8031) is known from an old photograph; its medium and present whereabouts are unknown.

0864_NT

The Chess Players (Daumier)

Explore the History of this artwork.

The exact date of creation of the painting is unknown. The painting was supposedly created between 1863 and 1867. At the lower left is the signature of the artist, "h Daumier". In the catalog of the artist's works, the painting is listed as DR Number 7168.A replica formerly in the Thannhauser collection in Munich (listed as DR Number 8031) is known from an old photograph; its medium and present whereabouts are unknown.

0865_T

The Chess Players (Daumier)

Focus on The Chess Players (Daumier) and discuss the Description.

In a dimly lit room, two chess players of different ages are playing chess. The younger man's relaxed appearance suggests that he may be winning, while the older man's tense grip of the table edge suggests that his game is going poorly.Daumier matched the colors of the chess players' clothing with the color of the chess pieces; the white suit of one character opposed to the black sweater of his opponent. The contrast of light and shadow enhances the drama of the scene.The art historian Robert Rey suggests that Daumier never had enough time to become proficient at the games of dominoes, chess or cards, and to practice these games regularly, due to his rigid commitment to producing lithographs. However, in his work there are a large number of lithographs and several paintings in which these games are depicted, which seems to attest a pronounced interest in them.

0865_NT

The Chess Players (Daumier)

Focus on this artwork and discuss the Description.

In a dimly lit room, two chess players of different ages are playing chess. The younger man's relaxed appearance suggests that he may be winning, while the older man's tense grip of the table edge suggests that his game is going poorly.Daumier matched the colors of the chess players' clothing with the color of the chess pieces; the white suit of one character opposed to the black sweater of his opponent. The contrast of light and shadow enhances the drama of the scene.The art historian Robert Rey suggests that Daumier never had enough time to become proficient at the games of dominoes, chess or cards, and to practice these games regularly, due to his rigid commitment to producing lithographs. However, in his work there are a large number of lithographs and several paintings in which these games are depicted, which seems to attest a pronounced interest in them.

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The Chess Players (Daumier)

How does The Chess Players (Daumier) elucidate its Provenance?

The painting was in the private collection of Eugène Jacquette, in Paris, until 1899. The same year, the painting was donated to the Museum of Fine Arts of the city of Paris, located in the Petit Palais, where it still hangs. The picture has repeatedly represented the artist's work at foreign exhibitions.

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The Chess Players (Daumier)

How does this artwork elucidate its Provenance?

The painting was in the private collection of Eugène Jacquette, in Paris, until 1899. The same year, the painting was donated to the Museum of Fine Arts of the city of Paris, located in the Petit Palais, where it still hangs. The picture has repeatedly represented the artist's work at foreign exhibitions.

0867_T

Statue of John Endecott

Focus on Statue of John Endecott and analyze the abstract.

A statue of John Endecott by artist C. Paul Jennewein and architect Ralph Weld Gray is installed along The Fenway, in Boston's Forsyth Park, in the U.S. state of Massachusetts. Activists have objected to the statue because of Endecott's treatment of Indigenous Americans.

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Statue of John Endecott

Focus on this artwork and analyze the abstract.

A statue of John Endecott by artist C. Paul Jennewein and architect Ralph Weld Gray is installed along The Fenway, in Boston's Forsyth Park, in the U.S. state of Massachusetts. Activists have objected to the statue because of Endecott's treatment of Indigenous Americans.

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Statue of John Endecott

In Statue of John Endecott, how is the Description discussed?

The white granite statue is installed at the intersection of Hemenway Street and Forsyth Way, in Boston's Forsyth Park. It measures approximately 9 ft. 10 in. x 4 ft. 7 in x 6 ft. 6 in., and rests on a red granite base that measures approximately 4 ft. 7 in. x 13 ft. 4 in. x 7 ft. 10 in. The base is attached to a granite wall with benches.

0868_NT

Statue of John Endecott

In this artwork, how is the Description discussed?

The white granite statue is installed at the intersection of Hemenway Street and Forsyth Way, in Boston's Forsyth Park. It measures approximately 9 ft. 10 in. x 4 ft. 7 in x 6 ft. 6 in., and rests on a red granite base that measures approximately 4 ft. 7 in. x 13 ft. 4 in. x 7 ft. 10 in. The base is attached to a granite wall with benches.

0869_T

Statue of John Endecott

Focus on Statue of John Endecott and explore the History.

The 1936 memorial was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993. The statue has prompted controversy because of Endecott's role in waging war against Indigenous populations. Protestors spray painted the statue with the tag "#LandBack" in June, 2020. The statue was subsequently cleaned and the city resisted calls for the statue's removal.

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Statue of John Endecott

Focus on this artwork and explore the History.

The 1936 memorial was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993. The statue has prompted controversy because of Endecott's role in waging war against Indigenous populations. Protestors spray painted the statue with the tag "#LandBack" in June, 2020. The statue was subsequently cleaned and the city resisted calls for the statue's removal.

0870_T

Witches' Sabbath (The Great He-Goat)

Focus on Witches' Sabbath (The Great He-Goat) and explain the abstract.

Witches' Sabbath or The Great He-Goat (Spanish: Aquelarre or El gran cabrón) are names given to an oil mural by the Spanish artist Francisco Goya, completed sometime between 1821 and 1823. It explores themes of violence, intimidation, aging and death. Satan hulks, in the form of a goat, in moonlit silhouette over a coven of terrified witches. Goya was then around 75 years old, living alone and suffering from acute mental and physical distress. It is one of the fourteen Black Paintings that Goya applied in oil on the plaster walls of his house, the Quinta del Sordo. The paintings were completed in secret: he did not title any of the works or leave a record of his intentions in creating them. Absent of fact, Witches' Sabbath is generally seen by some art historians as a satire on the credulity of the age, a condemnation of superstition and the witch trials of the Spanish Inquisition. As with the other works in the group, Witches' Sabbath reflects its painter's disillusionment and can be linked thematically to his earlier etching The Sleep of Reason Produces Monsters as well as the Disasters of War print series, another bold political statement published only posthumously. Around 1874, some fifty years after his death, the plaster murals were taken down and transferred to canvas supports. Witches' Sabbath was much wider before transfer – it was the broadest of the Black Paintings. During the transfer about 140 cm (55 in) of the painting was cut from the right-hand side. At its reduced dimensions of 141 × 436 cm (56 × 172 in), its framing is unusually tightly cropped, which some critics find adds to its haunted, spectral aura, although others believe it distorts Goya's intentions by moving the centre of balance and reducing the painting's impact.

0870_NT

Witches' Sabbath (The Great He-Goat)

Focus on this artwork and explain the abstract.

Witches' Sabbath or The Great He-Goat (Spanish: Aquelarre or El gran cabrón) are names given to an oil mural by the Spanish artist Francisco Goya, completed sometime between 1821 and 1823. It explores themes of violence, intimidation, aging and death. Satan hulks, in the form of a goat, in moonlit silhouette over a coven of terrified witches. Goya was then around 75 years old, living alone and suffering from acute mental and physical distress. It is one of the fourteen Black Paintings that Goya applied in oil on the plaster walls of his house, the Quinta del Sordo. The paintings were completed in secret: he did not title any of the works or leave a record of his intentions in creating them. Absent of fact, Witches' Sabbath is generally seen by some art historians as a satire on the credulity of the age, a condemnation of superstition and the witch trials of the Spanish Inquisition. As with the other works in the group, Witches' Sabbath reflects its painter's disillusionment and can be linked thematically to his earlier etching The Sleep of Reason Produces Monsters as well as the Disasters of War print series, another bold political statement published only posthumously. Around 1874, some fifty years after his death, the plaster murals were taken down and transferred to canvas supports. Witches' Sabbath was much wider before transfer – it was the broadest of the Black Paintings. During the transfer about 140 cm (55 in) of the painting was cut from the right-hand side. At its reduced dimensions of 141 × 436 cm (56 × 172 in), its framing is unusually tightly cropped, which some critics find adds to its haunted, spectral aura, although others believe it distorts Goya's intentions by moving the centre of balance and reducing the painting's impact.

0871_T

Witches' Sabbath (The Great He-Goat)

Explore the Background of this artwork, Witches' Sabbath (The Great He-Goat).

