Datasets:

naist-nlp

/

ExpArt

like 3

1001_T

Pioneer Fountain

Focus on Pioneer Fountain and analyze the abstract.

Pioneer Fountain, also known as Pioneer Monument, is a fountain and sculpture by Frederick William MacMonnies, installed in Denver, Colorado, United States.In the original version of the monument, which was commissioned in 1904, an Indian warrior appeared at the top of the fountain, but the Denver business community loudly protested, and the Indian figure was soon replaced with a statue of Kit Carson. The statue of Carson was temporarily removed in June 2020. Indigenous activists had long criticized the glorification of Carson, who led a violent campaign to expel Navajo people from the American West. The Denver Parks and Recreation department described their removal of the statue as a "precautionary measure to keep it from being torn down."

1001_NT

Pioneer Fountain

Focus on this artwork and analyze the abstract.

Pioneer Fountain, also known as Pioneer Monument, is a fountain and sculpture by Frederick William MacMonnies, installed in Denver, Colorado, United States.In the original version of the monument, which was commissioned in 1904, an Indian warrior appeared at the top of the fountain, but the Denver business community loudly protested, and the Indian figure was soon replaced with a statue of Kit Carson. The statue of Carson was temporarily removed in June 2020. Indigenous activists had long criticized the glorification of Carson, who led a violent campaign to expel Navajo people from the American West. The Denver Parks and Recreation department described their removal of the statue as a "precautionary measure to keep it from being torn down."

1002_T

Portrait of Philippe-Laurent de Joubert

In Portrait of Philippe-Laurent de Joubert, how is the abstract discussed?

Portrait of Philippe-Laurent de Joubert is an oil-on-canvas painting by the French artist Jacques-Louis David. Its date is unknown, but Antoine Schnapper argues that it was made between 1790 and 1792, since the subject died on 30 March 1792. It was left incomplete like his portraits of Madame Trudaine and Madame Pastoret. It is held in the Musée Fabre in Montpellier.

1002_NT

Portrait of Philippe-Laurent de Joubert

In this artwork, how is the abstract discussed?

Portrait of Philippe-Laurent de Joubert is an oil-on-canvas painting by the French artist Jacques-Louis David. Its date is unknown, but Antoine Schnapper argues that it was made between 1790 and 1792, since the subject died on 30 March 1792. It was left incomplete like his portraits of Madame Trudaine and Madame Pastoret. It is held in the Musée Fabre in Montpellier.

1003_T

The Tightrope Dancer

Focus on The Tightrope Dancer and explore the abstract.

The Tightrope Dancer is an 1899 pastel painting by Henri de Toulouse-Lautrec, now in the Nationalmuseum in Stockholm.

1003_NT

The Tightrope Dancer

Focus on this artwork and explore the abstract.

The Tightrope Dancer is an 1899 pastel painting by Henri de Toulouse-Lautrec, now in the Nationalmuseum in Stockholm.

1004_T

George Washington (Fairbanks)

Focus on George Washington (Fairbanks) and explain the abstract.

George Washington is a series of outdoor bronze busts depicting George Washington by Avard Fairbanks, located on the George Washington University campus in Washington, D.C.

1004_NT

George Washington (Fairbanks)

Focus on this artwork and explain the abstract.

George Washington is a series of outdoor bronze busts depicting George Washington by Avard Fairbanks, located on the George Washington University campus in Washington, D.C.

1005_T

George Washington (Fairbanks)

Explore the History of this artwork, George Washington (Fairbanks).

Copyrighted in 1975 and dedicated on February 16, 1993, the sculpture measures approximately 46 x 32 x 27 inches, with a granite base measuring approximately 68 x 42 1/2 x 33 inches.

1005_NT

George Washington (Fairbanks)

Explore the History of this artwork.

Copyrighted in 1975 and dedicated on February 16, 1993, the sculpture measures approximately 46 x 32 x 27 inches, with a granite base measuring approximately 68 x 42 1/2 x 33 inches.

1006_T

After the Deluge (painting)

Focus on After the Deluge (painting) and discuss the abstract.

After the Deluge, also known as The Forty-First Day, is a Symbolist oil painting by English artist George Frederic Watts, first exhibited as The Sun in an incomplete form in 1886 and completed in 1891. It shows a scene from the story of Noah's Flood, in which after 40 days of rain Noah opens the window of his Ark to see that the rain has stopped. Watts felt that modern society was in decline owing to a lack of moral values, and he often painted works on the topic of the Flood and its cleansing of the unworthy from the world. The painting takes the form of a stylised seascape, dominated by a bright sunburst breaking through clouds. Although this was a theme Watts had depicted previously in The Genius of Greek Poetry in 1878, After the Deluge took a radically different approach. With this painting he intended to evoke a monotheistic God in the act of creation, but avoid depicting the Creator directly. The unfinished painting was exhibited in Whitechapel in 1886, under the intentionally simplified title of The Sun. Watts worked on the painting for a further five years, and the completed version was exhibited for the first time at the New Gallery in 1891. Between 1902 and 1906 the painting was exhibited around the United Kingdom, and it is now in the collection of the Watts Gallery in Compton, Surrey. As Watts did not include After the Deluge in his gift to the nation of what he considered his most significant works, it is not among his better-known paintings. However, it was greatly admired by many of Watts's fellow artists, and has been cited as an influence on numerous other painters who worked in the two decades following its initial exhibition.

1006_NT

After the Deluge (painting)

Focus on this artwork and discuss the abstract.

After the Deluge, also known as The Forty-First Day, is a Symbolist oil painting by English artist George Frederic Watts, first exhibited as The Sun in an incomplete form in 1886 and completed in 1891. It shows a scene from the story of Noah's Flood, in which after 40 days of rain Noah opens the window of his Ark to see that the rain has stopped. Watts felt that modern society was in decline owing to a lack of moral values, and he often painted works on the topic of the Flood and its cleansing of the unworthy from the world. The painting takes the form of a stylised seascape, dominated by a bright sunburst breaking through clouds. Although this was a theme Watts had depicted previously in The Genius of Greek Poetry in 1878, After the Deluge took a radically different approach. With this painting he intended to evoke a monotheistic God in the act of creation, but avoid depicting the Creator directly. The unfinished painting was exhibited in Whitechapel in 1886, under the intentionally simplified title of The Sun. Watts worked on the painting for a further five years, and the completed version was exhibited for the first time at the New Gallery in 1891. Between 1902 and 1906 the painting was exhibited around the United Kingdom, and it is now in the collection of the Watts Gallery in Compton, Surrey. As Watts did not include After the Deluge in his gift to the nation of what he considered his most significant works, it is not among his better-known paintings. However, it was greatly admired by many of Watts's fellow artists, and has been cited as an influence on numerous other painters who worked in the two decades following its initial exhibition.

1007_T

After the Deluge (painting)

How does After the Deluge (painting) elucidate its Background?

George Frederic Watts was born in 1817, the son of a London musical instrument manufacturer. His two brothers died in 1823, and his mother in 1826, giving Watts an obsession with death throughout his life. Watts was apprenticed as a sculptor at the age of 10, and by his mid-teens was proficient enough as an artist to be earning a living as a portrait painter. At the age of 18 he gained admission to the Royal Academy schools, although he disliked their methods and his attendance was intermittent. From 1837, Watts was successful enough to devote himself full-time to painting.In 1843 Watts travelled to Italy where he remained for four years. On his return to London he suffered from melancholia, and painted many notably gloomy works. His skills were widely celebrated, and in 1856 he decided to devote himself to portrait painting. His portraits were extremely highly regarded, and in 1867 he was elected to the Royal Academy, at the time the highest honour available to an artist, although he rapidly became disillusioned with its culture. From 1870 onwards he became widely renowned as a painter of allegorical and mythical subjects; by this time, he was one of the most highly regarded artists in the world. In 1881 he added a glass-roofed gallery to his home at Little Holland House, which was open to the public at weekends, further increasing his fame.

1007_NT

After the Deluge (painting)

How does this artwork elucidate its Background?

George Frederic Watts was born in 1817, the son of a London musical instrument manufacturer. His two brothers died in 1823, and his mother in 1826, giving Watts an obsession with death throughout his life. Watts was apprenticed as a sculptor at the age of 10, and by his mid-teens was proficient enough as an artist to be earning a living as a portrait painter. At the age of 18 he gained admission to the Royal Academy schools, although he disliked their methods and his attendance was intermittent. From 1837, Watts was successful enough to devote himself full-time to painting.In 1843 Watts travelled to Italy where he remained for four years. On his return to London he suffered from melancholia, and painted many notably gloomy works. His skills were widely celebrated, and in 1856 he decided to devote himself to portrait painting. His portraits were extremely highly regarded, and in 1867 he was elected to the Royal Academy, at the time the highest honour available to an artist, although he rapidly became disillusioned with its culture. From 1870 onwards he became widely renowned as a painter of allegorical and mythical subjects; by this time, he was one of the most highly regarded artists in the world. In 1881 he added a glass-roofed gallery to his home at Little Holland House, which was open to the public at weekends, further increasing his fame.

1008_T

After the Deluge (painting)

Focus on After the Deluge (painting) and analyze the Subject.

After the Deluge depicts a scene from the story of Noah's Flood, in which Noah opens the window of the Ark to see that after forty days the rain has ended but the floodwaters have not yet subsided. Although his father's strict evangelical Christianity had instilled in Watts a strong dislike of organised religion, he had a deep knowledge of the Bible, and Noah and the Flood were both themes he regularly depicted throughout his career.Watts had a strong belief in the idea that modern society was prioritising wealth over social values, and that this attitude, which he described as "the hypocritical veiling of the daily sacrifice made to this deity", was leading to the decline of society. Hilary Underwood of the University of Surrey writes that Watts likely painted so many works on the theme of Noah as he saw modern parallels with the notion of the cleaning of a degenerate society while preserving those who still adhered to moral standards. Watts chose to depict the moment at which the sunlight became visible for the first time, after 40 days obscured by clouds. And the waters decreased continually until the tenth month: in the tenth month, on the first day of the month, were the tops of the mountains seen. And it came to pass at the end of forty days, that Noah opened the window of the ark which he had made.

1008_NT

After the Deluge (painting)

Focus on this artwork and analyze the Subject.

After the Deluge depicts a scene from the story of Noah's Flood, in which Noah opens the window of the Ark to see that after forty days the rain has ended but the floodwaters have not yet subsided. Although his father's strict evangelical Christianity had instilled in Watts a strong dislike of organised religion, he had a deep knowledge of the Bible, and Noah and the Flood were both themes he regularly depicted throughout his career.Watts had a strong belief in the idea that modern society was prioritising wealth over social values, and that this attitude, which he described as "the hypocritical veiling of the daily sacrifice made to this deity", was leading to the decline of society. Hilary Underwood of the University of Surrey writes that Watts likely painted so many works on the theme of Noah as he saw modern parallels with the notion of the cleaning of a degenerate society while preserving those who still adhered to moral standards. Watts chose to depict the moment at which the sunlight became visible for the first time, after 40 days obscured by clouds. And the waters decreased continually until the tenth month: in the tenth month, on the first day of the month, were the tops of the mountains seen. And it came to pass at the end of forty days, that Noah opened the window of the ark which he had made.

1009_T

After the Deluge (painting)

In After the Deluge (painting), how is the Composition discussed?

