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1101_T

The Potato Eaters

In The Potato Eaters, how is the Theft discussed?

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.

1101_NT

The Potato Eaters

In this artwork, how is the Theft discussed?

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.

1102_T

Anguish (Schenck)

Focus on Anguish (Schenck) and explore the abstract.

Anguish (French: Angoisses or Angoisse) is an 1878 oil painting by August Friedrich Schenck. It depicts an anguished mother sheep standing over the dead body of her lamb, surrounded by a murder of crows. Perhaps Schenck's most famous painting, it is held by National Gallery of Victoria, in Melbourne, Australia since 1880. The painting was an early acquisition by the gallery, just a few years after it was founded, and has been voted the most popular of the gallery's 75,000 works on two occasions, in 1906 and 2011.

1102_NT

Anguish (Schenck)

Focus on this artwork and explore the abstract.

Anguish (French: Angoisses or Angoisse) is an 1878 oil painting by August Friedrich Schenck. It depicts an anguished mother sheep standing over the dead body of her lamb, surrounded by a murder of crows. Perhaps Schenck's most famous painting, it is held by National Gallery of Victoria, in Melbourne, Australia since 1880. The painting was an early acquisition by the gallery, just a few years after it was founded, and has been voted the most popular of the gallery's 75,000 works on two occasions, in 1906 and 2011.

1103_T

Anguish (Schenck)

Focus on Anguish (Schenck) and explain the Description.

The painting depicts a distraught ewe bleating in grief, her breath freezing in the cold air. The mother sheep is standing over the dead body of her lamb, a trickle of blood running from its mouth into the white snow, in a scene reminiscent of a pietà. The pair of sheep are encircled by a murder of black crows that crowd ominously around under a dull grey cloudy winter sky, waiting for an opportunity to scavenge the carcass. The painting's muted tones – almost monotone shades of white, grey, brown and black – reflect its despairing subject matter. It measures 151.0 cm × 251.2 cm (59.4 in × 98.9 in) and is signed "Schenck" in the lower left corner. Tedd Got, a senior curator at the National Gallery of Victoria, has suggested that the work may have taken inspiration from the 1872 book The Expression of the Emotions in Man and Animals, in which Charles Darwin argued emotions have biological originals, and that animals have similar emotions to humans. It has also been interpreted as a commentary on the cruelty of society, represented by the crowd of opportunistic crows.

1103_NT

Anguish (Schenck)

Focus on this artwork and explain the Description.

The painting depicts a distraught ewe bleating in grief, her breath freezing in the cold air. The mother sheep is standing over the dead body of her lamb, a trickle of blood running from its mouth into the white snow, in a scene reminiscent of a pietà. The pair of sheep are encircled by a murder of black crows that crowd ominously around under a dull grey cloudy winter sky, waiting for an opportunity to scavenge the carcass. The painting's muted tones – almost monotone shades of white, grey, brown and black – reflect its despairing subject matter. It measures 151.0 cm × 251.2 cm (59.4 in × 98.9 in) and is signed "Schenck" in the lower left corner. Tedd Got, a senior curator at the National Gallery of Victoria, has suggested that the work may have taken inspiration from the 1872 book The Expression of the Emotions in Man and Animals, in which Charles Darwin argued emotions have biological originals, and that animals have similar emotions to humans. It has also been interpreted as a commentary on the cruelty of society, represented by the crowd of opportunistic crows.

1104_T

Anguish (Schenck)

Explore the History of this artwork, Anguish (Schenck).

Schenck was born in Glückstadt in Holstein, now in Germany but then in Denmark, and lived and worked for most of his life in France. The painting was exhibited at the Paris Salon in 1878, under its French title Angoisses, and then in London the following year. It was engraved by Charles Maurand in 1878 for the French periodical L'Art, and by Tiburce de Mare in 1879. The painting was bought by the London art dealer Agnew's and then sold to the National Gallery of Victoria. It arrived in Australia in 1880. It retains its original gilt frame.Schenck reversed the scene in his c.1885 painting, L'Orphelin, souvenir d'Auvergne ("The Orphan, memory of Auvergne"), now held by the Musée d'Orsay, in which a lamb stands above the body of its dead mother, before a line of black crows waiting on a wooden fence.