Goya did not title any of the 14 Black Paintings; their modern names came about after his death. They are not inscribed, mentioned in his letters, and there are no records of him speaking of them. The works today are known by a variety of titles, most of which date to around the 1860s: his children were largely responsible for the names, with close friend Bernardo de Iriarte contributing the rest. The title El Gran Cabrón (The Great He-Goat) was given by painter Antonio Brugada (1804–1863). The Basque term for a Witches' Sabbath, akelarre, is the source of the Spanish title Aquelarre and a derivation of akerra, the Basque word for a male goat, which may have been combined with the word larre ("field") to arrive at akelarre. The historical record of Goya's later life is relatively scant; no accounts of his thoughts from this time survive. He deliberately suppressed a number of his works from this period – most notably the Disasters of War series – which are today considered amongst his finest. He was tormented by a dread of old age and fear of madness, the latter possibly from anxiety caused by an undiagnosed illness that left him deaf from the early 1790s. Goya had been a successful and royally placed artist, but withdrew from public life during his final years. From the late 1810s he lived in near-solitude outside Madrid in a farmhouse converted into a studio. The house had become known as la Quinta del Sordo ("the House of the Deaf Man"), after the nearest farmhouse had coincidentally also belonged to a deaf man.Art historians assume Goya felt alienated from the social and political trends that followed the 1814 restoration of the Bourbon monarchy, and that he viewed these developments as reactionary means of social control. In his unpublished art he seems to have railed against what he saw as a tactical retreat into Medievalism. It is thought that he had hoped for political and religious reform, but like many liberals became disillusioned when the restored Bourbon monarchy and Catholic hierarchy rejected the Spanish Constitution of 1812.Goya went to exile in France in 1824, and ownership of the house passed to his grandson Mariano. An 1830 inventory by Brugada indicates that the work took a full wall between two windows on the first floor, opposite A Pilgrimage to San Isidro. On the wall to the right were Saturn Devouring His Son and Judith and Holofernes. La Leocadia, Two Old Men and Two Old Ones Eating Soup were on the left wall. Art historian Lawrence Gowing observed that the lower floor was divided thematically, with a male side – Saturn and A Pilgrimage to San Isidro – and a female side – Judith and Holofernes, Witches' Sabbath and La Leocadia. The house changed owners a number of times before March 1873, when it came into the possession of the Belgian Frédéric Émile d'Erlanger, who speculated that the area would appreciate in value over the coming years. The murals had deteriorated badly after many years on the walls. To preserve them, the new owner of the house had them transferred to canvas under the direction of the art restorer of the Museo del Prado, Salvador Martínez Cubells. Following their exhibition at the Paris Exposition Universelle in 1878, where they were met with little reaction, d'Erlanger donated them to the Spanish state in 1881.

0871_NT

Witches' Sabbath (The Great He-Goat)

Explore the Background of this artwork.

Goya did not title any of the 14 Black Paintings; their modern names came about after his death. They are not inscribed, mentioned in his letters, and there are no records of him speaking of them. The works today are known by a variety of titles, most of which date to around the 1860s: his children were largely responsible for the names, with close friend Bernardo de Iriarte contributing the rest. The title El Gran Cabrón (The Great He-Goat) was given by painter Antonio Brugada (1804–1863). The Basque term for a Witches' Sabbath, akelarre, is the source of the Spanish title Aquelarre and a derivation of akerra, the Basque word for a male goat, which may have been combined with the word larre ("field") to arrive at akelarre. The historical record of Goya's later life is relatively scant; no accounts of his thoughts from this time survive. He deliberately suppressed a number of his works from this period – most notably the Disasters of War series – which are today considered amongst his finest. He was tormented by a dread of old age and fear of madness, the latter possibly from anxiety caused by an undiagnosed illness that left him deaf from the early 1790s. Goya had been a successful and royally placed artist, but withdrew from public life during his final years. From the late 1810s he lived in near-solitude outside Madrid in a farmhouse converted into a studio. The house had become known as la Quinta del Sordo ("the House of the Deaf Man"), after the nearest farmhouse had coincidentally also belonged to a deaf man.Art historians assume Goya felt alienated from the social and political trends that followed the 1814 restoration of the Bourbon monarchy, and that he viewed these developments as reactionary means of social control. In his unpublished art he seems to have railed against what he saw as a tactical retreat into Medievalism. It is thought that he had hoped for political and religious reform, but like many liberals became disillusioned when the restored Bourbon monarchy and Catholic hierarchy rejected the Spanish Constitution of 1812.Goya went to exile in France in 1824, and ownership of the house passed to his grandson Mariano. An 1830 inventory by Brugada indicates that the work took a full wall between two windows on the first floor, opposite A Pilgrimage to San Isidro. On the wall to the right were Saturn Devouring His Son and Judith and Holofernes. La Leocadia, Two Old Men and Two Old Ones Eating Soup were on the left wall. Art historian Lawrence Gowing observed that the lower floor was divided thematically, with a male side – Saturn and A Pilgrimage to San Isidro – and a female side – Judith and Holofernes, Witches' Sabbath and La Leocadia. The house changed owners a number of times before March 1873, when it came into the possession of the Belgian Frédéric Émile d'Erlanger, who speculated that the area would appreciate in value over the coming years. The murals had deteriorated badly after many years on the walls. To preserve them, the new owner of the house had them transferred to canvas under the direction of the art restorer of the Museo del Prado, Salvador Martínez Cubells. Following their exhibition at the Paris Exposition Universelle in 1878, where they were met with little reaction, d'Erlanger donated them to the Spanish state in 1881.

0872_T

Witches' Sabbath (The Great He-Goat)

Focus on Witches' Sabbath (The Great He-Goat) and discuss the Description.

Satan preaches from a raised earth mound and is dressed in clerical clothing that may be a soutane. He has a goat-like beard and horns, and stands in silhouette, accentuating his heavy body and gaping mouth, which is depicted as if he is screaming. His form may be derived from a 1652 illustration of the Canaanite idol Molech, as illustrated by Athanasius Kircher.He holds court before a circle of crouched and mostly terrified women, accepted by art historians as a coven of witches. Some bow their heads in fear, others look towards him in open-mouthed and rapt awe. Describing the women, art historian Brian McQuade writes that the "sub-humanity of the gathered group is underlined by their bestial features and moronic stares". Satan's absolute power over the women has been compared to that of the king in Goya's 1815 The Junta of the Philippines, where authority is gained not from respect or personal charisma, but through fear and domination. The women are a mixture of old and young, and have similar twisted features; all but one are scowling, nervous and obsequious. Goya's use of tone to create atmosphere is reminiscent of both Velázquez and Jusepe de Ribera. The latter was an admirer of Caravaggio and utilised tenebrism and chiaroscuro. Goya learned from these sources, and from Rembrandt, some of whose prints he owned. An old woman sits to the right of the goat, her back to the viewer. Her face is half hidden, and she wears a white-hooded headdress resembling a nun's habit. She sits alongside bottles and vials on the ground to her right. Art critic Robert Hughes wonders if they "contain the drugs and philtres needed for the devilish ceremonies". The eyes of some figures are lined with white paint. The faces of the two main figures – the goat and the woman to the far right – are hidden. The woman is separated from the group; she is perhaps a postulant about to be initiated into the coven. She may represent Goya's maid and probable lover Leocadia Weiss, whose full-length portrait appears in the same series.As with the other Black Paintings, Goya began with a black background which he painted over with lighter pigments, then with broad, heavy brushstrokes of grey, blue and brown. The darker areas were achieved by leaving the black under-paint exposed; this is most obvious in the figure of the Devil. Like the other works in the series, Witches' Sabbath is worked up through heavy, slashing brushstrokes. The plaster was underlaid with thick carbon black before the paint was applied in hues of white lead, Prussian blue, vermilion of mercury, and crystals of powdered glass, orpiment and iron oxides. He likely worked with mixed materials. Technical analysis indicates that most of the Black Paintings began with preparatory drawings. Witches' Sabbath is the exception; the final composition seems to have been painted directly onto the wall. Art historian Fred Licht notes that Goya's brushwork appears "clumsy, ponderous, and rough" and lacking finish compared to his earlier work. Licht believes this was a deliberate ploy to physically convey dismay at human inadequacy and his own feelings of personal doubt. Unique in the series, Witches' Sabbath was not significantly altered by Goya after his initial work.

0872_NT

Witches' Sabbath (The Great He-Goat)

Focus on this artwork and discuss the Description.