Watts illustrated the scene with a highly stylised seascape. Above the sea is a bright sunburst, with the light of the sun illuminating the surrounding clouds and bright rays projecting beyond the edges of the canvas. Watts's composition echoes J. M. W. Turner's 1843 treatment of the same topic, Light and Colour (Goethe's Theory)—The Morning after the Deluge—Moses Writing the Book of Genesis, in primarily depicting a circle of bright light. However, Turner's painting depicts recognisable human figures, and no work by Turner ever came as close to pure abstract art as Watts's composition.In this stage of his career Watts regularly painted images linking awe-inspiring natural events and the will of God. His focus on the Sun reflects his longstanding interest in it as a divine symbol; The Sacrifice of Noah, painted c. 1865, showed Noah sacrificing to the sun in thanks for his family's salvation. This interest in the Sun possibly came from Watts's acquaintance Max Müller, who had written extensively on solar theories of mythology (the belief that the religions of Europe, the Middle East and southern Asia were all ultimately derived from Proto-Indo-European worship of the Sun). Writing after Watts's death, his widow Mary Seton Watts wrote that:A visitor looking at After the Deluge remarked that into such a scheme of colour he felt it would not have been impossible to introduce the figure of the Creator. 'Ah no,' Mr Watts replied. 'But that is exactly what I could wish to make those who look at the picture conceive for themselves. The hand of the Creator moving by light and by heat to re-create. I have not tried to paint a portrait of the sun—such a thing is unpaintable—but I wanted to impress you with the idea of its enormous power.' Watts had previously depicted an orange sun above a flat sea in his 1878 work The Genius of Greek Poetry, but the theme and composition of After the Deluge was radically different. The Genius of Greek Poetry was intended to evoke pantheism, with figures representing the forces of nature in human form working and playing, while being watched by the large central figure of the Genius. After the Deluge was explicitly intended as a monotheistic image, evoking both the magnificence and the redemptive mercy of a single all-powerful God engaging in the act of creation.After the Deluge was exhibited in unfinished form in 1886 as The Sun at St Jude's Church, Whitechapel; Samuel Barnett, vicar of St Jude's, organised annual art exhibitions in east London in an effort to bring beauty into the lives of the poor; he had a close relationship with Watts, and regularly borrowed his works to display them to local residents. Following this exhibition Watts continued to work on the painting for a further five years.

1009_NT

After the Deluge (painting)

In this artwork, how is the Composition discussed?

Watts illustrated the scene with a highly stylised seascape. Above the sea is a bright sunburst, with the light of the sun illuminating the surrounding clouds and bright rays projecting beyond the edges of the canvas. Watts's composition echoes J. M. W. Turner's 1843 treatment of the same topic, Light and Colour (Goethe's Theory)—The Morning after the Deluge—Moses Writing the Book of Genesis, in primarily depicting a circle of bright light. However, Turner's painting depicts recognisable human figures, and no work by Turner ever came as close to pure abstract art as Watts's composition.In this stage of his career Watts regularly painted images linking awe-inspiring natural events and the will of God. His focus on the Sun reflects his longstanding interest in it as a divine symbol; The Sacrifice of Noah, painted c. 1865, showed Noah sacrificing to the sun in thanks for his family's salvation. This interest in the Sun possibly came from Watts's acquaintance Max Müller, who had written extensively on solar theories of mythology (the belief that the religions of Europe, the Middle East and southern Asia were all ultimately derived from Proto-Indo-European worship of the Sun). Writing after Watts's death, his widow Mary Seton Watts wrote that:A visitor looking at After the Deluge remarked that into such a scheme of colour he felt it would not have been impossible to introduce the figure of the Creator. 'Ah no,' Mr Watts replied. 'But that is exactly what I could wish to make those who look at the picture conceive for themselves. The hand of the Creator moving by light and by heat to re-create. I have not tried to paint a portrait of the sun—such a thing is unpaintable—but I wanted to impress you with the idea of its enormous power.' Watts had previously depicted an orange sun above a flat sea in his 1878 work The Genius of Greek Poetry, but the theme and composition of After the Deluge was radically different. The Genius of Greek Poetry was intended to evoke pantheism, with figures representing the forces of nature in human form working and playing, while being watched by the large central figure of the Genius. After the Deluge was explicitly intended as a monotheistic image, evoking both the magnificence and the redemptive mercy of a single all-powerful God engaging in the act of creation.After the Deluge was exhibited in unfinished form in 1886 as The Sun at St Jude's Church, Whitechapel; Samuel Barnett, vicar of St Jude's, organised annual art exhibitions in east London in an effort to bring beauty into the lives of the poor; he had a close relationship with Watts, and regularly borrowed his works to display them to local residents. Following this exhibition Watts continued to work on the painting for a further five years.

1010_T

Statue of John Singleton Copley

Focus on Statue of John Singleton Copley and explore the abstract.

A statue of painter John Singleton Copley by Lewis Cohen is installed in Boston's Copley Square, in the U.S. state of Massachusetts. The bronze sculpture was installed in 2002.A booklet published by the Friends of Copley Square describes the process of creating the statue.

1010_NT

Statue of John Singleton Copley

Focus on this artwork and explore the abstract.

A statue of painter John Singleton Copley by Lewis Cohen is installed in Boston's Copley Square, in the U.S. state of Massachusetts. The bronze sculpture was installed in 2002.A booklet published by the Friends of Copley Square describes the process of creating the statue.

1011_T

The Sphere

Focus on The Sphere and explain the abstract.

The Sphere (officially Große Kugelkaryatide N.Y., also known as Sphere at Plaza Fountain, WTC Sphere or Koenig Sphere) is a monumental cast bronze sculpture by German artist Fritz Koenig (1924–2017).The world's largest bronze sculpture of modern times stood between the twin towers on the Austin J. Tobin Plaza of the World Trade Center in New York City from 1971 until the September 11 attacks. The work, weighing more than 20 tons, was the only remaining work of art to be recovered largely intact from the ruins of the collapsed twin towers. After being dismantled and stored near a hangar at John F. Kennedy International Airport, the sculpture was the subject of the 2001 documentary Koenig's Sphere. Since then, the bronze sphere has become a memorial for the attacks. The spherical caryatid was installed in Battery Park between 2002 and 2017, when the Port Authority of New York and New Jersey moved it to Liberty Park, overlooking the September 11 Memorial and its original location. The sculpture, rededicated at its permanent location on August 16, 2017, has been kept in the condition it was found in after the September 11 attacks.

1011_NT

The Sphere

Focus on this artwork and explain the abstract.

The Sphere (officially Große Kugelkaryatide N.Y., also known as Sphere at Plaza Fountain, WTC Sphere or Koenig Sphere) is a monumental cast bronze sculpture by German artist Fritz Koenig (1924–2017).The world's largest bronze sculpture of modern times stood between the twin towers on the Austin J. Tobin Plaza of the World Trade Center in New York City from 1971 until the September 11 attacks. The work, weighing more than 20 tons, was the only remaining work of art to be recovered largely intact from the ruins of the collapsed twin towers. After being dismantled and stored near a hangar at John F. Kennedy International Airport, the sculpture was the subject of the 2001 documentary Koenig's Sphere. Since then, the bronze sphere has become a memorial for the attacks. The spherical caryatid was installed in Battery Park between 2002 and 2017, when the Port Authority of New York and New Jersey moved it to Liberty Park, overlooking the September 11 Memorial and its original location. The sculpture, rededicated at its permanent location on August 16, 2017, has been kept in the condition it was found in after the September 11 attacks.

1012_T

The Sphere

Explore the Artwork of this artwork, The Sphere.

The creation of the originally titled Große Kugelkaryatide N.Y. / Great Caryatid Sphere N.Y. (catalogue raisonné Sk 416) dates to the 1960s and early 1970s. At that time Fritz Koenig was established as an artist in the United States. After the World Trade Center's architect Minoru Yamasaki had seen the work of the German sculptor in the George W. Staempfli Gallery in New York, he asked Koenig to create a sculpture including a fountain for the space between the World Trade Center's twin towers, which were then under construction. In 1967, Koenig was awarded the contract by the Port Authority of New York and New Jersey as the client and property owner of the development.The Sphere falls into Koenig's creative phase of various caryatids, in which Koenig stages a struggle with constricting or burdensome geometrizing masses. With his sculpture Koenig wanted to mark a formal contrast to the skyscrapers. Mounted on a porphyry disk measuring 3.3 feet (1.0 m) high, with a diameter of 82 feet (25 m), the sphere rotated once around its axis within 24 Hours. One hundred and sixty gallons of water (600 liters) per second flowed out of the nozzles of the associated Plaza Fountain. The well water was sprayed in a ring running around the sphere onto a flat surface adjacent to the sphere. This should give the impression that the spherical caryatid rises out of the water. The highly complex technology of the system was designed at the Institute for Hydrology and River Basin Management at the Technical University of Munich, where Koenig had been a lecturer since 1964. The largest bronze sculpture of modern times weighs over twenty tons, is 25 feet (7.6 m) high and has a diameter of 17 feet (5.2 m). Koenig called it his "biggest child".The sculpture was made between late 1968/early 1969 to the end of 1971 in Ganslberg near Landshut, where Fritz Koenig lived. The work on the plaster model in its original size required the construction of a new workshop hall near Koenig's homestead and actual studio. Koenig was supported in the production of his work of art by his long-time assistant Hugo Jahn and the South Tyrolean sculptor Josef Plankensteiner. From 1969 the plaster elements of the sphere, dismantled into 67 individual parts, were cast in bronze in the Munich art foundry Hans Mayr. Then the individual bronze segments with a total combined weight of seventeen tons were brought to the workshop in Ganslberg and assembled there. After four years of planning and manufacturing, the finished sculpture was dismantled again and transported to the port of Bremen with low loaders and trucks. The bronze elements of the sphere and the base were put together again on site so that Koenig's sculpture as a whole could set off by sea across the Atlantic to New York in a specially made, oversized wooden transport box. In 1971, The Sphere finally installed on the World Trade Center's plaza and ceremoniously unveiled a little later. The sculpture, including the fountain, marked the center of the development and was a popular meeting place for New Yorkers. The work of art was dedicated to "world peace through trade". The original name "Große Kugelkaryatide N.Y." did not catch on with the New Yorkers. They called the spherical sculpture "Koenig Sphere" or simply "The Sphere".

1012_NT

The Sphere

Explore the Artwork of this artwork.

The creation of the originally titled Große Kugelkaryatide N.Y. / Great Caryatid Sphere N.Y. (catalogue raisonné Sk 416) dates to the 1960s and early 1970s. At that time Fritz Koenig was established as an artist in the United States. After the World Trade Center's architect Minoru Yamasaki had seen the work of the German sculptor in the George W. Staempfli Gallery in New York, he asked Koenig to create a sculpture including a fountain for the space between the World Trade Center's twin towers, which were then under construction. In 1967, Koenig was awarded the contract by the Port Authority of New York and New Jersey as the client and property owner of the development.The Sphere falls into Koenig's creative phase of various caryatids, in which Koenig stages a struggle with constricting or burdensome geometrizing masses. With his sculpture Koenig wanted to mark a formal contrast to the skyscrapers. Mounted on a porphyry disk measuring 3.3 feet (1.0 m) high, with a diameter of 82 feet (25 m), the sphere rotated once around its axis within 24 Hours. One hundred and sixty gallons of water (600 liters) per second flowed out of the nozzles of the associated Plaza Fountain. The well water was sprayed in a ring running around the sphere onto a flat surface adjacent to the sphere. This should give the impression that the spherical caryatid rises out of the water. The highly complex technology of the system was designed at the Institute for Hydrology and River Basin Management at the Technical University of Munich, where Koenig had been a lecturer since 1964. The largest bronze sculpture of modern times weighs over twenty tons, is 25 feet (7.6 m) high and has a diameter of 17 feet (5.2 m). Koenig called it his "biggest child".The sculpture was made between late 1968/early 1969 to the end of 1971 in Ganslberg near Landshut, where Fritz Koenig lived. The work on the plaster model in its original size required the construction of a new workshop hall near Koenig's homestead and actual studio. Koenig was supported in the production of his work of art by his long-time assistant Hugo Jahn and the South Tyrolean sculptor Josef Plankensteiner. From 1969 the plaster elements of the sphere, dismantled into 67 individual parts, were cast in bronze in the Munich art foundry Hans Mayr. Then the individual bronze segments with a total combined weight of seventeen tons were brought to the workshop in Ganslberg and assembled there. After four years of planning and manufacturing, the finished sculpture was dismantled again and transported to the port of Bremen with low loaders and trucks. The bronze elements of the sphere and the base were put together again on site so that Koenig's sculpture as a whole could set off by sea across the Atlantic to New York in a specially made, oversized wooden transport box. In 1971, The Sphere finally installed on the World Trade Center's plaza and ceremoniously unveiled a little later. The sculpture, including the fountain, marked the center of the development and was a popular meeting place for New Yorkers. The work of art was dedicated to "world peace through trade". The original name "Große Kugelkaryatide N.Y." did not catch on with the New Yorkers. They called the spherical sculpture "Koenig Sphere" or simply "The Sphere".