1104_NT

Anguish (Schenck)

Explore the History of this artwork.

Schenck was born in Glückstadt in Holstein, now in Germany but then in Denmark, and lived and worked for most of his life in France. The painting was exhibited at the Paris Salon in 1878, under its French title Angoisses, and then in London the following year. It was engraved by Charles Maurand in 1878 for the French periodical L'Art, and by Tiburce de Mare in 1879. The painting was bought by the London art dealer Agnew's and then sold to the National Gallery of Victoria. It arrived in Australia in 1880. It retains its original gilt frame.Schenck reversed the scene in his c.1885 painting, L'Orphelin, souvenir d'Auvergne ("The Orphan, memory of Auvergne"), now held by the Musée d'Orsay, in which a lamb stands above the body of its dead mother, before a line of black crows waiting on a wooden fence.

1105_T

Dr. Samuel Mitchel Smith and Sons Memorial Fountain

Focus on Dr. Samuel Mitchel Smith and Sons Memorial Fountain and discuss the abstract.

The Dr. Samuel Mitchel Smith and Sons Memorial Fountain is an 1880 sculpture and memorial by William Walcutt, installed at the Ohio State University Wexner Medical Center in Columbus, Ohio. The bronze and granite memorial is dedicated to Samuel Mitchel Smith, Surgeon General of Ohio during the American Civil War, and the first academic professor for the treatment of the mentally ill in the United States. The statue stood at Columbus's downtown center at Broad and High streets from 1880 to 1915. Its poor placement on the street prompted its move to St. Francis Hospital, site of the present-day Grant Medical Center, where it stood until the hospital's demolition in 1957. The statue was then moved to the Columbus Health Department's Franklinton office, where it stood until it was stolen and recovered in 1994. It was then relocated to its current site, the Harding Hospital at the Wexner Medical Center, on the Ohio State University campus.

1105_NT

Dr. Samuel Mitchel Smith and Sons Memorial Fountain

Focus on this artwork and discuss the abstract.

The Dr. Samuel Mitchel Smith and Sons Memorial Fountain is an 1880 sculpture and memorial by William Walcutt, installed at the Ohio State University Wexner Medical Center in Columbus, Ohio. The bronze and granite memorial is dedicated to Samuel Mitchel Smith, Surgeon General of Ohio during the American Civil War, and the first academic professor for the treatment of the mentally ill in the United States. The statue stood at Columbus's downtown center at Broad and High streets from 1880 to 1915. Its poor placement on the street prompted its move to St. Francis Hospital, site of the present-day Grant Medical Center, where it stood until the hospital's demolition in 1957. The statue was then moved to the Columbus Health Department's Franklinton office, where it stood until it was stolen and recovered in 1994. It was then relocated to its current site, the Harding Hospital at the Wexner Medical Center, on the Ohio State University campus.

1106_T

Dr. Samuel Mitchel Smith and Sons Memorial Fountain

How does Dr. Samuel Mitchel Smith and Sons Memorial Fountain elucidate its Description?

The bronze sculpture of Dr. Samuel Mitchel Smith (1816–1874) was sculpted in 1880 by Columbus artist William Walcutt. Smith was the Surgeon General of Ohio during the American Civil War (1862–64) and the 25th president of the Ohio State Medical Society (1869–70). He was also the first professor of psychiatry (or its equivalent) in the U.S., at Willoughby Medical College (later known as Starling Medical College; the present-day Ohio State University College of Medicine). Smith later served as a dean of the school, from 1849 to 1858, and again from 1860 to 1863.The statue measures approximately 6.5 x 2 x 2.5 ft and weighs 900 pounds. It rests on a granite base measuring approximately 8 x 5 x 5 ft and weighing 14 tons. His full-size figure is shown wearing a Prince Albert coat and with his hands folded behind his back. Two sides of the base display bronze oval cameos with profiles of the doctor's two deceased sons, Charles and Samuel. The left side depicts his son Charles who died the same year, 1874, at the age of 21, while the right depicts his son Samuel, who died in 1878 at the age of 30. The front of the base has a fountain, formerly operational. The fountain consists of an ornamental animal head spout and semi-octagonal basin. The fountain base was chosen as the family was impressed with drinking fountain statues they saw in Europe. Smith reportedly preferred the idea of a social, usable drinking fountain over a headstone in a cemetery. The statue's inscription reads "Memorial Fountain, to Dr. Samuel Mitchel Smith and His Sons, 1880."In 1994, the statue was valued by the city at $25,000, though its replacement cost would exceed that due to its almost seven-foot height and composition of solid bronze.