Satan preaches from a raised earth mound and is dressed in clerical clothing that may be a soutane. He has a goat-like beard and horns, and stands in silhouette, accentuating his heavy body and gaping mouth, which is depicted as if he is screaming. His form may be derived from a 1652 illustration of the Canaanite idol Molech, as illustrated by Athanasius Kircher.He holds court before a circle of crouched and mostly terrified women, accepted by art historians as a coven of witches. Some bow their heads in fear, others look towards him in open-mouthed and rapt awe. Describing the women, art historian Brian McQuade writes that the "sub-humanity of the gathered group is underlined by their bestial features and moronic stares". Satan's absolute power over the women has been compared to that of the king in Goya's 1815 The Junta of the Philippines, where authority is gained not from respect or personal charisma, but through fear and domination. The women are a mixture of old and young, and have similar twisted features; all but one are scowling, nervous and obsequious. Goya's use of tone to create atmosphere is reminiscent of both Velázquez and Jusepe de Ribera. The latter was an admirer of Caravaggio and utilised tenebrism and chiaroscuro. Goya learned from these sources, and from Rembrandt, some of whose prints he owned. An old woman sits to the right of the goat, her back to the viewer. Her face is half hidden, and she wears a white-hooded headdress resembling a nun's habit. She sits alongside bottles and vials on the ground to her right. Art critic Robert Hughes wonders if they "contain the drugs and philtres needed for the devilish ceremonies". The eyes of some figures are lined with white paint. The faces of the two main figures – the goat and the woman to the far right – are hidden. The woman is separated from the group; she is perhaps a postulant about to be initiated into the coven. She may represent Goya's maid and probable lover Leocadia Weiss, whose full-length portrait appears in the same series.As with the other Black Paintings, Goya began with a black background which he painted over with lighter pigments, then with broad, heavy brushstrokes of grey, blue and brown. The darker areas were achieved by leaving the black under-paint exposed; this is most obvious in the figure of the Devil. Like the other works in the series, Witches' Sabbath is worked up through heavy, slashing brushstrokes. The plaster was underlaid with thick carbon black before the paint was applied in hues of white lead, Prussian blue, vermilion of mercury, and crystals of powdered glass, orpiment and iron oxides. He likely worked with mixed materials. Technical analysis indicates that most of the Black Paintings began with preparatory drawings. Witches' Sabbath is the exception; the final composition seems to have been painted directly onto the wall. Art historian Fred Licht notes that Goya's brushwork appears "clumsy, ponderous, and rough" and lacking finish compared to his earlier work. Licht believes this was a deliberate ploy to physically convey dismay at human inadequacy and his own feelings of personal doubt. Unique in the series, Witches' Sabbath was not significantly altered by Goya after his initial work.

0873_T

Witches' Sabbath (The Great He-Goat)

How does Witches' Sabbath (The Great He-Goat) elucidate its Condition?

The painting is in poor condition. Time and a complicated transfer – which involved mounting crumbling plaster onto canvas – have caused extensive damage and significant paint loss. The work seems to have been seriously damaged even before its removal from the walls of Goya's home; the base of dry plaster may have contributed to its early deterioration. Frescos completed on dry (rather than wet) plaster cannot survive for a long period on a roughened surface. Evan Connell believes that in applying oil to plaster Goya "made a technical mistake that all but guaranteed disintegration". Many of the Black Paintings were significantly altered during the restoration of the 1870s, and critic Arthur Lubow describes the works hanging in the Prado today as "at best a crude facsimile of what Goya painted". We know the effect of many of Martinez Cubells' changes from his accounts, but they inevitably lack objectivity. More reliable are two overlapping photographs taken in preparation for the restoration by Jean Laurent, now in the Courtauld Institute's Witt Library.They show the painting in situ in the Quinta del Sordo and are the most reliable indicators of its appearance before restoration. But Laurent's work presents difficulties, not least because some areas of the photographs lack resolution and contain indistinct passages. Photographs from this period tended to darken yellow and red areas while lightening blues and violets.

0873_NT

Witches' Sabbath (The Great He-Goat)

How does this artwork elucidate its Condition?

The painting is in poor condition. Time and a complicated transfer – which involved mounting crumbling plaster onto canvas – have caused extensive damage and significant paint loss. The work seems to have been seriously damaged even before its removal from the walls of Goya's home; the base of dry plaster may have contributed to its early deterioration. Frescos completed on dry (rather than wet) plaster cannot survive for a long period on a roughened surface. Evan Connell believes that in applying oil to plaster Goya "made a technical mistake that all but guaranteed disintegration". Many of the Black Paintings were significantly altered during the restoration of the 1870s, and critic Arthur Lubow describes the works hanging in the Prado today as "at best a crude facsimile of what Goya painted". We know the effect of many of Martinez Cubells' changes from his accounts, but they inevitably lack objectivity. More reliable are two overlapping photographs taken in preparation for the restoration by Jean Laurent, now in the Courtauld Institute's Witt Library.They show the painting in situ in the Quinta del Sordo and are the most reliable indicators of its appearance before restoration. But Laurent's work presents difficulties, not least because some areas of the photographs lack resolution and contain indistinct passages. Photographs from this period tended to darken yellow and red areas while lightening blues and violets.

0874_T

Nativity (Correggio)

Focus on Nativity (Correggio) and analyze the abstract.

The Nativity (also known as The Holy Night (or La Notte) or as Adoration of the Shepherds) is a painting finished around 1529–1530 by the Italian painter Antonio da Correggio. It is housed in the Gemäldegalerie Alte Meister, Dresden.The work was commissioned from Correggio in October 1522 by Alberto Pratoneri for the family chapel in the church of San Prospero of Reggio Emilia: completed at the end of the decade, it was placed in the chapel in 1530. In a what was considered a minor sacrilege, the painting was absconded in 1640 by duke Francesco I d'Este and taken to his private gallery, it was moved to Dresden in 1746. The artist, following the trail blazed by a number of celebrated works by Titian, interpreted a scene that is fully 'à la chandell' ("of the candle") and produced an outstanding result in the Chiaroscuro treatment of light. The scene pivots around the Child, surrounded by Mary's arms, with a group of shepherds on the left, of which the bearded figure is portrayed in the same position of Jerome in the Madonna of St. Jerome (Correggio) (c. 1523). On the right are the traditional presepe animals and St. Joseph. The upper left part features several angels reminiscent the ardite positions in Correggio's dome of the Cathedral of Parma, executed in the same years. This work pointed the way toward the future Lombard investigation of luministic effects, and was used as a model by such painters as Camillo Procaccini, Luca Cambiasi, Guido Reni and Domenichino, and even later on, by Barocci and Maratta. A 1724 copy of the painting hangs in the chapel of Palais Rohan, Strasbourg.

0874_NT

Nativity (Correggio)

Focus on this artwork and analyze the abstract.

The Nativity (also known as The Holy Night (or La Notte) or as Adoration of the Shepherds) is a painting finished around 1529–1530 by the Italian painter Antonio da Correggio. It is housed in the Gemäldegalerie Alte Meister, Dresden.The work was commissioned from Correggio in October 1522 by Alberto Pratoneri for the family chapel in the church of San Prospero of Reggio Emilia: completed at the end of the decade, it was placed in the chapel in 1530. In a what was considered a minor sacrilege, the painting was absconded in 1640 by duke Francesco I d'Este and taken to his private gallery, it was moved to Dresden in 1746. The artist, following the trail blazed by a number of celebrated works by Titian, interpreted a scene that is fully 'à la chandell' ("of the candle") and produced an outstanding result in the Chiaroscuro treatment of light. The scene pivots around the Child, surrounded by Mary's arms, with a group of shepherds on the left, of which the bearded figure is portrayed in the same position of Jerome in the Madonna of St. Jerome (Correggio) (c. 1523). On the right are the traditional presepe animals and St. Joseph. The upper left part features several angels reminiscent the ardite positions in Correggio's dome of the Cathedral of Parma, executed in the same years. This work pointed the way toward the future Lombard investigation of luministic effects, and was used as a model by such painters as Camillo Procaccini, Luca Cambiasi, Guido Reni and Domenichino, and even later on, by Barocci and Maratta. A 1724 copy of the painting hangs in the chapel of Palais Rohan, Strasbourg.

0875_T

The Fire in the Borgo

In The Fire in the Borgo, how is the abstract discussed?

The Fire in the Borgo is a painting created by the workshop of the Italian Renaissance artist Raphael between 1514 and 1517. Though it is assumed that Raphael did make the designs for the complex composition, the fresco was most likely painted by his assistant Giulio Romano. The painting was part of Raphael's commission to decorate the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. It depicts Pope Leo IV halting a fire in 847 with a benediction from a balcony in front of the Old St. Peter's Basilica. The mural lends its name to the Stanza dell'incendio del Borgo ("The Room of the Fire in the Borgo").Various perils are represented in this work. In one part we see a number of women whose hair and clothes are blown about by the terrible fury of the wind as carrying vessels full of water on their heads and in their hands they hurry to put out the fire. There are others bewildered and blinded by the smoke as they try to throw water on the flames. On the other side is depicted an infirm old man, distraught by his weakness and the flames of the fire, being carried (as Virgil describes Anchises being carried by Aeneas) by a young man whose face expresses his strength and courage and whose body shows the strain of carrying the figure slumped on his back. He is followed by a dishevelled, bare-footed old woman fleeing from the fire, and going before them is a naked child.