1013_T

The Sphere

In The Sphere, how is the Immediately after the attacks of the Relocation after 9/11 elucidated?

After the September 11 attacks, upon recovery from the rubble pile the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel (Koenig's Sphere) at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it "a beautiful corpse".

1013_NT

The Sphere

In this artwork, how is the Immediately after the attacks of the Relocation after 9/11 elucidated?

After the September 11 attacks, upon recovery from the rubble pile the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel (Koenig's Sphere) at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it "a beautiful corpse".

1014_T

The Sphere

In the context of The Sphere, analyze the Relocation to Battery Park of the Relocation after 9/11.

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:For three decades, this sculpture stood in the plaza of the World Trade Center. Entitled The Sphere, it was conceived by artist Fritz Koenig as a symbol of world peace. It was damaged during the tragic events of September 11, 2001, but endures as an icon of hope and the indestructible spirit of this country. The Sphere was placed here on March 11, 2002 as a temporary memorial to all who lost their lives in the terrorist attacks at the World Trade Center.This eternal flame was ignited on September 11, 2002 in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.

1014_NT

The Sphere

In the context of this artwork, analyze the Relocation to Battery Park of the Relocation after 9/11.

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:For three decades, this sculpture stood in the plaza of the World Trade Center. Entitled The Sphere, it was conceived by artist Fritz Koenig as a symbol of world peace. It was damaged during the tragic events of September 11, 2001, but endures as an icon of hope and the indestructible spirit of this country. The Sphere was placed here on March 11, 2002 as a temporary memorial to all who lost their lives in the terrorist attacks at the World Trade Center.This eternal flame was ignited on September 11, 2002 in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.

1015_T

The Sphere

Describe the characteristics of the Relocation to Liberty Park in The Sphere's Relocation after 9/11.

According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey (PANYNJ), which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures as of March 23, 2011. Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. On June 28, 2012, PANYNJ expressed support for the effort to move The Sphere to the plaza of the National September 11 Memorial & Museum. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:The point that Mr. Burke made resonates with many people in New York and New Jersey and many people here at the Port Authority, especially given the fact that 84 members of the Port Authority family were killed on 9/11. This is an artifact that survived and was affected by the horrors of 9/11, and placing it on the memorial plaza, we think, is entirely appropriate. When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.

1015_NT

The Sphere

Describe the characteristics of the Relocation to Liberty Park in this artwork's Relocation after 9/11.

According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey (PANYNJ), which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures as of March 23, 2011. Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. On June 28, 2012, PANYNJ expressed support for the effort to move The Sphere to the plaza of the National September 11 Memorial & Museum. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:The point that Mr. Burke made resonates with many people in New York and New Jersey and many people here at the Port Authority, especially given the fact that 84 members of the Port Authority family were killed on 9/11. This is an artifact that survived and was affected by the horrors of 9/11, and placing it on the memorial plaza, we think, is entirely appropriate. When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.

1016_T

Arthur Sullivan Memorial

Focus on Arthur Sullivan Memorial and explore the abstract.

The Memorial to Arthur Sullivan by William Goscombe John stands in Victoria Embankment Gardens in the centre of London. It was designated a Grade II listed structure in 1958.

1016_NT

Arthur Sullivan Memorial

Focus on this artwork and explore the abstract.

The Memorial to Arthur Sullivan by William Goscombe John stands in Victoria Embankment Gardens in the centre of London. It was designated a Grade II listed structure in 1958.

1017_T

Arthur Sullivan Memorial

Focus on Arthur Sullivan Memorial and explain the History.

Sir Arthur Seymour Sullivan (13 May 1842 – 22 November 1900) was an English composer best known for his enduring operatic collaborations with the dramatist W. S. Gilbert. Prior to his death in 1900, Sullivan had expressed a wish to be buried with other members of his family in Brompton Cemetery in West London. At the command of Queen Victoria, he was instead interred in St. Paul's Cathedral. In 1903, a memorial to him was raised in Victoria Embankment Gardens, close to the site of the Savoy Theatre where many of his and Gilbert's comic operas premiered.The sculptor was Sir William Goscombe John . John modelled the head and shoulders bust in bronze, subsequently adding the figure of a disconsolate woman, which he had sculpted in Paris in 1890–1899. Sources variously describe the figure as representing "Grief" or the Greek muse of music, Euterpe.The statue has been described as "the most erotic in London" and inspired a rhyme on that theme (see box). John Whitlock Blundell and Roger Hudson, in their study The Immortals: London's finest statues, note the memorial's "fin de siècle spirit".

1017_NT

Arthur Sullivan Memorial

Focus on this artwork and explain the History.

Sir Arthur Seymour Sullivan (13 May 1842 – 22 November 1900) was an English composer best known for his enduring operatic collaborations with the dramatist W. S. Gilbert. Prior to his death in 1900, Sullivan had expressed a wish to be buried with other members of his family in Brompton Cemetery in West London. At the command of Queen Victoria, he was instead interred in St. Paul's Cathedral. In 1903, a memorial to him was raised in Victoria Embankment Gardens, close to the site of the Savoy Theatre where many of his and Gilbert's comic operas premiered.The sculptor was Sir William Goscombe John . John modelled the head and shoulders bust in bronze, subsequently adding the figure of a disconsolate woman, which he had sculpted in Paris in 1890–1899. Sources variously describe the figure as representing "Grief" or the Greek muse of music, Euterpe.The statue has been described as "the most erotic in London" and inspired a rhyme on that theme (see box). John Whitlock Blundell and Roger Hudson, in their study The Immortals: London's finest statues, note the memorial's "fin de siècle spirit".

1018_T

Arthur Sullivan Memorial

Explore the Description of this artwork, Arthur Sullivan Memorial.

The bust of Sullivan is in bronze and stands on a pedestal of granite. A bronze figure of a woman weeping, her upper body nude and her lower body covered in drapery, leans, as if pressing her body in her grief, against the plinth. Pevsner describes the Art Deco style of the memorial as "in the Père Lachaise manner”. The plinth also carries lines from Gilbert and Sullivan's 1888 opera The Yeomen of the Guard: "Is life a boon? / If so, it must befall / That Death, whene'er he call, / Must call too soon." The lines are repeated in the bronze sculpture at the base, which depicts an open book of music, one of the masks of Comedy and Tragedy, and a mandolin. The pedestal is fronted by a semi-circular stone bearing Sullivan's name and dates of birth and death. The memorial is a Grade II listed structure.

1018_NT

Arthur Sullivan Memorial

Explore the Description of this artwork.

The bust of Sullivan is in bronze and stands on a pedestal of granite. A bronze figure of a woman weeping, her upper body nude and her lower body covered in drapery, leans, as if pressing her body in her grief, against the plinth. Pevsner describes the Art Deco style of the memorial as "in the Père Lachaise manner”. The plinth also carries lines from Gilbert and Sullivan's 1888 opera The Yeomen of the Guard: "Is life a boon? / If so, it must befall / That Death, whene'er he call, / Must call too soon." The lines are repeated in the bronze sculpture at the base, which depicts an open book of music, one of the masks of Comedy and Tragedy, and a mandolin. The pedestal is fronted by a semi-circular stone bearing Sullivan's name and dates of birth and death. The memorial is a Grade II listed structure.

1019_T

Tombe à la fille

Focus on Tombe à la fille and discuss the abstract.

The Tombe à la fille (Girl's tomb) is a small tomb located in the woods of Teillay, Brittany, France. According to local tradition, a girl killed by the Chouans during the French Revolution is buried there. Today it is a place of great devotion in the region. The tomb is regularly covered with flowers, and children's clothes are always hung on the surrounding vegetation.

1019_NT

Tombe à la fille

Focus on this artwork and discuss the abstract.

The Tombe à la fille (Girl's tomb) is a small tomb located in the woods of Teillay, Brittany, France. According to local tradition, a girl killed by the Chouans during the French Revolution is buried there. Today it is a place of great devotion in the region. The tomb is regularly covered with flowers, and children's clothes are always hung on the surrounding vegetation.

1020_T

Tombe à la fille

How does Tombe à la fille elucidate its History?

The girl buried there was Marie Martin, born in Tresboeuf and living in Teillay; at the time of death she was 17 to 19 years old. Although several narratives exist about the reason for her murder, one of the most credited claims is that she would have indicated to the Republicans of Bain-de-Bretagne the hiding place of a group of Chouans (or, on the contrary, refused to indicate the hiding place of the revolutionaries). She was captured and tortured for a long time by the Chouans, who let her die whilst tied to a tree.This girl is also remembered as Sainte Pataude (clumsy); clumsy is the nickname given to the Republicans by the Chouans in Gallo (patao).;

1020_NT

Tombe à la fille

How does this artwork elucidate its History?

The girl buried there was Marie Martin, born in Tresboeuf and living in Teillay; at the time of death she was 17 to 19 years old. Although several narratives exist about the reason for her murder, one of the most credited claims is that she would have indicated to the Republicans of Bain-de-Bretagne the hiding place of a group of Chouans (or, on the contrary, refused to indicate the hiding place of the revolutionaries). She was captured and tortured for a long time by the Chouans, who let her die whilst tied to a tree.This girl is also remembered as Sainte Pataude (clumsy); clumsy is the nickname given to the Republicans by the Chouans in Gallo (patao).;

1021_T

Ceci N'est Pas Un Viol

Focus on Ceci N'est Pas Un Viol and analyze the abstract.

Ceci N'est Pas Un Viol ("This is not a rape") is a work of performance art by American artist Emma Sulkowicz. Released on 3 June 2015, the work consists of a website hosting an eight-minute video, introductory text and an open comments section. The video shows Sulkowicz having sex with an anonymous actor in a dorm room at Columbia University in New York City. It was directed by artist Ted Lawson in early 2015, while Sulkowicz was in the final year of a visual-arts degree at Columbia.The film illustrates the shift between consensual and non-consensual sex. Named after "Ceci n'est pas une pipe" from René Magritte's The Treachery of Images, the scene shows Sulkowicz and the actor engaging in what begins as a consensual sexual encounter and ends with what appears to be non-consensual anal sex. (The text notes that the sex was consensual and only appears to be rape.)The online response in the comments to the video is a central part of the work, described as an example of participatory art. Sulkowicz wanted to know "what the public does with [the video], which begins with the way they deal with it from the moment it's disseminated." Shortly after it appeared, the video was taken offline by a denial-of-service attack. By 9 June 2015, there were 2,700 comments on the site, most of them negative or ridiculing. Sulkowicz said she strongly believed in the video's importance, but that making it had been a "traumatizing" experience.

1021_NT

Ceci N'est Pas Un Viol

Focus on this artwork and analyze the abstract.