1106_NT

Dr. Samuel Mitchel Smith and Sons Memorial Fountain

How does this artwork elucidate its Description?

The bronze sculpture of Dr. Samuel Mitchel Smith (1816–1874) was sculpted in 1880 by Columbus artist William Walcutt. Smith was the Surgeon General of Ohio during the American Civil War (1862–64) and the 25th president of the Ohio State Medical Society (1869–70). He was also the first professor of psychiatry (or its equivalent) in the U.S., at Willoughby Medical College (later known as Starling Medical College; the present-day Ohio State University College of Medicine). Smith later served as a dean of the school, from 1849 to 1858, and again from 1860 to 1863.The statue measures approximately 6.5 x 2 x 2.5 ft and weighs 900 pounds. It rests on a granite base measuring approximately 8 x 5 x 5 ft and weighing 14 tons. His full-size figure is shown wearing a Prince Albert coat and with his hands folded behind his back. Two sides of the base display bronze oval cameos with profiles of the doctor's two deceased sons, Charles and Samuel. The left side depicts his son Charles who died the same year, 1874, at the age of 21, while the right depicts his son Samuel, who died in 1878 at the age of 30. The front of the base has a fountain, formerly operational. The fountain consists of an ornamental animal head spout and semi-octagonal basin. The fountain base was chosen as the family was impressed with drinking fountain statues they saw in Europe. Smith reportedly preferred the idea of a social, usable drinking fountain over a headstone in a cemetery. The statue's inscription reads "Memorial Fountain, to Dr. Samuel Mitchel Smith and His Sons, 1880."In 1994, the statue was valued by the city at $25,000, though its replacement cost would exceed that due to its almost seven-foot height and composition of solid bronze.

1107_T

Dr. Samuel Mitchel Smith and Sons Memorial Fountain

Focus on Dr. Samuel Mitchel Smith and Sons Memorial Fountain and analyze the History.

The Dr. Samuel Mitchel Smith and Sons Memorial Fountain was developed as a memorial to the doctor by his widow and daughters, five years after his 1874 death. It was forged at the Kelby Foundry in New York state.The memorial was originally installed at the southeast corner of Broad and High streets around 1880. It was authorized in 1879, and officially unveiled on Memorial Day in 1881, and was then given as a gift to the city. The statue was a feature of the 1908 Columbus Plan; the statue's placement interfered with traffic, as it was installed on sidewalk sticking out onto Broad Street. This problem, as well as the fountain not functioning and defacement by vandalism, spurred its first move. In 1915, after 35 years, it was relocated to the Starling Medical College (also known as St. Francis Hospital) at the intersection of State and Sixth Streets. The move led the statue's admirers to believe it escaped being adorned with a hat, an occurrence that happened each autumn by an unknown visitor, though the acts continued. The statue stood there for 42 years. Around 1957, the hospital was torn town and replaced by the larger Grant Medical Center. The statue was viewed as being in imminent danger. Columbus City Council's president suggested it be moved to the City Health and Safety Center (the Columbus Health Department offices), where it was temporarily stored in its basement. Several months later, it was placed on its front lawn, at the southeast corner of the Scioto Peninsula, where the statue faced downtown Columbus for 37 years. In 1987, local psychiatrists honored Smith for his pioneering ideas by visiting his statue. The statue was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993. Ohio State University's psychiatry department chair began looking into having the statue relocated to the campus in the mid 1980s. Before this could happen, however, the statue was stolen from its Health Center site. The October 1994 theft led to the statue's sale to an antique dealer in Atlanta, and resale to a dealer in Durham, North Carolina, for $6,800. The statue was then confiscated by Durham police. A Columbus-area former antiques dealer was arrested over the theft. Columbus police claimed he and others were looking to steal a statue of President James A. Garfield. The man was fined and given a 90-day prison sentence. Damage to the statue's shoes indicated its theft to a Columbus-area antiques show promoter who viewed it in Atlanta, who also received a tip that the statue might be the one stolen in Columbus.The statue was returned to Columbus for restoration in December 1994. Following the restoration, the statue was placed at the Harding Hospital, Ohio State's then-new psychiatry building on the Wexner Medical Center campus. The building opened in March 1994 with the statue in mind; a foundation was created at that time for the statue outside its Upham Drive entrance.