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The Fire in the Borgo

In this artwork, how is the abstract discussed?

The Fire in the Borgo is a painting created by the workshop of the Italian Renaissance artist Raphael between 1514 and 1517. Though it is assumed that Raphael did make the designs for the complex composition, the fresco was most likely painted by his assistant Giulio Romano. The painting was part of Raphael's commission to decorate the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. It depicts Pope Leo IV halting a fire in 847 with a benediction from a balcony in front of the Old St. Peter's Basilica. The mural lends its name to the Stanza dell'incendio del Borgo ("The Room of the Fire in the Borgo").Various perils are represented in this work. In one part we see a number of women whose hair and clothes are blown about by the terrible fury of the wind as carrying vessels full of water on their heads and in their hands they hurry to put out the fire. There are others bewildered and blinded by the smoke as they try to throw water on the flames. On the other side is depicted an infirm old man, distraught by his weakness and the flames of the fire, being carried (as Virgil describes Anchises being carried by Aeneas) by a young man whose face expresses his strength and courage and whose body shows the strain of carrying the figure slumped on his back. He is followed by a dishevelled, bare-footed old woman fleeing from the fire, and going before them is a naked child.

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Dancer with Flat Hat

Focus on Dancer with Flat Hat and explore the abstract.

Dancer with Flat Hat is a sculpture by Phillip Levine.

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Dancer with Flat Hat

Focus on this artwork and explore the abstract.

Dancer with Flat Hat is a sculpture by Phillip Levine.

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Dancer with Flat Hat

Focus on Dancer with Flat Hat and explain the Description and history.

There may be multiple copies, since sources give conflicting information. The Smithsonian Institution describes a 1966 silicon bronze, cire perdue casting that measures approximately 10 7/8 x 4 7/8 x 3 3/8 in. The sculpture is part of the Seattle Art Museum's collection (or was at the time of the survey).Other sources describe a 1971 full-length abstract bronze statue, also known as Girl with Flat Hat and Pointing Dancing Woman, installed at the 15th Avenue pedestrian bridge by Schmitz Hall on the University of Washington campus in Seattle, Washington's University District. According to the Smithsonian Institution, which surveyed the work and deemed it "treatment needed" as part of its "Save Outdoor Sculpture!" program in June 1994, the sculpture was donated to the University in 1971 by the William G. Reed family in honor of Eleanor Henry Reed. It depicts a female wearing a flat hat and skirt; she stands on her proper left tiptoe and her opposite leg is lifted and bent behind her. She points westward with her proper right arm. The sculpture measures 6.5 feet (2.0 m) tall and 18 inches (0.46 m) wide and rests on a bronze base that measures approximately 5 inches (0.13 m) x 2 feet (0.61 m) x 2 feet (0.61 m). In 1989, when Levine discovered that the leg was broken as the result of vandalism, he asked to repair the piece at his home. It is administered by the University of Washington's Public Art Administration.

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Dancer with Flat Hat

Focus on this artwork and explain the Description and history.

There may be multiple copies, since sources give conflicting information. The Smithsonian Institution describes a 1966 silicon bronze, cire perdue casting that measures approximately 10 7/8 x 4 7/8 x 3 3/8 in. The sculpture is part of the Seattle Art Museum's collection (or was at the time of the survey).Other sources describe a 1971 full-length abstract bronze statue, also known as Girl with Flat Hat and Pointing Dancing Woman, installed at the 15th Avenue pedestrian bridge by Schmitz Hall on the University of Washington campus in Seattle, Washington's University District. According to the Smithsonian Institution, which surveyed the work and deemed it "treatment needed" as part of its "Save Outdoor Sculpture!" program in June 1994, the sculpture was donated to the University in 1971 by the William G. Reed family in honor of Eleanor Henry Reed. It depicts a female wearing a flat hat and skirt; she stands on her proper left tiptoe and her opposite leg is lifted and bent behind her. She points westward with her proper right arm. The sculpture measures 6.5 feet (2.0 m) tall and 18 inches (0.46 m) wide and rests on a bronze base that measures approximately 5 inches (0.13 m) x 2 feet (0.61 m) x 2 feet (0.61 m). In 1989, when Levine discovered that the leg was broken as the result of vandalism, he asked to repair the piece at his home. It is administered by the University of Washington's Public Art Administration.

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Dancer with Flat Hat

Explore the Reception of this artwork, Dancer with Flat Hat.

According to the Smithsonian Institution, the 1971 statue is often decorated by students, "with flower garlands, a muffler added around her neck, and shoes laced over her feet". Seattle Weekly said the sculpture "manages to look spontaneous and settled at the same time; her pirouette is forever frozen amid the collegiate bustle. The piece is anchored in motion, like other sculptures and drawings". It has been included in at least one published walking tour of Seattle.

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Dancer with Flat Hat

Explore the Reception of this artwork.

According to the Smithsonian Institution, the 1971 statue is often decorated by students, "with flower garlands, a muffler added around her neck, and shoes laced over her feet". Seattle Weekly said the sculpture "manages to look spontaneous and settled at the same time; her pirouette is forever frozen amid the collegiate bustle. The piece is anchored in motion, like other sculptures and drawings". It has been included in at least one published walking tour of Seattle.

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Berthe Morisot with a Bouquet of Violets

Focus on Berthe Morisot with a Bouquet of Violets and discuss the abstract.

Berthe Morisot with a Bouquet of Violets (French: Berthe Morisot au bouquet de violettes) is an 1872 oil painting by Édouard Manet. It depicts fellow painter Berthe Morisot dressed in black mourning dress, with a barely visible bouquet of violets. The painting, sometimes known as Portrait of Berthe Morisot, Berthe Morisot in a black hat or Young woman in a black hat, is in the collection of the Musée d'Orsay in Paris. Manet also created an etching and two lithographs of the same composition.

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Berthe Morisot with a Bouquet of Violets

Focus on this artwork and discuss the abstract.

Berthe Morisot with a Bouquet of Violets (French: Berthe Morisot au bouquet de violettes) is an 1872 oil painting by Édouard Manet. It depicts fellow painter Berthe Morisot dressed in black mourning dress, with a barely visible bouquet of violets. The painting, sometimes known as Portrait of Berthe Morisot, Berthe Morisot in a black hat or Young woman in a black hat, is in the collection of the Musée d'Orsay in Paris. Manet also created an etching and two lithographs of the same composition.

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Berthe Morisot with a Bouquet of Violets

How does Berthe Morisot with a Bouquet of Violets elucidate its Description?

The half-length portrait is on a canvas measuring 55.5 × 40.5 centimetres (21.9 × 15.9 in) – 71.5 × 57.5 centimetres (28.1 × 22.6 in) with frame – and is signed "Manet 72" in the upper right corner. It is a study in shades of black. Unusually for Manet's portraits, which typically have an even light, Morisot is lit from one side, so that she is brightly illuminated on her right side and the left is in deep shadow. She wears black mourning dress and hat, with her face surrounded by black ribbons and scarves, against a lighter background, and an earring in each ear. The violet flowers are barely perceptible where the neckline of Morisot's dress dips towards her chest. Manet also painted violets in his Woman with a Parrot of 1866. Manet painted Morisot with black eyes, although her eyes were actually green. The dark costume and eyes may allude to Manet's impression that she looked Spanish. Manet had earlier painted a similar portrait of his own mother in mourning, made in 1863, which shows his mother clad in black, on a dark background. The painting was followed by a similar etching – probably the first copy, with the pose reversed – and two lithographs, all made in 1872 to 1874. Manet made a similar painting of Morisot in mourning dress in 1874, after the death of her father, Edmé Tiburce Morisot.

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Berthe Morisot with a Bouquet of Violets

How does this artwork elucidate its Description?