Ceci N'est Pas Un Viol ("This is not a rape") is a work of performance art by American artist Emma Sulkowicz. Released on 3 June 2015, the work consists of a website hosting an eight-minute video, introductory text and an open comments section. The video shows Sulkowicz having sex with an anonymous actor in a dorm room at Columbia University in New York City. It was directed by artist Ted Lawson in early 2015, while Sulkowicz was in the final year of a visual-arts degree at Columbia.The film illustrates the shift between consensual and non-consensual sex. Named after "Ceci n'est pas une pipe" from René Magritte's The Treachery of Images, the scene shows Sulkowicz and the actor engaging in what begins as a consensual sexual encounter and ends with what appears to be non-consensual anal sex. (The text notes that the sex was consensual and only appears to be rape.)The online response in the comments to the video is a central part of the work, described as an example of participatory art. Sulkowicz wanted to know "what the public does with [the video], which begins with the way they deal with it from the moment it's disseminated." Shortly after it appeared, the video was taken offline by a denial-of-service attack. By 9 June 2015, there were 2,700 comments on the site, most of them negative or ridiculing. Sulkowicz said she strongly believed in the video's importance, but that making it had been a "traumatizing" experience.

1022_T

Ceci N'est Pas Un Viol

In Ceci N'est Pas Un Viol, how is the Background discussed?

Emma Sulkowicz, a non-binary artist who uses both she/her and they/them pronouns, obtained a degree in visual arts from Columbia University in 2015. Sulkowicz's senior thesis and first notable artwork was Mattress Performance (Carry That Weight) (2014–2015), which consisted of Sulkowicz carrying a mattress wherever she went on campus during her final year, in protest against campus sexual assault and the university's handling of a complaint she filed against fellow Columbia student Paul Jonathan Nungesser, who she said anally raped her. The university cleared the student of responsibility; the district attorney's office declined to pursue criminal charges, citing lack of reasonable suspicion.

1022_NT

Ceci N'est Pas Un Viol

In this artwork, how is the Background discussed?

Emma Sulkowicz, a non-binary artist who uses both she/her and they/them pronouns, obtained a degree in visual arts from Columbia University in 2015. Sulkowicz's senior thesis and first notable artwork was Mattress Performance (Carry That Weight) (2014–2015), which consisted of Sulkowicz carrying a mattress wherever she went on campus during her final year, in protest against campus sexual assault and the university's handling of a complaint she filed against fellow Columbia student Paul Jonathan Nungesser, who she said anally raped her. The university cleared the student of responsibility; the district attorney's office declined to pursue criminal charges, citing lack of reasonable suspicion.

1023_T

Ceci N'est Pas Un Viol

In the context of Ceci N'est Pas Un Viol, explain the Overview of the Work.

Ceci N'est Pas Un Viol consists of a website that hosts a video, an introductory text and an open comments section. Its existence was made public by a Facebook post from the video's director, Ted Lawson. Sulkowicz says she had the idea for the piece in December 2014, and that performance artist Marina Abramović put her in touch with Lawson to direct it. Lawson told ArtNet that he thought the piece was "super risky" and courageous. Sulkowicz stressed that it was a separate piece from Mattress Performance.Sulkowicz wrote the script and introductory text, chose the position of the cameras, the lighting and the appearance of it having been filmed by security cameras. The scene was filmed in one continuous take three times during the Columbia spring break in March 2015. According to Lawson, Sulkowicz had "insisted on it being completely real. ... That's what makes it a performance art piece." Sulkowicz told the Guardian that making the video had been traumatizing, and had left her in a "very scared, emotional state for days." Sulkowicz said elsewhere that vulnerability is part of what makes performance art good.

1023_NT

Ceci N'est Pas Un Viol

In the context of this artwork, explain the Overview of the Work.

Ceci N'est Pas Un Viol consists of a website that hosts a video, an introductory text and an open comments section. Its existence was made public by a Facebook post from the video's director, Ted Lawson. Sulkowicz says she had the idea for the piece in December 2014, and that performance artist Marina Abramović put her in touch with Lawson to direct it. Lawson told ArtNet that he thought the piece was "super risky" and courageous. Sulkowicz stressed that it was a separate piece from Mattress Performance.Sulkowicz wrote the script and introductory text, chose the position of the cameras, the lighting and the appearance of it having been filmed by security cameras. The scene was filmed in one continuous take three times during the Columbia spring break in March 2015. According to Lawson, Sulkowicz had "insisted on it being completely real. ... That's what makes it a performance art piece." Sulkowicz told the Guardian that making the video had been traumatizing, and had left her in a "very scared, emotional state for days." Sulkowicz said elsewhere that vulnerability is part of what makes performance art good.

1024_T

Ceci N'est Pas Un Viol

Explore the Text about the Work of this artwork, Ceci N'est Pas Un Viol.

The introductory text said that the video was not an enactment of Sulkowicz's rape allegation. Rather, "Ceci N'est Pas Un Viol ... [is] about your decisions, starting now." Sulkowicz gives only provisional consent to view the video: Do not watch this video if your motives would upset me, my desires are unclear to you, or my nuances are indecipherable. You might be wondering why I've made myself this vulnerable. Look—I want to change the world, and that begins with you, seeing yourself. If you watch this video without my consent, then I hope you reflect on your reasons for objectifying me and participating in my rape, for, in that case, you were the one who couldn't resist the urge to make Ceci N'est Pas Un Viol about what you wanted to make it about: rape. Please, don't participate in my rape. Watch kindly. She then asks a series of questions: "Are you searching for ways to either hurt or help me? ... Do you think I'm the perfect victim or the world's worst victim? ... Do you hate me? If so, how does it feel to hate me?"

1024_NT

Ceci N'est Pas Un Viol

Explore the Text about the Work of this artwork.

The introductory text said that the video was not an enactment of Sulkowicz's rape allegation. Rather, "Ceci N'est Pas Un Viol ... [is] about your decisions, starting now." Sulkowicz gives only provisional consent to view the video: Do not watch this video if your motives would upset me, my desires are unclear to you, or my nuances are indecipherable. You might be wondering why I've made myself this vulnerable. Look—I want to change the world, and that begins with you, seeing yourself. If you watch this video without my consent, then I hope you reflect on your reasons for objectifying me and participating in my rape, for, in that case, you were the one who couldn't resist the urge to make Ceci N'est Pas Un Viol about what you wanted to make it about: rape. Please, don't participate in my rape. Watch kindly. She then asks a series of questions: "Are you searching for ways to either hurt or help me? ... Do you think I'm the perfect victim or the world's worst victim? ... Do you hate me? If so, how does it feel to hate me?"

1025_T

Ceci N'est Pas Un Viol

In the context of Ceci N'est Pas Un Viol, discuss the Video of the Work.

The scene is shown on a split screen from four angles, with a timestamp in each corner, beginning 02:10 and ending 02:18. Lawson said the security-camera perspective "removes the wall between the viewer and the action." The video begins with Sulkowicz and the actor, whose face is blurred, entering the room, undressing each other, then kissing and engaging in oral and vaginal sex, the latter with a condom. Three minutes into the video, the actor hits Sulkowicz several times, then removes the condom, pushes his hands and her legs against her neck or throat, and penetrates her anally. She screams, tells him to stop, and puts her hand over her face. After a short time, the actor stops abruptly and leaves the room with his clothes in his hands. Sulkowicz is left curled on the bed in the fetal position, with her back to the camera. After wrapping herself in a towel, she briefly leaves the room, returns and makes the bed, then appears to fall asleep.Lawson told the Columbia Spectator that Sulkowicz and the actor had captured the shift from the consensual to non-consensual: "I think the video expresses the possibility that you don't forfeit that [consensuality] ever."

1025_NT

Ceci N'est Pas Un Viol

In the context of this artwork, discuss the Video of the Work.

The scene is shown on a split screen from four angles, with a timestamp in each corner, beginning 02:10 and ending 02:18. Lawson said the security-camera perspective "removes the wall between the viewer and the action." The video begins with Sulkowicz and the actor, whose face is blurred, entering the room, undressing each other, then kissing and engaging in oral and vaginal sex, the latter with a condom. Three minutes into the video, the actor hits Sulkowicz several times, then removes the condom, pushes his hands and her legs against her neck or throat, and penetrates her anally. She screams, tells him to stop, and puts her hand over her face. After a short time, the actor stops abruptly and leaves the room with his clothes in his hands. Sulkowicz is left curled on the bed in the fetal position, with her back to the camera. After wrapping herself in a towel, she briefly leaves the room, returns and makes the bed, then appears to fall asleep.Lawson told the Columbia Spectator that Sulkowicz and the actor had captured the shift from the consensual to non-consensual: "I think the video expresses the possibility that you don't forfeit that [consensuality] ever."

1026_T

Ceci N'est Pas Un Viol

In Ceci N'est Pas Un Viol, how is the Public comments of the Work elucidated?

Lawson said Ceci N'est Pas Un Viol explores the relationship between art and social media, "this giant, polluted ocean." A key part of the work was the online reaction, particularly in the website's comments section. The 2,700 comments within the first five days were mostly critical or ridiculing. They included sexual, sexist and racist insults and threats. There were remarks about Sulkowicz's physical appearance, ethnicity, mental health, and that the scene did not depict rape. Someone posted the video on a porn site. Comments on other sites were both positive and negative. The video was the victim of a denial-of-service attack by hackers on 4 June, according to DigitalOcean, which hosts the site, and on 5 June there were technical problems caused by the numbers attempting to access it.

1026_NT

Ceci N'est Pas Un Viol

In this artwork, how is the Public comments of the Work elucidated?

Lawson said Ceci N'est Pas Un Viol explores the relationship between art and social media, "this giant, polluted ocean." A key part of the work was the online reaction, particularly in the website's comments section. The 2,700 comments within the first five days were mostly critical or ridiculing. They included sexual, sexist and racist insults and threats. There were remarks about Sulkowicz's physical appearance, ethnicity, mental health, and that the scene did not depict rape. Someone posted the video on a porn site. Comments on other sites were both positive and negative. The video was the victim of a denial-of-service attack by hackers on 4 June, according to DigitalOcean, which hosts the site, and on 5 June there were technical problems caused by the numbers attempting to access it.

1027_T

Dinos of the Gorgon Painter

Focus on Dinos of the Gorgon Painter and analyze the abstract.

The Dinos of the Gorgon Painter (French: Dinos du Peintre de la Gorgone) is an important example of ancient Greek pottery, produced at Athens around 580 BC. It entered the Louvre's collection in 1861, with the purchase of Giampietro Campana's collection (Inv. E 874). This masterpiece, which is decorated with Gorgons, is the source of the name the anonymous painter who decorated it and is therefore known as the Gorgon Painter.

1027_NT

Dinos of the Gorgon Painter

Focus on this artwork and analyze the abstract.

The Dinos of the Gorgon Painter (French: Dinos du Peintre de la Gorgone) is an important example of ancient Greek pottery, produced at Athens around 580 BC. It entered the Louvre's collection in 1861, with the purchase of Giampietro Campana's collection (Inv. E 874). This masterpiece, which is decorated with Gorgons, is the source of the name the anonymous painter who decorated it and is therefore known as the Gorgon Painter.

1028_T

Dinos of the Gorgon Painter

In Dinos of the Gorgon Painter, how is the Painted decoration discussed?

The ceramic ensemble is decorated in the black-figure style, with ochre highlights and incisions outlining the images. The greater part of the decoration is made up of a palmette frieze with intertwined animals in the Corinthian tradition. The well-shaped stand is covered in friezes showing many different animals, like lions, cows, deer, along with fantastic creatures like sirens and sphinxes. The vase itself is decorated with three registers, one on top of the other. The lowest register begins with a spiral on the rounded bottom of the vase and develops into four rows of animals, while the central register is a band of interlaced palmettes. The uppermost register, the most interesting, is the earliest known example in archaic Greek pottery of an entirely figurative and narrative frieze. It depicts a scene from Greek mythology: Perseus fleeing the Gorgons after he killed their sister, Medusa. The other two figures in the scene are Hermes, who can be identified by his petasos hat, and a woman who is presumably Athena. On the other side, there is a battle scene between several hoplites in chariots. The artist who decorated the vase, whose name is not known, was a student of the Nessos Painter, the most ancient representative of the Attic black figure tradition. According to Martine Denoyelles, he also got the Gorgon theme from the Nessos Painter, but "with this entirely narrative frieze, stripped of all decorative elements, the Gorgon painter announce the blooming of Attic production, which increasingly disengaged itself from Corinthian influence in the second quarter of the sixth century BC.