1107_NT

Dr. Samuel Mitchel Smith and Sons Memorial Fountain

Focus on this artwork and analyze the History.

The Dr. Samuel Mitchel Smith and Sons Memorial Fountain was developed as a memorial to the doctor by his widow and daughters, five years after his 1874 death. It was forged at the Kelby Foundry in New York state.The memorial was originally installed at the southeast corner of Broad and High streets around 1880. It was authorized in 1879, and officially unveiled on Memorial Day in 1881, and was then given as a gift to the city. The statue was a feature of the 1908 Columbus Plan; the statue's placement interfered with traffic, as it was installed on sidewalk sticking out onto Broad Street. This problem, as well as the fountain not functioning and defacement by vandalism, spurred its first move. In 1915, after 35 years, it was relocated to the Starling Medical College (also known as St. Francis Hospital) at the intersection of State and Sixth Streets. The move led the statue's admirers to believe it escaped being adorned with a hat, an occurrence that happened each autumn by an unknown visitor, though the acts continued. The statue stood there for 42 years. Around 1957, the hospital was torn town and replaced by the larger Grant Medical Center. The statue was viewed as being in imminent danger. Columbus City Council's president suggested it be moved to the City Health and Safety Center (the Columbus Health Department offices), where it was temporarily stored in its basement. Several months later, it was placed on its front lawn, at the southeast corner of the Scioto Peninsula, where the statue faced downtown Columbus for 37 years. In 1987, local psychiatrists honored Smith for his pioneering ideas by visiting his statue. The statue was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993. Ohio State University's psychiatry department chair began looking into having the statue relocated to the campus in the mid 1980s. Before this could happen, however, the statue was stolen from its Health Center site. The October 1994 theft led to the statue's sale to an antique dealer in Atlanta, and resale to a dealer in Durham, North Carolina, for $6,800. The statue was then confiscated by Durham police. A Columbus-area former antiques dealer was arrested over the theft. Columbus police claimed he and others were looking to steal a statue of President James A. Garfield. The man was fined and given a 90-day prison sentence. Damage to the statue's shoes indicated its theft to a Columbus-area antiques show promoter who viewed it in Atlanta, who also received a tip that the statue might be the one stolen in Columbus.The statue was returned to Columbus for restoration in December 1994. Following the restoration, the statue was placed at the Harding Hospital, Ohio State's then-new psychiatry building on the Wexner Medical Center campus. The building opened in March 1994 with the statue in mind; a foundation was created at that time for the statue outside its Upham Drive entrance.

1108_T

Parisian Backyard

In Parisian Backyard, how is the abstract discussed?

Parisian Backyard is an oil-on-canvas painting executed in 1884 by Finnish artist Akseli Gallen-Kallela. The work is 28 × 23 cm in size and belongs to the Ateneum, part of the Finnish National Gallery in Helsinki, where it was donated in 1945.

1108_NT

Parisian Backyard

In this artwork, how is the abstract discussed?

Parisian Backyard is an oil-on-canvas painting executed in 1884 by Finnish artist Akseli Gallen-Kallela. The work is 28 × 23 cm in size and belongs to the Ateneum, part of the Finnish National Gallery in Helsinki, where it was donated in 1945.

1109_T

Parisian Backyard

Focus on Parisian Backyard and explore the History and description.