The half-length portrait is on a canvas measuring 55.5 × 40.5 centimetres (21.9 × 15.9 in) – 71.5 × 57.5 centimetres (28.1 × 22.6 in) with frame – and is signed "Manet 72" in the upper right corner. It is a study in shades of black. Unusually for Manet's portraits, which typically have an even light, Morisot is lit from one side, so that she is brightly illuminated on her right side and the left is in deep shadow. She wears black mourning dress and hat, with her face surrounded by black ribbons and scarves, against a lighter background, and an earring in each ear. The violet flowers are barely perceptible where the neckline of Morisot's dress dips towards her chest. Manet also painted violets in his Woman with a Parrot of 1866. Manet painted Morisot with black eyes, although her eyes were actually green. The dark costume and eyes may allude to Manet's impression that she looked Spanish. Manet had earlier painted a similar portrait of his own mother in mourning, made in 1863, which shows his mother clad in black, on a dark background. The painting was followed by a similar etching – probably the first copy, with the pose reversed – and two lithographs, all made in 1872 to 1874. Manet made a similar painting of Morisot in mourning dress in 1874, after the death of her father, Edmé Tiburce Morisot.

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Berthe Morisot with a Bouquet of Violets

Focus on Berthe Morisot with a Bouquet of Violets and analyze the Reception.

The work was quickly considered a masterpiece of Manet's work. It was praised by Paul Valéry in the catalogue of Manet's retrospective at the Orangerie in 1932 for the centenary of his birth. Valéry knew the painting well: he was married to Morisot's niece, Jeannie Gobillard, the daughter of Morisot's sister Yves and her husband Theodore Gobillard, and so he also related by marriage to Manet; indeed, his wedding in 1900 was a double celebration at the same time as the marriage of Morisot's daughter Julie Manet to Ernest Rouart. Valéry compared Manet's painting to Vermeer's Girl with a Pearl Earring: "I do not rank anything in Manet's work higher than a certain portrait of Berthe Morisot dated 1872". Manet sold or gave the painting to collector and art critic Théodore Duret. Morisot herself acquired the painting in 1894, paying 5,100 francs in the sale of Duret's collection. After her death in 1895, it was kept by her daughter Julie until her own death in 1966, and then it was in the collection of her son (Morisot's grandson) Clément Rouart. It was acquired for the Musée d'Orsay in 1998, with funding from the Fonds du Patrimoine, the Meyer Foundation, the China Times Group and a sponsorship programme coordinated by the Japanese The Nikkei newspaper.

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Berthe Morisot with a Bouquet of Violets

Focus on this artwork and analyze the Reception.

The work was quickly considered a masterpiece of Manet's work. It was praised by Paul Valéry in the catalogue of Manet's retrospective at the Orangerie in 1932 for the centenary of his birth. Valéry knew the painting well: he was married to Morisot's niece, Jeannie Gobillard, the daughter of Morisot's sister Yves and her husband Theodore Gobillard, and so he also related by marriage to Manet; indeed, his wedding in 1900 was a double celebration at the same time as the marriage of Morisot's daughter Julie Manet to Ernest Rouart. Valéry compared Manet's painting to Vermeer's Girl with a Pearl Earring: "I do not rank anything in Manet's work higher than a certain portrait of Berthe Morisot dated 1872". Manet sold or gave the painting to collector and art critic Théodore Duret. Morisot herself acquired the painting in 1894, paying 5,100 francs in the sale of Duret's collection. After her death in 1895, it was kept by her daughter Julie until her own death in 1966, and then it was in the collection of her son (Morisot's grandson) Clément Rouart. It was acquired for the Musée d'Orsay in 1998, with funding from the Fonds du Patrimoine, the Meyer Foundation, the China Times Group and a sponsorship programme coordinated by the Japanese The Nikkei newspaper.

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Family (Blumenfeld)

In Family (Blumenfeld), how is the abstract discussed?

Family is a public artwork by American artist Helaine Blumenfeld located on the Henry Reuss Federal Plaza, which is in downtown Milwaukee, Wisconsin, United States. The sculpture is made from Norwegian blue granite. It consists of five forms, with the largest form measuring approximately 89 x 58 x 27 inches. Family was installed in the Henry Reuss Federal Plaza in 1983.

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Family (Blumenfeld)

In this artwork, how is the abstract discussed?

Family is a public artwork by American artist Helaine Blumenfeld located on the Henry Reuss Federal Plaza, which is in downtown Milwaukee, Wisconsin, United States. The sculpture is made from Norwegian blue granite. It consists of five forms, with the largest form measuring approximately 89 x 58 x 27 inches. Family was installed in the Henry Reuss Federal Plaza in 1983.

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Family (Blumenfeld)

Focus on Family (Blumenfeld) and explore the Description.

The granite sculpture was commissioned to Helaine Blumenfeld for the plaza in front of the then in-construction Henry S. Russ Federal building. The artwork consists of five abstract biomorphic blue granite forms which sit in a circle. The sculptures are movable and the public is encouraged to climb, touch and rearrange the works periodically.

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Family (Blumenfeld)

Focus on this artwork and explore the Description.

The granite sculpture was commissioned to Helaine Blumenfeld for the plaza in front of the then in-construction Henry S. Russ Federal building. The artwork consists of five abstract biomorphic blue granite forms which sit in a circle. The sculptures are movable and the public is encouraged to climb, touch and rearrange the works periodically.

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Family (Blumenfeld)

Focus on Family (Blumenfeld) and explain the Information.

Family is located on the Henry Reuss Federal Plaza and tied to the building it sits in front of. The building was the brainchild of US House member Henry S. Reuss. He believed it would encourage the development of downtown Milwaukee, as well as group thirty federal agencies under one roof. When Reuss made the plans for the new building public, he announced that there would be no federal money given for artwork, explaining that an anonymous donor had offered to donate an outdoor sculpture. Blumenfeld was thus privately commissioned to create Family in the late 1970s. She selected 68 tons of Norwegian blue granite, which she had shipped to Carrara, Italy. Blumenfeld and four assistants proceeded to chisel the five forms. "Family is the first of several of Blumenfeld's multi-component outdoor sculptures. Although her works are abstract, the forms are organic and are intended to symbolize human figures and their relationships. Like members of a family, each of the humanoid figures relates strongly to the others, but retains its separate identity." As the viewer moves the parts, the sculpture changes; the same way that relationships are always changing. Blumenfeld refers to this evolving relationship stating, "One is sometimes stronger, one is weaker. Looking at a family you see the different values placed on each member at different times. I'm trying to show the dynamic tension in a relationship."

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Family (Blumenfeld)

Focus on this artwork and explain the Information.

Family is located on the Henry Reuss Federal Plaza and tied to the building it sits in front of. The building was the brainchild of US House member Henry S. Reuss. He believed it would encourage the development of downtown Milwaukee, as well as group thirty federal agencies under one roof. When Reuss made the plans for the new building public, he announced that there would be no federal money given for artwork, explaining that an anonymous donor had offered to donate an outdoor sculpture. Blumenfeld was thus privately commissioned to create Family in the late 1970s. She selected 68 tons of Norwegian blue granite, which she had shipped to Carrara, Italy. Blumenfeld and four assistants proceeded to chisel the five forms. "Family is the first of several of Blumenfeld's multi-component outdoor sculptures. Although her works are abstract, the forms are organic and are intended to symbolize human figures and their relationships. Like members of a family, each of the humanoid figures relates strongly to the others, but retains its separate identity." As the viewer moves the parts, the sculpture changes; the same way that relationships are always changing. Blumenfeld refers to this evolving relationship stating, "One is sometimes stronger, one is weaker. Looking at a family you see the different values placed on each member at different times. I'm trying to show the dynamic tension in a relationship."

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Family (Blumenfeld)

Explore the Acquisition about the Information of this artwork, Family (Blumenfeld).

The work cost around $250,000 and was funded by two anonymous donors.

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Family (Blumenfeld)

Explore the Acquisition about the Information of this artwork.

The work cost around $250,000 and was funded by two anonymous donors.

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Family (Blumenfeld)

Focus on Family (Blumenfeld) and discuss the Artist.

Helaine Blumenfeld was born in New York in 1942. She obtained a PhD in philosophy from Columbia University before moving to Paris to work as an assistant in the Cubist sculptor's Ossip Zadkine's studio. She decided to begin sculpting after having interesting vivid dreams and realizing that words were not enough to express what she experienced. Her early works concentrated in transforming a figurative form into a symbolic meaning. Later she began exploring the relationship between more than one form. Blumenfeld believes that sculpture is not about narrative, but is instead centered on experience and process, having the potential to excite the viewer's imagination. She develops her ideas in clay to get a sense of the figure's form before translating them to their final materials. "Blumenfeld's daily practice remains grounded in the working of raw materials, a physical relationship that provides a channel for her imagination. She thrives in the solitary confines of her studio where she can think, dream, experiment and take risks without constraint." The artist relocated to Cambridge, England in 1976. She currently splits her time between Cambridge and her workshop in Pietrasanta, Italy.