1028_NT

Dinos of the Gorgon Painter

In this artwork, how is the Painted decoration discussed?

The ceramic ensemble is decorated in the black-figure style, with ochre highlights and incisions outlining the images. The greater part of the decoration is made up of a palmette frieze with intertwined animals in the Corinthian tradition. The well-shaped stand is covered in friezes showing many different animals, like lions, cows, deer, along with fantastic creatures like sirens and sphinxes. The vase itself is decorated with three registers, one on top of the other. The lowest register begins with a spiral on the rounded bottom of the vase and develops into four rows of animals, while the central register is a band of interlaced palmettes. The uppermost register, the most interesting, is the earliest known example in archaic Greek pottery of an entirely figurative and narrative frieze. It depicts a scene from Greek mythology: Perseus fleeing the Gorgons after he killed their sister, Medusa. The other two figures in the scene are Hermes, who can be identified by his petasos hat, and a woman who is presumably Athena. On the other side, there is a battle scene between several hoplites in chariots. The artist who decorated the vase, whose name is not known, was a student of the Nessos Painter, the most ancient representative of the Attic black figure tradition. According to Martine Denoyelles, he also got the Gorgon theme from the Nessos Painter, but "with this entirely narrative frieze, stripped of all decorative elements, the Gorgon painter announce the blooming of Attic production, which increasingly disengaged itself from Corinthian influence in the second quarter of the sixth century BC.

1029_T

Dinos of the Gorgon Painter

Focus on Dinos of the Gorgon Painter and explore the Other ancient dinoi.

The British Museum possesses two remarkable dinoi of the painter and potter Sophilos, who was the first Attic potter to sign his works. On the stands of these two dinoi, c. 580 BC, the marriage of Peleus and Thetis is depicted in black-figure style. These examples show the same Corinthian influence which is found on the works of the Gorgon Painter in his decoration of the vases with various kinds of animals. However, the stands are much larger and the vases are proportionately much smaller.

1029_NT

Dinos of the Gorgon Painter

Focus on this artwork and explore the Other ancient dinoi.

The British Museum possesses two remarkable dinoi of the painter and potter Sophilos, who was the first Attic potter to sign his works. On the stands of these two dinoi, c. 580 BC, the marriage of Peleus and Thetis is depicted in black-figure style. These examples show the same Corinthian influence which is found on the works of the Gorgon Painter in his decoration of the vases with various kinds of animals. However, the stands are much larger and the vases are proportionately much smaller.

1030_T

Portrait of Maria Anna

Focus on Portrait of Maria Anna and explain the abstract.

The Portrait of Maria Anna is a 1630 portrait of Maria Anna of Spain by Diego Velázquez. It is now in the Museo del Prado. It was painted during his three-month stay in Naples on his return to Spain from Naples. It was made prior to its subject's marriage to Ferdinand III of Austria to be taken to Spain as a reminder of her in her absence for her brother Philip IV of Spain (since the time of Charles I of Spain it had been customary for Spanish kings and their relatives to exchange kinship portraits to show their character to others, to demonstrate their appearance in marriage negotiations or simply to remind each other of their appearance). As in his previous portraits, Velázquez paints his subject against a dark background to make the figure stand out, whilst the green suit, grey ruff and hair are all realised in minute detail.

1030_NT

Portrait of Maria Anna

Focus on this artwork and explain the abstract.

The Portrait of Maria Anna is a 1630 portrait of Maria Anna of Spain by Diego Velázquez. It is now in the Museo del Prado. It was painted during his three-month stay in Naples on his return to Spain from Naples. It was made prior to its subject's marriage to Ferdinand III of Austria to be taken to Spain as a reminder of her in her absence for her brother Philip IV of Spain (since the time of Charles I of Spain it had been customary for Spanish kings and their relatives to exchange kinship portraits to show their character to others, to demonstrate their appearance in marriage negotiations or simply to remind each other of their appearance). As in his previous portraits, Velázquez paints his subject against a dark background to make the figure stand out, whilst the green suit, grey ruff and hair are all realised in minute detail.

1031_T

The Bellelli Family

Explore the abstract of this artwork, The Bellelli Family.

The Bellelli Family, also known as Family Portrait, is an oil painting on canvas by Edgar Degas (1834–1917), painted c. 1858–1867, and housed in the Musée d'Orsay. A masterwork of Degas' youth, the painting is a portrait of his aunt, her husband, and their two young daughters. While finishing his artistic training in Italy, Degas drew and painted his aunt Laura, her husband the baron Gennaro Bellelli (1812–1864), and their daughters Giulia and Giovanna. Although it is not known for certain when or where Degas executed the painting, it is believed that he utilized studies done in Italy to complete the work after his return to Paris. Laura, his father's sister, is depicted in a dress which symbolizes mourning for her father, who had recently died and appears in the framed portrait behind her. The baron was an Italian patriot exiled from Naples, living in Florence. Laura Bellelli's countenance is dignified and austere, her gesture connected with those of her daughters. Her husband, by contrast, appears to be separated from his family. His association with business and the outside world is implied by his position at his desk. Giulia holds a livelier pose than that of her sister Giovanna, whose restraint appears to underscore the familial tensions.

1031_NT

The Bellelli Family

Explore the abstract of this artwork.

The Bellelli Family, also known as Family Portrait, is an oil painting on canvas by Edgar Degas (1834–1917), painted c. 1858–1867, and housed in the Musée d'Orsay. A masterwork of Degas' youth, the painting is a portrait of his aunt, her husband, and their two young daughters. While finishing his artistic training in Italy, Degas drew and painted his aunt Laura, her husband the baron Gennaro Bellelli (1812–1864), and their daughters Giulia and Giovanna. Although it is not known for certain when or where Degas executed the painting, it is believed that he utilized studies done in Italy to complete the work after his return to Paris. Laura, his father's sister, is depicted in a dress which symbolizes mourning for her father, who had recently died and appears in the framed portrait behind her. The baron was an Italian patriot exiled from Naples, living in Florence. Laura Bellelli's countenance is dignified and austere, her gesture connected with those of her daughters. Her husband, by contrast, appears to be separated from his family. His association with business and the outside world is implied by his position at his desk. Giulia holds a livelier pose than that of her sister Giovanna, whose restraint appears to underscore the familial tensions.

1032_T

The Bellelli Family

Focus on The Bellelli Family and discuss the Process.

After his aunt and cousins returned in early November 1858, Degas undertook a series of works that would eventually culminate in The Bellelli Family. It appears that he initially planned to paint a vertical composition depicting his aunt and her two daughters in a pyramidical grouping. He painted his cousins in their black dresses and white pinafores, while his father wrote letters from Paris, offering advice on how best to proceed with the project, and impatiently awaited his return. Degas wrote of Giulia and Giovanna:"The elder one was in fact a little beauty. The younger one, on the other hand, was smart as can be and kind as an angel. I am painting them in mourning dress and small white aprons, which suit them very well…I would like to express a certain natural grace together with a nobility that I don't know how to define...." At year's end, Degas stopped work on the double portrait of his young cousins in order to begin a larger painting; it is unclear whether he was undertaking The Bellelli Family itself, or making preparatory sketches.The preparatory works include portrait studies and compositional details in pencil, pastel, and oil. One drawing indicates Degas' initial intention to have Gennaro Bellelli seated at the end of the table, and an oil sketch placed him standing behind his daughters; finally, Degas painted him in the armchair.In late March 1859, Degas left Florence to return to Paris. Other than the conclusion that Degas worked on the picture "for several years", there is no documentation to confirm the actual time or place at which the picture was painted; a likely scenario is that Degas brought to France numerous sketches and studies and painted the picture in a studio procured for this purpose in Paris. Supporting this conclusion is the observation that the Bellelli's apartment was too small to host such a large work, and there were no studio facilities. In March 1860, Degas returned to Italy, in part to conduct family business, and in April he again visited the Bellellis and made several drawings of his uncle; at some point he also executed a pastel which, but for some differences in details and a greater elaboration of the interior in the final painting, is close to the ultimate composition.There is a family account, once accepted but more recently deemed unlikely, that offers a different version: a Neapolitan lawyer who married one of Degas' grandnieces claimed that the painting was completed in Italy, and brought back to France only some forty to fifty years later, but this is contradicted by evidence that the painting was exhibited in the Paris Salon of 1867.

1032_NT

The Bellelli Family

Focus on this artwork and discuss the Process.

After his aunt and cousins returned in early November 1858, Degas undertook a series of works that would eventually culminate in The Bellelli Family. It appears that he initially planned to paint a vertical composition depicting his aunt and her two daughters in a pyramidical grouping. He painted his cousins in their black dresses and white pinafores, while his father wrote letters from Paris, offering advice on how best to proceed with the project, and impatiently awaited his return. Degas wrote of Giulia and Giovanna:"The elder one was in fact a little beauty. The younger one, on the other hand, was smart as can be and kind as an angel. I am painting them in mourning dress and small white aprons, which suit them very well…I would like to express a certain natural grace together with a nobility that I don't know how to define...." At year's end, Degas stopped work on the double portrait of his young cousins in order to begin a larger painting; it is unclear whether he was undertaking The Bellelli Family itself, or making preparatory sketches.The preparatory works include portrait studies and compositional details in pencil, pastel, and oil. One drawing indicates Degas' initial intention to have Gennaro Bellelli seated at the end of the table, and an oil sketch placed him standing behind his daughters; finally, Degas painted him in the armchair.In late March 1859, Degas left Florence to return to Paris. Other than the conclusion that Degas worked on the picture "for several years", there is no documentation to confirm the actual time or place at which the picture was painted; a likely scenario is that Degas brought to France numerous sketches and studies and painted the picture in a studio procured for this purpose in Paris. Supporting this conclusion is the observation that the Bellelli's apartment was too small to host such a large work, and there were no studio facilities. In March 1860, Degas returned to Italy, in part to conduct family business, and in April he again visited the Bellellis and made several drawings of his uncle; at some point he also executed a pastel which, but for some differences in details and a greater elaboration of the interior in the final painting, is close to the ultimate composition.There is a family account, once accepted but more recently deemed unlikely, that offers a different version: a Neapolitan lawyer who married one of Degas' grandnieces claimed that the painting was completed in Italy, and brought back to France only some forty to fifty years later, but this is contradicted by evidence that the painting was exhibited in the Paris Salon of 1867.

1033_T

The Bellelli Family

How does The Bellelli Family elucidate its Composition and content?

The work of many artists provided inspiration: at this time Degas included in his correspondence mention of Anthony van Dyck, Giorgione, and Botticelli, among others. Other prototypes whose influence have been cited, particularly in terms of composition, include 17th-century Dutch genre and portrait painting, the portrait studies of Ingres, Velázquez's Las Meninas, the portraits of Hans Holbein, the Family of Charles IV by Francisco Goya, Gustave Courbet's After Dinner at Ornans, and a lithograph by Honoré Daumier entitled A Man of Property. As in Las Meninas, a picture, mirror, and doorway are used to expand the space of the interior. Any and all historical models were synthesized into a composition that was "unique in the painter's oeuvre and unique among the works of his contemporaries." Taking Degas' family and their living environment as its subject, the painting represented Degas' first attempt "to characterize a room in relation to the personalities and interests of the individuals who inhabit it." Viewed alongside the work of Degas' contemporaries, the painting's uniqueness was due in large part to the composition, which presents a family portrait painted on the grand scale of a historical drama, and whose content has been interpreted as psychologically penetrating, with the placement of the figures suggestive of the parents' alienation from one another, and of the divided loyalties of their children. Laura Bellelli stands as if for an official portrait, her expression indicative of her unhappiness, one hand resting protectively on Giovanna's shoulder, the other balancing her pregnant body; Giulia, in the center of the painting and seated in a small chair, displays youthful restlessness as she faces, arms akimbo, in the direction of her father, and is the compositional link between her estranged parents. Gennaro appears indifferent, turned toward but seated apart from his family, his face mostly in shadow. The commanding figure of Laura is placed against a flat wall and a crisp picture frame, while Gennaro's more recessive figure is framed by a mantelpiece, bric-a-brac, and a reflective mirror. The clarity of the former's surroundings and the ambiguity of the latter's have been interpreted as expressive of their emotional distance. Telling, also, is the physical distance between them, as well as the difference in their postures. Their opposition has been seen as a "breaking of the frame": "it is as if [Gennaro] were morosely watching his family as they pose for his painter nephew". The family dog glimpsed at the lower right corner is, according to Arthur Danto, sensibly "sneaking out of the picture before all hell breaks loose". One is reminded of Laura Bellelli's note to Degas after he had returned to Paris: "You must be very happy to be with your family again, instead of being in the presence of a sad face like mine and a disagreeable one like my husband's." The drawing hung on the wall behind them is a portrait of the recently deceased Hilaire Degas, and was presumably a study for the portraits Degas made of his grandfather, drawn in the style of the Clouets. By placing it directly behind his aunt's head, Degas was connecting the generations of his family, and following a convention of portraiture used since the Renaissance, that of including ancestral effigies. By its very placement Degas was implicitly affirming his own presence and identifying with Laura, with whom, as their correspondence attests, he was unusually close.The unease of The Bellelli Family was not an anomaly, nor were such tensions revealed solely through the study of portraiture; in fact, alienation between the sexes was a recurring condition in Degas' work of the 1860s. Sulking and Interior Scene (The Rape) are both works of ambiguous content set in contemporary Paris, and The Young Spartan Girls Provoking the Boys and The Misfortunes of the City of Orleans occur in the ancient and medieval eras, yet in each "the element of hostility between the sexes is apparent", and in the latter the hostility has turned deadly. The Bellelli Family is notable for introducing psychological conflict in a painting that documents his own family. Given his usual discretion, it is reasonable to assume that such expressions were the product of Degas' unconscious mind.

1033_NT

The Bellelli Family

How does this artwork elucidate its Composition and content?

The work of many artists provided inspiration: at this time Degas included in his correspondence mention of Anthony van Dyck, Giorgione, and Botticelli, among others. Other prototypes whose influence have been cited, particularly in terms of composition, include 17th-century Dutch genre and portrait painting, the portrait studies of Ingres, Velázquez's Las Meninas, the portraits of Hans Holbein, the Family of Charles IV by Francisco Goya, Gustave Courbet's After Dinner at Ornans, and a lithograph by Honoré Daumier entitled A Man of Property. As in Las Meninas, a picture, mirror, and doorway are used to expand the space of the interior. Any and all historical models were synthesized into a composition that was "unique in the painter's oeuvre and unique among the works of his contemporaries." Taking Degas' family and their living environment as its subject, the painting represented Degas' first attempt "to characterize a room in relation to the personalities and interests of the individuals who inhabit it." Viewed alongside the work of Degas' contemporaries, the painting's uniqueness was due in large part to the composition, which presents a family portrait painted on the grand scale of a historical drama, and whose content has been interpreted as psychologically penetrating, with the placement of the figures suggestive of the parents' alienation from one another, and of the divided loyalties of their children. Laura Bellelli stands as if for an official portrait, her expression indicative of her unhappiness, one hand resting protectively on Giovanna's shoulder, the other balancing her pregnant body; Giulia, in the center of the painting and seated in a small chair, displays youthful restlessness as she faces, arms akimbo, in the direction of her father, and is the compositional link between her estranged parents. Gennaro appears indifferent, turned toward but seated apart from his family, his face mostly in shadow. The commanding figure of Laura is placed against a flat wall and a crisp picture frame, while Gennaro's more recessive figure is framed by a mantelpiece, bric-a-brac, and a reflective mirror. The clarity of the former's surroundings and the ambiguity of the latter's have been interpreted as expressive of their emotional distance. Telling, also, is the physical distance between them, as well as the difference in their postures. Their opposition has been seen as a "breaking of the frame": "it is as if [Gennaro] were morosely watching his family as they pose for his painter nephew". The family dog glimpsed at the lower right corner is, according to Arthur Danto, sensibly "sneaking out of the picture before all hell breaks loose". One is reminded of Laura Bellelli's note to Degas after he had returned to Paris: "You must be very happy to be with your family again, instead of being in the presence of a sad face like mine and a disagreeable one like my husband's." The drawing hung on the wall behind them is a portrait of the recently deceased Hilaire Degas, and was presumably a study for the portraits Degas made of his grandfather, drawn in the style of the Clouets. By placing it directly behind his aunt's head, Degas was connecting the generations of his family, and following a convention of portraiture used since the Renaissance, that of including ancestral effigies. By its very placement Degas was implicitly affirming his own presence and identifying with Laura, with whom, as their correspondence attests, he was unusually close.The unease of The Bellelli Family was not an anomaly, nor were such tensions revealed solely through the study of portraiture; in fact, alienation between the sexes was a recurring condition in Degas' work of the 1860s. Sulking and Interior Scene (The Rape) are both works of ambiguous content set in contemporary Paris, and The Young Spartan Girls Provoking the Boys and The Misfortunes of the City of Orleans occur in the ancient and medieval eras, yet in each "the element of hostility between the sexes is apparent", and in the latter the hostility has turned deadly. The Bellelli Family is notable for introducing psychological conflict in a painting that documents his own family. Given his usual discretion, it is reasonable to assume that such expressions were the product of Degas' unconscious mind.

1034_T

The Bellelli Family

Focus on The Bellelli Family and analyze the Exhibition history and provenance.

The painting was almost certainly conceived as an exhibition piece, for it is doubtful that Degas would have painted something so ambitious in scale for purely private satisfaction. In April 1859 Degas wrote his father asking him to look for a studio in Paris so that he could work on an unspecified project; probably The Bellelli Family was the work he had in mind, and it is believed that the painting was eventually exhibited in the Salon of 1867. Although reviews made no mention of the picture, that this is the painting which Degas exhibited under the title of Family Portrait is supported by several pieces of evidence: a critic who later visited Degas in his studio referred to "the admirable Family Portrait of 1867"; in 1881 the painter Jean-Jacques Henner discussed Degas' withdrawal from the Salons because his work was badly hung and ignored as a result, adding "The portrait of his brother-in-law (I believe) and his family is a great work"; and the fact that Degas requested permission at the last minute to retouch his submissions to the 1867 Salon, and that the hasty reworking would account for the picture's later crackling and blackish streaks.The Bellelli Family remained with Degas until his last move in 1913, at which time he left it with his dealer, Paul Durand-Ruel. The painting was not seen again publicly until after Degas's death, when it was put up for sale in 1918 as part of the painter's estate. Its unexpected appearance created a sensation, and The Bellelli Family was immediately purchased by the Musée du Luxembourg for 400,000 francs.In 1947 the painting was exhibited in the Musée d'Impressionisme (Jeu-de-Paumes), and subsequently moved to the Musée d'Orsay.

1034_NT

The Bellelli Family

Focus on this artwork and analyze the Exhibition history and provenance.

The painting was almost certainly conceived as an exhibition piece, for it is doubtful that Degas would have painted something so ambitious in scale for purely private satisfaction. In April 1859 Degas wrote his father asking him to look for a studio in Paris so that he could work on an unspecified project; probably The Bellelli Family was the work he had in mind, and it is believed that the painting was eventually exhibited in the Salon of 1867. Although reviews made no mention of the picture, that this is the painting which Degas exhibited under the title of Family Portrait is supported by several pieces of evidence: a critic who later visited Degas in his studio referred to "the admirable Family Portrait of 1867"; in 1881 the painter Jean-Jacques Henner discussed Degas' withdrawal from the Salons because his work was badly hung and ignored as a result, adding "The portrait of his brother-in-law (I believe) and his family is a great work"; and the fact that Degas requested permission at the last minute to retouch his submissions to the 1867 Salon, and that the hasty reworking would account for the picture's later crackling and blackish streaks.The Bellelli Family remained with Degas until his last move in 1913, at which time he left it with his dealer, Paul Durand-Ruel. The painting was not seen again publicly until after Degas's death, when it was put up for sale in 1918 as part of the painter's estate. Its unexpected appearance created a sensation, and The Bellelli Family was immediately purchased by the Musée du Luxembourg for 400,000 francs.In 1947 the painting was exhibited in the Musée d'Impressionisme (Jeu-de-Paumes), and subsequently moved to the Musée d'Orsay.

1035_T

The Bellelli Family

In The Bellelli Family, how is the Condition discussed?

At the time of its sale in 1918, the painting was in poor condition. In addition to the black streaks and crackling, it had tears and was dust-covered, and may have been kept by Degas for many years rolled-up in the corner of his successive studios. At some point, possibly in the 1890s, Degas restored the painting, sewing up tears, applying gesso to them, repainting Laura Bellelli's face, and retouching those of his uncle and cousins. However, prior to the painting's sale a restorer apparently misinterpreted these repairs and scraped them off, re-injuring the portraits of Gennaro and Giulia. The painting was subsequently restored in the 1980s.

1035_NT

The Bellelli Family

In this artwork, how is the Condition discussed?

At the time of its sale in 1918, the painting was in poor condition. In addition to the black streaks and crackling, it had tears and was dust-covered, and may have been kept by Degas for many years rolled-up in the corner of his successive studios. At some point, possibly in the 1890s, Degas restored the painting, sewing up tears, applying gesso to them, repainting Laura Bellelli's face, and retouching those of his uncle and cousins. However, prior to the painting's sale a restorer apparently misinterpreted these repairs and scraped them off, re-injuring the portraits of Gennaro and Giulia. The painting was subsequently restored in the 1980s.

1036_T

The Bellelli Family

Focus on The Bellelli Family and explore the Assessment.

When exhibited at the sale of Degas' atelier in 1918, the picture elicited some confusion from critics; one called it "as dull as a Flemish interior, although the dry technique is distinctive." Most of the reviews were positive, and with the country at war, The Bellelli Family was seen as possessing a distinctly French character, a "modern primitive" that bore comparison to the Avignon Pieta. Since then, biographers of Degas have acknowledged it as the masterpiece of his youth.

1036_NT

The Bellelli Family

Focus on this artwork and explore the Assessment.

When exhibited at the sale of Degas' atelier in 1918, the picture elicited some confusion from critics; one called it "as dull as a Flemish interior, although the dry technique is distinctive." Most of the reviews were positive, and with the country at war, The Bellelli Family was seen as possessing a distinctly French character, a "modern primitive" that bore comparison to the Avignon Pieta. Since then, biographers of Degas have acknowledged it as the masterpiece of his youth.

1037_T

Old Man with a Gold Chain

Focus on Old Man with a Gold Chain and explain the abstract.