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Family (Blumenfeld)

Focus on this artwork and discuss the Artist.

Helaine Blumenfeld was born in New York in 1942. She obtained a PhD in philosophy from Columbia University before moving to Paris to work as an assistant in the Cubist sculptor's Ossip Zadkine's studio. She decided to begin sculpting after having interesting vivid dreams and realizing that words were not enough to express what she experienced. Her early works concentrated in transforming a figurative form into a symbolic meaning. Later she began exploring the relationship between more than one form. Blumenfeld believes that sculpture is not about narrative, but is instead centered on experience and process, having the potential to excite the viewer's imagination. She develops her ideas in clay to get a sense of the figure's form before translating them to their final materials. "Blumenfeld's daily practice remains grounded in the working of raw materials, a physical relationship that provides a channel for her imagination. She thrives in the solitary confines of her studio where she can think, dream, experiment and take risks without constraint." The artist relocated to Cambridge, England in 1976. She currently splits her time between Cambridge and her workshop in Pietrasanta, Italy.

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Goslar Warrior 1973–1974

How does Goslar Warrior 1973–1974 elucidate its abstract?

Goslar Warrior 1973–1974 is a bronze sculpture by Henry Moore, catalogued as LH 641. It is approximately 3m long.

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Goslar Warrior 1973–1974

How does this artwork elucidate its abstract?

Goslar Warrior 1973–1974 is a bronze sculpture by Henry Moore, catalogued as LH 641. It is approximately 3m long.

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Goslar Warrior 1973–1974

Focus on Goslar Warrior 1973–1974 and analyze the Casts.

Seven casts were made. Two of the casts are publicly exhibited; one in the gardens of the Imperial Palace of Goslar in Goslar, Germany, and another in Santa Cruz, Tenerife.The seventh and final cast of the Goslar Warrior sold at auction at Christies in London in February 2011 for £1.8 million.

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Goslar Warrior 1973–1974

Focus on this artwork and analyze the Casts.

Seven casts were made. Two of the casts are publicly exhibited; one in the gardens of the Imperial Palace of Goslar in Goslar, Germany, and another in Santa Cruz, Tenerife.The seventh and final cast of the Goslar Warrior sold at auction at Christies in London in February 2011 for £1.8 million.

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Mega-Gem

In Mega-Gem, how is the abstract discussed?

Mega-Gem is an outdoor sculpture by American artist John Francis Torreano (born 1941). It is located on the Indiana University-Purdue University Indianapolis (IUPUI) campus, which is near downtown Indianapolis, Indiana, and is owned by the Indianapolis Museum of Art. The oversized sculpture, made of aluminum, is shaped like a round-cut diamond resting on one its facets and studded with 36 smaller, colored-metal rosettes.

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Mega-Gem

In this artwork, how is the abstract discussed?

Mega-Gem is an outdoor sculpture by American artist John Francis Torreano (born 1941). It is located on the Indiana University-Purdue University Indianapolis (IUPUI) campus, which is near downtown Indianapolis, Indiana, and is owned by the Indianapolis Museum of Art. The oversized sculpture, made of aluminum, is shaped like a round-cut diamond resting on one its facets and studded with 36 smaller, colored-metal rosettes.

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Mega-Gem

Focus on Mega-Gem and explore the Historical information.

Mega-Gem was fabricated in 1989 with the resources of Cincinnati art dealer Carl Solway. It was presented at the Chicago International Art Exposition, where it was located on the Navy Pier in Chicago, Illinois. The presentation of Mega-Gem was promoted through posters and buttons proclaiming the sculpture to be the largest diamond in the world, weighing over 360 million carats. Mega-Gem was considered by Torreano to be one of a series of "oxy-gem" sculptures, playing on the oxymoron of combining precious gems with materials of lesser value, such as a "plywood gem," "gold gem," and Mega-Gem as "aluminum gem." Mega-Gem is one of Torreano's oversized and exaggerated jewel sculptures.

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Mega-Gem

Focus on this artwork and explore the Historical information.

Mega-Gem was fabricated in 1989 with the resources of Cincinnati art dealer Carl Solway. It was presented at the Chicago International Art Exposition, where it was located on the Navy Pier in Chicago, Illinois. The presentation of Mega-Gem was promoted through posters and buttons proclaiming the sculpture to be the largest diamond in the world, weighing over 360 million carats. Mega-Gem was considered by Torreano to be one of a series of "oxy-gem" sculptures, playing on the oxymoron of combining precious gems with materials of lesser value, such as a "plywood gem," "gold gem," and Mega-Gem as "aluminum gem." Mega-Gem is one of Torreano's oversized and exaggerated jewel sculptures.

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Mega-Gem

In the context of Mega-Gem, explain the Location history of the Historical information.

In 1989 Mega-Gem was presented at the Chicago International Art Exposition where it was displayed on Navy Pier along Lake Michigan in Chicago, Illinois, until 1994. In October 1994 Mega-Gem was loaned to the Indianapolis Museum of Art for two years. It arrived on October 10, 1994, and was put on display in the southwest corner of Krannert Plaza, which is a section of the IMA's grounds and gardens located on the west side of the property overlooking the White River. In 1997, after the loan period had expired, the Contemporary Art Society raised funds for Mega-Gem to be acquired by the IMA. It remained on view in Krannert Plaza until 2001, when it was relocated to the southeast corner of the IMA property near the intersection of 38th Street and Michigan Road.In late January 2009 Mega-Gem was relocated to the IUPUI campus to make way for the creation of the IMA's Virginia B. Fairbanks Art & Nature Park, which opened in June 2010. Mega-Gem was one of four IMA sculptures that were loaned to IUPUI. The others were East Gate/West Gate by Sasson Soffer, Portrait of History by Shan Zou Zhou, and Spaces with Iron by Will Horwitt. These four IMA pieces on the IUPUI campus are part of the Indianapolis Cultural Trail, which "connects neighborhoods, entertainment facilities and the city's five cultural districts" and includes Indiana Avenue, Massachusetts Avenue, Indianapolis, Fountain Square, Indianapolis, the Wholesale District, Indianapolis, and White River State Park. The Cultural Trail, completed in 2013 as a bike and pedestrian path, will connect Broad Ripple Village, Indianapolis to downtown Indianapolis via the Monon Trail.Mega-Gem is situated in the courtyard north of New York Street on the IUPUI campus, east of Lecture Hall and south of Joseph T. Taylor Hall (formerly University College), at 815 W. Michigan Street.

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Mega-Gem

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

In 1989 Mega-Gem was presented at the Chicago International Art Exposition where it was displayed on Navy Pier along Lake Michigan in Chicago, Illinois, until 1994. In October 1994 Mega-Gem was loaned to the Indianapolis Museum of Art for two years. It arrived on October 10, 1994, and was put on display in the southwest corner of Krannert Plaza, which is a section of the IMA's grounds and gardens located on the west side of the property overlooking the White River. In 1997, after the loan period had expired, the Contemporary Art Society raised funds for Mega-Gem to be acquired by the IMA. It remained on view in Krannert Plaza until 2001, when it was relocated to the southeast corner of the IMA property near the intersection of 38th Street and Michigan Road.In late January 2009 Mega-Gem was relocated to the IUPUI campus to make way for the creation of the IMA's Virginia B. Fairbanks Art & Nature Park, which opened in June 2010. Mega-Gem was one of four IMA sculptures that were loaned to IUPUI. The others were East Gate/West Gate by Sasson Soffer, Portrait of History by Shan Zou Zhou, and Spaces with Iron by Will Horwitt. These four IMA pieces on the IUPUI campus are part of the Indianapolis Cultural Trail, which "connects neighborhoods, entertainment facilities and the city's five cultural districts" and includes Indiana Avenue, Massachusetts Avenue, Indianapolis, Fountain Square, Indianapolis, the Wholesale District, Indianapolis, and White River State Park. The Cultural Trail, completed in 2013 as a bike and pedestrian path, will connect Broad Ripple Village, Indianapolis to downtown Indianapolis via the Monon Trail.Mega-Gem is situated in the courtyard north of New York Street on the IUPUI campus, east of Lecture Hall and south of Joseph T. Taylor Hall (formerly University College), at 815 W. Michigan Street.

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Mega-Gem

Explore the Acquisition about the Historical information of this artwork, Mega-Gem.