Old Man with a Gold Chain is a portrait by Rembrandt, painted around 1631 and now in the Art Institute of Chicago.This painting was documented by Hofstede de Groot as a portrait of Rembrandt's father in 1915, who wrote:675. HARMEN GERRITSZ VAN RIJN. Half-length, without hands; almost life size. He is inclined to the left, but his head and eyes are turned to the right. He wears a dark purple cloak, over which hangs a gold chain with a medallion. Round his neck is a small close-fitting steel gorget. In his right ear is a pearl. He has a short greyish beard, and curly hair covered by a broad-brimmed black hat with two dark ostrich feathers. Painted about 1631. Signed on the left at foot with the monogram "R H L"; canvas, 32 inches by 30 inches. There are copies: Bode 217; Wb. 156; B.-HdG. 29. Mentioned by Moes, No. 6687, ii; Bode, p. 413; Dutuit, p. 43; Michel, pp. 44, 557, 561 [35, 432, 443]. Sale. Beresford Hope, London, May 1886. In the possession of C. Sedelmeyer, Paris, "Catalogue of 300 Paintings," 1898, No. 111. In the collection of W. H. Beers, New York. In the collection of S. Neumann, London. Sale. Martineau and others, London, March 10, 1902. Panel, 23 1/2 inches by 19 inches. Sale. Causid-Brück of Cassel, Frankfort-on-Main, February 10, 1914, No. 25. Exhibited at Düsseldorf, 1912, No. 43. Sale. M. P. W. Boulton, London, December 9, 1911, No. 14. In the possession of P. and D. Colnaghi and Obach, London. In the possession of Julius Böhler, Munich. Sale. Marczell von Nemes of Budapest, Paris, June 17, 1913, No. 60 (516,000 francs, S. de Ricci). In the possession of Julius Böhler, Munich. In the possession of Reinhardt, New York. In a private collection, Chicago.

1037_NT

Old Man with a Gold Chain

Focus on this artwork and explain the abstract.

Old Man with a Gold Chain is a portrait by Rembrandt, painted around 1631 and now in the Art Institute of Chicago.This painting was documented by Hofstede de Groot as a portrait of Rembrandt's father in 1915, who wrote:675. HARMEN GERRITSZ VAN RIJN. Half-length, without hands; almost life size. He is inclined to the left, but his head and eyes are turned to the right. He wears a dark purple cloak, over which hangs a gold chain with a medallion. Round his neck is a small close-fitting steel gorget. In his right ear is a pearl. He has a short greyish beard, and curly hair covered by a broad-brimmed black hat with two dark ostrich feathers. Painted about 1631. Signed on the left at foot with the monogram "R H L"; canvas, 32 inches by 30 inches. There are copies: Bode 217; Wb. 156; B.-HdG. 29. Mentioned by Moes, No. 6687, ii; Bode, p. 413; Dutuit, p. 43; Michel, pp. 44, 557, 561 [35, 432, 443]. Sale. Beresford Hope, London, May 1886. In the possession of C. Sedelmeyer, Paris, "Catalogue of 300 Paintings," 1898, No. 111. In the collection of W. H. Beers, New York. In the collection of S. Neumann, London. Sale. Martineau and others, London, March 10, 1902. Panel, 23 1/2 inches by 19 inches. Sale. Causid-Brück of Cassel, Frankfort-on-Main, February 10, 1914, No. 25. Exhibited at Düsseldorf, 1912, No. 43. Sale. M. P. W. Boulton, London, December 9, 1911, No. 14. In the possession of P. and D. Colnaghi and Obach, London. In the possession of Julius Böhler, Munich. Sale. Marczell von Nemes of Budapest, Paris, June 17, 1913, No. 60 (516,000 francs, S. de Ricci). In the possession of Julius Böhler, Munich. In the possession of Reinhardt, New York. In a private collection, Chicago.

1038_T

Statue of Hockey Player

Explore the abstract of this artwork, Statue of Hockey Player.

The Hockey Player statue is a sculpture located at Championship Plaza, adjacent to the Prudential Center in Newark, New Jersey, home of the New Jersey Devils hockey team, installed in 2009. Entitled Stanley by the artist it has been colloquially known as Iceman, Man of Steel, and the Iron Man.The stainless steel work of an anonymous hockey player taking a slapshot is 22 feet (6.7 m) tall and weighs 7,000 pounds (3,200 kg). It was created by Jon Krawczyk, a native of Boonton Township, New Jersey, and a lifelong Devils fan. It was fabricated in his Malibu, California, studio and shipped cross country in three sections. A Prudential Center Opening Night hat and puck and a Scott Stevens jersey are encapsulated inside.Of the work, Krawczyk said that it was made in a way to appear like blocks of ice molded together. “Especially with the stainless steel-look with the grind marks, it gives it the look that ice has when it breaks, and you get an almost diamond quality. I wanted to do something where you had that movement, and with lights nearby, the statue changes as you move around it. I wanted to have as much motion in it as possible, with it still being a solid sculpture.” Krawczyk is also the creator of another statue at Prudential Center, The Salute, an homage to Martin Brodeur dedicated in 2016.

1038_NT

Statue of Hockey Player

Explore the abstract of this artwork.

The Hockey Player statue is a sculpture located at Championship Plaza, adjacent to the Prudential Center in Newark, New Jersey, home of the New Jersey Devils hockey team, installed in 2009. Entitled Stanley by the artist it has been colloquially known as Iceman, Man of Steel, and the Iron Man.The stainless steel work of an anonymous hockey player taking a slapshot is 22 feet (6.7 m) tall and weighs 7,000 pounds (3,200 kg). It was created by Jon Krawczyk, a native of Boonton Township, New Jersey, and a lifelong Devils fan. It was fabricated in his Malibu, California, studio and shipped cross country in three sections. A Prudential Center Opening Night hat and puck and a Scott Stevens jersey are encapsulated inside.Of the work, Krawczyk said that it was made in a way to appear like blocks of ice molded together. “Especially with the stainless steel-look with the grind marks, it gives it the look that ice has when it breaks, and you get an almost diamond quality. I wanted to do something where you had that movement, and with lights nearby, the statue changes as you move around it. I wanted to have as much motion in it as possible, with it still being a solid sculpture.” Krawczyk is also the creator of another statue at Prudential Center, The Salute, an homage to Martin Brodeur dedicated in 2016.

1039_T

Morgan Monument (Decatur)

Focus on Morgan Monument (Decatur) and discuss the abstract.

Morgan Monument is a public artwork by American artist Tom Ellinger, located at Decatur Cemetery in Decatur, Indiana, United States. This sculpture sits at the site of the Morgan Family Plot. Morgan Monument was originally surveyed as part of the Smithsonian's Save Outdoor Sculpture! survey in 1993.

1039_NT

Morgan Monument (Decatur)

Focus on this artwork and discuss the abstract.

Morgan Monument is a public artwork by American artist Tom Ellinger, located at Decatur Cemetery in Decatur, Indiana, United States. This sculpture sits at the site of the Morgan Family Plot. Morgan Monument was originally surveyed as part of the Smithsonian's Save Outdoor Sculpture! survey in 1993.

1040_T

Morgan Monument (Decatur)

How does Morgan Monument (Decatur) elucidate its Description?

This gravestone is a Semi-trailer truck made of black granite. Inside the trucks trailer is a set of logs made of pink granite. The truck has all the details of a "real" truck – the cab has a relief of a driver inside, and wipers, handrails and exhaust pipes as well. It is unsigned by the artist. The sculpture sits upon a rectangular base made of granite and has a tapered front. (approx. 9 in. x 7 ft. 7 in. x 1 ft. 4 in.) The logs have an inscription stating on the front of the base: MORGAN The left side of the logs inscription states: JOHN W. JUNE 1941–The center logs are inscribed with:JACQUELINE NOV 15, 1942

1040_NT

Morgan Monument (Decatur)

How does this artwork elucidate its Description?

This gravestone is a Semi-trailer truck made of black granite. Inside the trucks trailer is a set of logs made of pink granite. The truck has all the details of a "real" truck – the cab has a relief of a driver inside, and wipers, handrails and exhaust pipes as well. It is unsigned by the artist. The sculpture sits upon a rectangular base made of granite and has a tapered front. (approx. 9 in. x 7 ft. 7 in. x 1 ft. 4 in.) The logs have an inscription stating on the front of the base: MORGAN The left side of the logs inscription states: JOHN W. JUNE 1941–The center logs are inscribed with:JACQUELINE NOV 15, 1942

1041_T

Morgan Monument (Decatur)

Focus on Morgan Monument (Decatur) and analyze the Condition.

This sculpture was surveyed in 1993 for its condition and was described as "well maintained."

1041_NT

Morgan Monument (Decatur)

Focus on this artwork and analyze the Condition.

This sculpture was surveyed in 1993 for its condition and was described as "well maintained."

1042_T

Kagaku Murakami

In Kagaku Murakami, how is the Biography discussed?

He was born in Osaka as Takeda Shinichi. His parents divorced when he was a child and he was raised in Kobe, taking his maternal grandfather's name in 1904. In 1903, he entered the Kyoto City School of Arts and Crafts, graduating in 1907 and entering the Kyoto City Art College (present day Kyoto City University of Arts) in 1909, from which he graduated in 1913. His work was accepted for display at the 5th Bunten Exhibition in 1911, and in 1916, he won a special prize for his first Buddhist-themed work at the 10th Bunten Exhibition. The same year, he moved into Kodai-ji temple in Kyoto as a lay monk. In 1918, he created the Society for the Creation of a National Painting Style (国画創作協会, Kokuga Sosaku Kyokai) with Tsuchida Bakusen and three other young nihonga artists from the Kyoto area. The aim of the group was to revitalize what they perceived to be stagnation in the nihonga techniques through a fusion of Yamato-e, early ukiyo-e and the Shijō school's use of delicate lines with the techniques and tenets of western art, while maintaining the use of subjects traditional to Japanese art. The society held its own exhibitions (Kokuten), and at the second of these in 1919, Murakami displayed Kiyohime Crossing the Hidaka River, which is regarded as one of his representative works. The painting is now recognized by the Japanese government's Agency for Cultural Affairs as an Important Cultural Property. In 1920, at the 3rd Kokuten Exhibition, Murakami displayed a nude portrait, in a style reminiscent of Indian painting. It is uncertain if the subject is a bodhisattva or a woman, and likewise the style of the work transcends both nihonga and yōga. However, the work remained highly controversial during his lifetime, and lead to his gradual estraignment from the mainstream art world. In 1923, due to the worsening of his chronic asthma, Murakami left Kyoto for Ashiya, Hyōgo. He continued paint on religious themes. In 1927, he returned to live in Kobe. In Murakami's final years, as his health continued to worsen, his paintings became smaller and smaller, and his use of color fainter and fainter, until his final works were almost monochromatic. He died in 1939.

1042_NT

Kagaku Murakami

In this artwork, how is the Biography discussed?

He was born in Osaka as Takeda Shinichi. His parents divorced when he was a child and he was raised in Kobe, taking his maternal grandfather's name in 1904. In 1903, he entered the Kyoto City School of Arts and Crafts, graduating in 1907 and entering the Kyoto City Art College (present day Kyoto City University of Arts) in 1909, from which he graduated in 1913. His work was accepted for display at the 5th Bunten Exhibition in 1911, and in 1916, he won a special prize for his first Buddhist-themed work at the 10th Bunten Exhibition. The same year, he moved into Kodai-ji temple in Kyoto as a lay monk. In 1918, he created the Society for the Creation of a National Painting Style (国画創作協会, Kokuga Sosaku Kyokai) with Tsuchida Bakusen and three other young nihonga artists from the Kyoto area. The aim of the group was to revitalize what they perceived to be stagnation in the nihonga techniques through a fusion of Yamato-e, early ukiyo-e and the Shijō school's use of delicate lines with the techniques and tenets of western art, while maintaining the use of subjects traditional to Japanese art. The society held its own exhibitions (Kokuten), and at the second of these in 1919, Murakami displayed Kiyohime Crossing the Hidaka River, which is regarded as one of his representative works. The painting is now recognized by the Japanese government's Agency for Cultural Affairs as an Important Cultural Property. In 1920, at the 3rd Kokuten Exhibition, Murakami displayed a nude portrait, in a style reminiscent of Indian painting. It is uncertain if the subject is a bodhisattva or a woman, and likewise the style of the work transcends both nihonga and yōga. However, the work remained highly controversial during his lifetime, and lead to his gradual estraignment from the mainstream art world. In 1923, due to the worsening of his chronic asthma, Murakami left Kyoto for Ashiya, Hyōgo. He continued paint on religious themes. In 1927, he returned to live in Kobe. In Murakami's final years, as his health continued to worsen, his paintings became smaller and smaller, and his use of color fainter and fainter, until his final works were almost monochromatic. He died in 1939.

1043_T

Kagaku Murakami

Focus on Kagaku Murakami and explore the Noted works.

Night Cherry Blossoms (夜桜之図, Yozakura-zu), 1913, Kyoto Museum of Modern Art Kiyohime Crossing the Hidaka River (日高河清姫図, Hidakagawa Kiyohime-zu), 1919, Tokyo Museum of Modern Art, National Important Cultural Property Nude (裸婦図, Rafu-zu), 1920, Yamatane Art Museum

1043_NT

Kagaku Murakami

Focus on this artwork and explore the Noted works.

Night Cherry Blossoms (夜桜之図, Yozakura-zu), 1913, Kyoto Museum of Modern Art Kiyohime Crossing the Hidaka River (日高河清姫図, Hidakagawa Kiyohime-zu), 1919, Tokyo Museum of Modern Art, National Important Cultural Property Nude (裸婦図, Rafu-zu), 1920, Yamatane Art Museum

1044_T

La Chiffonnière

Focus on La Chiffonnière and explain the abstract.

La Chiffonnière ("Rag Woman") is a stainless steel sculpture by French artist Jean Dubuffet, installed in Justin Herman Plaza, in San Francisco's Financial District, in the U.S. state of California. The 22-foot (6.7 m) tall, 4,500 pound artwork was conceived in 1972 and completed in 1978. It was displayed in Manhattan's Doris C. Freedman Plaza from March 20 to December 12, 1979.

1044_NT

La Chiffonnière

Focus on this artwork and explain the abstract.

La Chiffonnière ("Rag Woman") is a stainless steel sculpture by French artist Jean Dubuffet, installed in Justin Herman Plaza, in San Francisco's Financial District, in the U.S. state of California. The 22-foot (6.7 m) tall, 4,500 pound artwork was conceived in 1972 and completed in 1978. It was displayed in Manhattan's Doris C. Freedman Plaza from March 20 to December 12, 1979.

1045_T

Dynamic Mobile Steel Sculpture

Explore the abstract of this artwork, Dynamic Mobile Steel Sculpture.

Dynamic Mobile Steel Sculpture is an abstract sculpture by Canadian artist George A. Norris, hanging in the atrium of the Central Branch of Greater Victoria Public Library in Victoria, British Columbia, Canada.The work is included in at least one published Frommer's walking tour of Victoria.

1045_NT

Dynamic Mobile Steel Sculpture

Explore the abstract of this artwork.

Dynamic Mobile Steel Sculpture is an abstract sculpture by Canadian artist George A. Norris, hanging in the atrium of the Central Branch of Greater Victoria Public Library in Victoria, British Columbia, Canada.The work is included in at least one published Frommer's walking tour of Victoria.

1046_T

Samson and Delilah (Guercino)

Focus on Samson and Delilah (Guercino) and discuss the abstract.

Samson and Delilah is a 1654 painting by the Italian Baroque painter Giovanni Francesco Barbieri (il Guercino). It is on display in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 316.This work (and its pendant Lot and his Daughters, today in the Louvre), was painted in 1654 for Charles II, Duke of Mantua and Montferrat, and delivered in 1657. It was sold between 1715 and 1720 and later belonged to John Charles Robinson. Robinson presented it to the Strasbourg museum in 1893, as gesture of friendship towards its director, Wilhelm von Bode, who had purchased several items from his collection. [The accession date was given as 1896 in previous publications.]Contrary to the Biblical narrative in the Book of Judges, but according to the retelling by Josephus in Antiquities of the Jews, Delilah is shown as cutting Samson's hair herself (in the Bible, a man is summoned to do this task). The severity of the composition, the muted colors, and Delilah's sculptural profile, are characteristic of Guercino's late, classical manner. The theme of the painting and of its pendant, Lot and his daughters, does furthermore constitute a warning against the dangers of drunkenness.A preparatory drawing (current location unknown) depicts Delilah at half-length, with a more girlish expression and a less athletic build.

1046_NT

Samson and Delilah (Guercino)

Focus on this artwork and discuss the abstract.

Samson and Delilah is a 1654 painting by the Italian Baroque painter Giovanni Francesco Barbieri (il Guercino). It is on display in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 316.This work (and its pendant Lot and his Daughters, today in the Louvre), was painted in 1654 for Charles II, Duke of Mantua and Montferrat, and delivered in 1657. It was sold between 1715 and 1720 and later belonged to John Charles Robinson. Robinson presented it to the Strasbourg museum in 1893, as gesture of friendship towards its director, Wilhelm von Bode, who had purchased several items from his collection. [The accession date was given as 1896 in previous publications.]Contrary to the Biblical narrative in the Book of Judges, but according to the retelling by Josephus in Antiquities of the Jews, Delilah is shown as cutting Samson's hair herself (in the Bible, a man is summoned to do this task). The severity of the composition, the muted colors, and Delilah's sculptural profile, are characteristic of Guercino's late, classical manner. The theme of the painting and of its pendant, Lot and his daughters, does furthermore constitute a warning against the dangers of drunkenness.A preparatory drawing (current location unknown) depicts Delilah at half-length, with a more girlish expression and a less athletic build.

1047_T

Spirit of Haida Gwaii

How does Spirit of Haida Gwaii elucidate its abstract?

The Spirit of Haida Gwaii is a sculpture by British Columbia Haida artist Bill Reid (1920–1998). There are two versions of it: the black canoe and the jade canoe. The black canoe features on Canadian $20 bills of the Canadian Journey series issued between 2004 and 2012.

1047_NT

Spirit of Haida Gwaii

How does this artwork elucidate its abstract?

The Spirit of Haida Gwaii is a sculpture by British Columbia Haida artist Bill Reid (1920–1998). There are two versions of it: the black canoe and the jade canoe. The black canoe features on Canadian $20 bills of the Canadian Journey series issued between 2004 and 2012.

1048_T

Spirit of Haida Gwaii

Focus on Spirit of Haida Gwaii and analyze the Background.

The sculpture was originally created in 1986 as a 1⁄6-scale clay model, enlarged in 1988, to full-size clay. In 1991, the model was cast in bronze. This first bronze casting was entitled The Spirit of Haida Gwaii, the Black Canoe and is now displayed outside the Canadian Embassy in Washington, D.C. The second bronze casting, entitled The Spirit of Haida Gwaii, the Jade Canoe, was first displayed at the Canadian Museum of History in 1994. Finally, in 1996, the Jade Canoe (as it is generally called) was moved to the International Terminal at Vancouver International Airport. The original plaster pattern for the sculpture is on display in the main hall of the Canadian Museum of History. On 30 April 1996 Canada Post issued The Spirit of Haida Gwaii, 1986–1991, Bill Reid in the Masterpieces of Canadian art series. The stamp was designed by Pierre-Yves Pelletier based on a sculpture The Spirit of Haida Gwaii (1991) by William Ronald Reid in the Canadian Embassy, Washington, United States. The 90¢ stamps are perforated 12.5 mm × 13 mm and were printed by Ashton-Potter Limited.An image of the sculpture features prominently on the reverse of the 2004 edition of the Canadian twenty-dollar bill. These bills are no longer issued; a new design entered use in 2012.

1048_NT

Spirit of Haida Gwaii

Focus on this artwork and analyze the Background.

The sculpture was originally created in 1986 as a 1⁄6-scale clay model, enlarged in 1988, to full-size clay. In 1991, the model was cast in bronze. This first bronze casting was entitled The Spirit of Haida Gwaii, the Black Canoe and is now displayed outside the Canadian Embassy in Washington, D.C. The second bronze casting, entitled The Spirit of Haida Gwaii, the Jade Canoe, was first displayed at the Canadian Museum of History in 1994. Finally, in 1996, the Jade Canoe (as it is generally called) was moved to the International Terminal at Vancouver International Airport. The original plaster pattern for the sculpture is on display in the main hall of the Canadian Museum of History. On 30 April 1996 Canada Post issued The Spirit of Haida Gwaii, 1986–1991, Bill Reid in the Masterpieces of Canadian art series. The stamp was designed by Pierre-Yves Pelletier based on a sculpture The Spirit of Haida Gwaii (1991) by William Ronald Reid in the Canadian Embassy, Washington, United States. The 90¢ stamps are perforated 12.5 mm × 13 mm and were printed by Ashton-Potter Limited.An image of the sculpture features prominently on the reverse of the 2004 edition of the Canadian twenty-dollar bill. These bills are no longer issued; a new design entered use in 2012.

1049_T

St. Mark Enthroned

In St. Mark Enthroned, how is the abstract discussed?

St. Mark Enthroned is an early painting by the Italian Renaissance artist Titian, created in 1510 or 1511, which is still in the church of Santa Maria della Salute ("Saint Mary of Health") in Venice. St. Mark, the patron saint of the Republic of Venice, is portrayed on a high throne, surrounded by St. Roch and St. Sebastian. Like other Titian paintings from these years, it shows the influence of Giorgione, who died young in 1510.

1049_NT

St. Mark Enthroned

In this artwork, how is the abstract discussed?

St. Mark Enthroned is an early painting by the Italian Renaissance artist Titian, created in 1510 or 1511, which is still in the church of Santa Maria della Salute ("Saint Mary of Health") in Venice. St. Mark, the patron saint of the Republic of Venice, is portrayed on a high throne, surrounded by St. Roch and St. Sebastian. Like other Titian paintings from these years, it shows the influence of Giorgione, who died young in 1510.

1050_T

The Massacre at Chios

Focus on The Massacre at Chios and explore the abstract.

Scenes from the Massacre at Chios (French: Scènes des massacres de Scio) is the second major oil painting by the French artist Eugène Delacroix. The work is more than four meters tall, and shows some of the horror of the wartime destruction visited on the Island of Chios in the Chios massacre. A frieze-like display of suffering characters, military might, ornate and colourful costumes, terror, disease and death is shown in front of a scene of widespread desolation. Unusual for a painting of civil ruin during this period, The Massacre at Chios has no heroic figure to counterbalance the crushed victims, and there is little to suggest hope among the ruin and despair. The vigour with which the aggressor is painted, contrasted with the dismal rendition of the victims, has drawn comment since the work was first hung, and some critics have charged that Delacroix might have tried to show some sympathy with the brutal occupiers. The painting was completed and displayed at the Salon of 1824 and hangs at the Musée du Louvre in Paris.

1050_NT

The Massacre at Chios

Focus on this artwork and explore the abstract.

Scenes from the Massacre at Chios (French: Scènes des massacres de Scio) is the second major oil painting by the French artist Eugène Delacroix. The work is more than four meters tall, and shows some of the horror of the wartime destruction visited on the Island of Chios in the Chios massacre. A frieze-like display of suffering characters, military might, ornate and colourful costumes, terror, disease and death is shown in front of a scene of widespread desolation. Unusual for a painting of civil ruin during this period, The Massacre at Chios has no heroic figure to counterbalance the crushed victims, and there is little to suggest hope among the ruin and despair. The vigour with which the aggressor is painted, contrasted with the dismal rendition of the victims, has drawn comment since the work was first hung, and some critics have charged that Delacroix might have tried to show some sympathy with the brutal occupiers. The painting was completed and displayed at the Salon of 1824 and hangs at the Musée du Louvre in Paris.