Mega-Gem was loaned to the Indianapolis Museum of Art (IMA) by the Carl Solway Gallery from 1994 to 1996. In 1997 the IMA Contemporary Art Society (CAS) undertook the effort to purchase the sculpture and acquire it for the IMA. CAS President Dee Garrett led the fund drive for Mega-Gem and worked with the IMA to sell miniature gem sculptures created by Torreano in order to raise money. The CAS donated Mega-Gem to the IMA at a gala in 1997 with John Torreano in attendance.Mega-Gem was acquired by the IMA in 1997 with the accession number of 1997.6. It is credited as the Gift of Robert Shiffler, Contemporary Art Society Fund and Henry F. and Katherine D. DeBoest Memorial Fund. The value of Mega-Gem is unknown; however, prices for Torreano's work have ranged from $4,000 for smaller paintings to $30,000 for larger pieces.

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Mega-Gem

Explore the Acquisition about the Historical information of this artwork.

Mega-Gem was loaned to the Indianapolis Museum of Art (IMA) by the Carl Solway Gallery from 1994 to 1996. In 1997 the IMA Contemporary Art Society (CAS) undertook the effort to purchase the sculpture and acquire it for the IMA. CAS President Dee Garrett led the fund drive for Mega-Gem and worked with the IMA to sell miniature gem sculptures created by Torreano in order to raise money. The CAS donated Mega-Gem to the IMA at a gala in 1997 with John Torreano in attendance.Mega-Gem was acquired by the IMA in 1997 with the accession number of 1997.6. It is credited as the Gift of Robert Shiffler, Contemporary Art Society Fund and Henry F. and Katherine D. DeBoest Memorial Fund. The value of Mega-Gem is unknown; however, prices for Torreano's work have ranged from $4,000 for smaller paintings to $30,000 for larger pieces.

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Mega-Gem

Focus on Mega-Gem and discuss the Condition.

The fading paint on the rosettes has been a cause for concern in the past. In 1996, in preparation for Mega-Gem's acquisition into the Indianapolis Museum of Art collection, the rosettes were returned to the artist for repainting.

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Mega-Gem

Focus on this artwork and discuss the Condition.

The fading paint on the rosettes has been a cause for concern in the past. In 1996, in preparation for Mega-Gem's acquisition into the Indianapolis Museum of Art collection, the rosettes were returned to the artist for repainting.

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B of the Bang

How does B of the Bang elucidate its abstract?

B of the Bang was a sculpture by Thomas Heatherwick next to the City of Manchester Stadium in Manchester, England, United Kingdom, which was commissioned to mark the 2002 Commonwealth Games; at 56 metres (184 ft) it was one of the tallest structures in Manchester and the tallest sculpture in the UK until the completion of Aspire in 2008. The sculpture took its name from a quotation of British sprinter Linford Christie, in which he said that he started his races not merely at the "bang" of the starting pistol, but at "the B of the Bang". The sculpture was commissioned in 2003; construction overran and the official unveiling was delayed until 12 January 2005. Six days before the launch, the sculpture suffered the first of three visible structural problems as the tip of one of the spikes detached and fell to the ground. Legal action to repair the sculpture was started by Manchester City Council a year later, resulting in an out-of-court settlement totalling £1.7 million.In February 2009, Manchester City Council announced that the sculpture would be dismantled and placed in storage. Despite the promise of storage and potential reassembly, the core and legs of the sculpture were cut apart during removal. The core was sold for scrap in July 2012, with the 180 spikes reported to have been placed in storage for an undecided future use.

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B of the Bang

How does this artwork elucidate its abstract?

B of the Bang was a sculpture by Thomas Heatherwick next to the City of Manchester Stadium in Manchester, England, United Kingdom, which was commissioned to mark the 2002 Commonwealth Games; at 56 metres (184 ft) it was one of the tallest structures in Manchester and the tallest sculpture in the UK until the completion of Aspire in 2008. The sculpture took its name from a quotation of British sprinter Linford Christie, in which he said that he started his races not merely at the "bang" of the starting pistol, but at "the B of the Bang". The sculpture was commissioned in 2003; construction overran and the official unveiling was delayed until 12 January 2005. Six days before the launch, the sculpture suffered the first of three visible structural problems as the tip of one of the spikes detached and fell to the ground. Legal action to repair the sculpture was started by Manchester City Council a year later, resulting in an out-of-court settlement totalling £1.7 million.In February 2009, Manchester City Council announced that the sculpture would be dismantled and placed in storage. Despite the promise of storage and potential reassembly, the core and legs of the sculpture were cut apart during removal. The core was sold for scrap in July 2012, with the 180 spikes reported to have been placed in storage for an undecided future use.

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B of the Bang

Focus on B of the Bang and analyze the Design and statistics.

B of the Bang originally stood 56 metres (184 ft) tall with 180 hollow tapered steel columns or spikes radiating from a central core. It was angled at 30 degrees and supported by five 25 m (82 ft) long, tapered steel legs which connected to the spikes 22 m (72 ft) above the ground. The sculpture weighed 165 tonnes, with the concrete in the foundations weighing over 1,000 tonnes, including a 400 m2 (4,300 sq ft) reinforced concrete slab. The foundations were 20 m (66 ft) deep.The sculpture was made from the same weathering steel (also known as Cor-Ten) as the Angel of the North sculpture, which gradually develops a tightly adhering oxide layer as it is exposed to the elements. This layer inhibits further corrosion by reducing its permeability to water. As part of the design, the spikes swayed slightly in the wind in order to withstand gusts in excess of 100 mph (160 km/h). At the time of construction, a time capsule was placed in one of the spikes of the sculpture, containing children's poems and paintings, due to be opened circa 2300. The location of the time capsule after dismantling is currently unknown. B of the Bang was located next to the City of Manchester Stadium at Sportcity, in Beswick, at the corner of Alan Turing Way and Ashton New Road. It took its name from a quotation of British sprinter Linford Christie in which he said that he started his races not merely at the 'bang' of the starting pistol, but at 'The B of the Bang'. The artwork had been nicknamed KerPlunk by the locals after the popular children's game from the 1970s.Prior to the construction of Aspire at the University of Nottingham, B of the Bang was Britain's tallest sculpture at well over twice the height of the Angel of the North, which stands at 66 feet (20 m). It was designed to look like an exploding firework and was taller and leaned at a greater angle than the Leaning Tower of Pisa. It was commissioned by New East Manchester Limited to commemorate the 2002 Commonwealth Games. The design was selected by a panel consisting of both local residents and art experts via a competition in 2002 and was designed by Thomas Heatherwick.

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B of the Bang

Focus on this artwork and analyze the Design and statistics.

B of the Bang originally stood 56 metres (184 ft) tall with 180 hollow tapered steel columns or spikes radiating from a central core. It was angled at 30 degrees and supported by five 25 m (82 ft) long, tapered steel legs which connected to the spikes 22 m (72 ft) above the ground. The sculpture weighed 165 tonnes, with the concrete in the foundations weighing over 1,000 tonnes, including a 400 m2 (4,300 sq ft) reinforced concrete slab. The foundations were 20 m (66 ft) deep.The sculpture was made from the same weathering steel (also known as Cor-Ten) as the Angel of the North sculpture, which gradually develops a tightly adhering oxide layer as it is exposed to the elements. This layer inhibits further corrosion by reducing its permeability to water. As part of the design, the spikes swayed slightly in the wind in order to withstand gusts in excess of 100 mph (160 km/h). At the time of construction, a time capsule was placed in one of the spikes of the sculpture, containing children's poems and paintings, due to be opened circa 2300. The location of the time capsule after dismantling is currently unknown. B of the Bang was located next to the City of Manchester Stadium at Sportcity, in Beswick, at the corner of Alan Turing Way and Ashton New Road. It took its name from a quotation of British sprinter Linford Christie in which he said that he started his races not merely at the 'bang' of the starting pistol, but at 'The B of the Bang'. The artwork had been nicknamed KerPlunk by the locals after the popular children's game from the 1970s.Prior to the construction of Aspire at the University of Nottingham, B of the Bang was Britain's tallest sculpture at well over twice the height of the Angel of the North, which stands at 66 feet (20 m). It was designed to look like an exploding firework and was taller and leaned at a greater angle than the Leaning Tower of Pisa. It was commissioned by New East Manchester Limited to commemorate the 2002 Commonwealth Games. The design was selected by a panel consisting of both local residents and art experts via a competition in 2002 and was designed by Thomas Heatherwick.

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B of the Bang

In B of the Bang, how is the Construction and funding discussed?

The sculpture was constructed in Sheffield by Thomas Heatherwick Studio, Packman Lucas, Flint and Neill and Westbury Structures. It was approved at the start of 2003, with the central core arriving in Manchester on 13 June 2004. This was the largest load that could be transferred via road from the factory, and required a police escort. This central core was lifted into place in August 2004, after which the 180 spikes could begin being attached. Early estimates had given an optimistic completion date of July 2003, which contributed to the sculpture gaining the nickname G of the Bang.The official unveiling by Linford Christie took place on 12 January 2005.In total the sculpture cost £1.42 million to design and construct – twice the original estimate, as the initial costing had neglected to include installation costs. Funding was sourced from a European Regional Development Fund contribution of £700,000, the North West Development Agency, contributing £500,000, and Manchester City Council providing £120,000.

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B of the Bang

In this artwork, how is the Construction and funding discussed?

The sculpture was constructed in Sheffield by Thomas Heatherwick Studio, Packman Lucas, Flint and Neill and Westbury Structures. It was approved at the start of 2003, with the central core arriving in Manchester on 13 June 2004. This was the largest load that could be transferred via road from the factory, and required a police escort. This central core was lifted into place in August 2004, after which the 180 spikes could begin being attached. Early estimates had given an optimistic completion date of July 2003, which contributed to the sculpture gaining the nickname G of the Bang.The official unveiling by Linford Christie took place on 12 January 2005.In total the sculpture cost £1.42 million to design and construct – twice the original estimate, as the initial costing had neglected to include installation costs. Funding was sourced from a European Regional Development Fund contribution of £700,000, the North West Development Agency, contributing £500,000, and Manchester City Council providing £120,000.

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B of the Bang

Focus on B of the Bang and explore the Structural problems and legal action.

The tip of one of the 2.1 m (6.9 ft) spikes detached and fell from the sculpture on 6 January 2005, only six days before the official unveiling. After inspection, the event went ahead as planned. Four months later, in May 2005, a second spike had to be cut off by firefighters after it was discovered hanging loose. At that time the sculpture was closed off to the public, and the junction and pathway near the sculpture were temporarily closed. As a result, some of the joints were re-welded, with equipment put in place to prevent excessive movement. This consisted of retrofitting tip weights to 70% of the spikes' weights.Despite these modifications, B of the Bang remained fenced off, prompting a local newspaper campaign to 'Get It Sorted'. In May 2006 a total of nine spikes were removed from the sculpture and taken away for metallurgical analysis, to discover the stresses being placed on the steel.Weld defects were identified within the sculpture, which cracked when wind blew through it. Weights affixed to the tips to reduce vibrations did not solve the problem. Replacing the spikes with heavier steel was proposed, at a cost of £3.5 million, with a reduction of the size of the spikes that the council described as "unacceptable on aesthetic grounds". Another option would have been to replace the spikes with carbon/glass fibre composite, which would have cost around £3 million.It was announced in October 2007 that Manchester City Council were taking legal action against the makers of the sculpture, with the aim of completing the necessary repairs to the sculpture. In November 2008, this culminated in an out-of-court settlement being reached between Manchester City Council, the project's designers Thomas Heatherwick Studio Ltd, and the engineering and construction subcontractors Packman Lucas Ltd, Flint and Neill Partnership and Westbury Structures Ltd. The agreement was to pay the council £1.7m in damages for breach of contract and negligence.

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B of the Bang

Focus on this artwork and explore the Structural problems and legal action.

The tip of one of the 2.1 m (6.9 ft) spikes detached and fell from the sculpture on 6 January 2005, only six days before the official unveiling. After inspection, the event went ahead as planned. Four months later, in May 2005, a second spike had to be cut off by firefighters after it was discovered hanging loose. At that time the sculpture was closed off to the public, and the junction and pathway near the sculpture were temporarily closed. As a result, some of the joints were re-welded, with equipment put in place to prevent excessive movement. This consisted of retrofitting tip weights to 70% of the spikes' weights.Despite these modifications, B of the Bang remained fenced off, prompting a local newspaper campaign to 'Get It Sorted'. In May 2006 a total of nine spikes were removed from the sculpture and taken away for metallurgical analysis, to discover the stresses being placed on the steel.Weld defects were identified within the sculpture, which cracked when wind blew through it. Weights affixed to the tips to reduce vibrations did not solve the problem. Replacing the spikes with heavier steel was proposed, at a cost of £3.5 million, with a reduction of the size of the spikes that the council described as "unacceptable on aesthetic grounds". Another option would have been to replace the spikes with carbon/glass fibre composite, which would have cost around £3 million.It was announced in October 2007 that Manchester City Council were taking legal action against the makers of the sculpture, with the aim of completing the necessary repairs to the sculpture. In November 2008, this culminated in an out-of-court settlement being reached between Manchester City Council, the project's designers Thomas Heatherwick Studio Ltd, and the engineering and construction subcontractors Packman Lucas Ltd, Flint and Neill Partnership and Westbury Structures Ltd. The agreement was to pay the council £1.7m in damages for breach of contract and negligence.

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B of the Bang

Focus on B of the Bang and explain the Dismantling.

Acting on a report in January 2009, the city council recommended that B of the Bang should be dismantled and placed in storage until funds could be raised for its safe reinstatement. The report recognised the sculpture's aesthetic value for Manchester and Manchester City Council committed itself to working with the artist to reach a long-term solution. One possibility involved the replacement of the steel spikes with alternatives made from carbon fibre, although the report underlined the necessity for extensive testing.In January 2009, Antony Gormley, creator of the Angel of the North—to which B of the Bang is often compared—spoke out in support of the sculpture, stating that, "It is a great tribute to Manchester that this ground-breaking work was commissioned. To allow it to disappear would be a loss not just of an inspirational artwork but also of the council's nerve."Despite Gormley's plea, removal of B of the Bang began in April 2009. More substantial hoarding was erected around the site and demolition firm Connell Brothers Limited began removing the spikes with oxyacetylene cutting equipment.Although the council had promised to store the complex central core and legs, these too were cut apart during removal, casting doubt on future prospects for the landmark sculpture's return, and in early July 2012 the core was sold as scrap for £17,000. The spikes were reported to be in storage in a secret location in 2018.

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B of the Bang

Focus on this artwork and explain the Dismantling.

Acting on a report in January 2009, the city council recommended that B of the Bang should be dismantled and placed in storage until funds could be raised for its safe reinstatement. The report recognised the sculpture's aesthetic value for Manchester and Manchester City Council committed itself to working with the artist to reach a long-term solution. One possibility involved the replacement of the steel spikes with alternatives made from carbon fibre, although the report underlined the necessity for extensive testing.In January 2009, Antony Gormley, creator of the Angel of the North—to which B of the Bang is often compared—spoke out in support of the sculpture, stating that, "It is a great tribute to Manchester that this ground-breaking work was commissioned. To allow it to disappear would be a loss not just of an inspirational artwork but also of the council's nerve."Despite Gormley's plea, removal of B of the Bang began in April 2009. More substantial hoarding was erected around the site and demolition firm Connell Brothers Limited began removing the spikes with oxyacetylene cutting equipment.Although the council had promised to store the complex central core and legs, these too were cut apart during removal, casting doubt on future prospects for the landmark sculpture's return, and in early July 2012 the core was sold as scrap for £17,000. The spikes were reported to be in storage in a secret location in 2018.

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Super Mario Clouds

Explore the abstract of this artwork, Super Mario Clouds.

Super Mario Clouds is a 2002 multi-channel video installation artwork by Cory Arcangel that displays a modified version of the video game Super Mario Bros. in which all game assets besides the sky and clouds are removed. Its first major exhibition was the 2004 Whitney Biennial. Super Mario Clouds is among the artist's best known works.

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Super Mario Clouds

Explore the abstract of this artwork.

Super Mario Clouds is a 2002 multi-channel video installation artwork by Cory Arcangel that displays a modified version of the video game Super Mario Bros. in which all game assets besides the sky and clouds are removed. Its first major exhibition was the 2004 Whitney Biennial. Super Mario Clouds is among the artist's best known works.

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Super Mario Clouds

Focus on Super Mario Clouds and discuss the Description.

Super Mario Clouds is an installation artwork based on a hardware modification to a Super Mario Bros. game cartridge. The mod removes visual assets from the Nintendo Entertainment System game, removing the mushrooms, grasses, and protagonist (Mario), and leaving just the blue sky and its white clouds. In what's left onscreen, pixelated clouds slowly scroll over a blue background.

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Super Mario Clouds

Focus on this artwork and discuss the Description.

Super Mario Clouds is an installation artwork based on a hardware modification to a Super Mario Bros. game cartridge. The mod removes visual assets from the Nintendo Entertainment System game, removing the mushrooms, grasses, and protagonist (Mario), and leaving just the blue sky and its white clouds. In what's left onscreen, pixelated clouds slowly scroll over a blue background.