The Parisian Backyard is a work of Gallen-Kallela's first trip to Paris, in the autumn of 1884. He visited it on a study trip. There he painted some academic works as part of his studies, as well as other paintings such as the Parisian Backyard. He made the painting from the window of his living room at the Rue Fontaine 21, and behind it he later wrote, "Painted in December while I was sick and in great dullness." In the painting, Gallen-Kallela is particularly sensitive to the perception of light. In the foreground of the late autumn landscape stands a dark, leafless tree. Behind it stand the dirty-gray brick neighboring buildings and a mere patch of white sky visible at the top left of the painting.

1109_NT

Parisian Backyard

Focus on this artwork and explore the History and description.

The Parisian Backyard is a work of Gallen-Kallela's first trip to Paris, in the autumn of 1884. He visited it on a study trip. There he painted some academic works as part of his studies, as well as other paintings such as the Parisian Backyard. He made the painting from the window of his living room at the Rue Fontaine 21, and behind it he later wrote, "Painted in December while I was sick and in great dullness." In the painting, Gallen-Kallela is particularly sensitive to the perception of light. In the foreground of the late autumn landscape stands a dark, leafless tree. Behind it stand the dirty-gray brick neighboring buildings and a mere patch of white sky visible at the top left of the painting.

1110_T

Reclining Figure (Lincoln Center)

Focus on Reclining Figure (Lincoln Center) and explain the abstract.

Reclining Figure (Lincoln Center) (LH 519) is a statue by Henry Moore. The original two-part bronze statue of a human figure was commissioned for the Lincoln Center for the Performing Arts in New York City, where it has been displayed outdoors since 1965 in a pool of water to the north of the new Metropolitan Opera House. Other copies in plaster or bronze exist, and are displayed in other cities.

1110_NT

Reclining Figure (Lincoln Center)

Focus on this artwork and explain the abstract.

Reclining Figure (Lincoln Center) (LH 519) is a statue by Henry Moore. The original two-part bronze statue of a human figure was commissioned for the Lincoln Center for the Performing Arts in New York City, where it has been displayed outdoors since 1965 in a pool of water to the north of the new Metropolitan Opera House. Other copies in plaster or bronze exist, and are displayed in other cities.

1111_T

Reclining Figure (Lincoln Center)

Explore the Background of this artwork, Reclining Figure (Lincoln Center).

Moore received the commission to create a sculpture for a pool of water outside the Lincoln Center in December 1961, with the substantial fee of $225,000 to cover all his costs, including materials, casting and shipping, using funds donated by Albert List and Vera List. The center's architect, Gordon Bunshaft of Skidmore, Owings & Merrill, suggested Moore, but there was resistance from some members of the Lincoln Center Arts Committee. Some objected to the selection of a European sculptor; Newbold Morris, then Parks Commissioner of New York City, described the work as "junk", and wanted it removed.Moore visited the site in 1962, exclaiming that the pool was as big as a cricket pitch, but declined to create a site-specific work. Instead, the work was based on some exiting ideas from Moore's earlier drawings and maquettes. Moore was attracted by the idea that the work would be reflected in the water, and decided to work on the concept of woman and rock rising from the water. (Meanwhile, back-room negotiations ensured that the Moore sculpture intended for the Lincoln Center would not become overshadowed by prospective Moore commissions for the Seagram Building, at One Chase Manhattan Plaza, and at Columbia Law School, although a cast of Moore's Three-Way Piece: Points was installed at Columbia in 1967.)

1111_NT

Reclining Figure (Lincoln Center)

Explore the Background of this artwork.

Moore received the commission to create a sculpture for a pool of water outside the Lincoln Center in December 1961, with the substantial fee of $225,000 to cover all his costs, including materials, casting and shipping, using funds donated by Albert List and Vera List. The center's architect, Gordon Bunshaft of Skidmore, Owings & Merrill, suggested Moore, but there was resistance from some members of the Lincoln Center Arts Committee. Some objected to the selection of a European sculptor; Newbold Morris, then Parks Commissioner of New York City, described the work as "junk", and wanted it removed.Moore visited the site in 1962, exclaiming that the pool was as big as a cricket pitch, but declined to create a site-specific work. Instead, the work was based on some exiting ideas from Moore's earlier drawings and maquettes. Moore was attracted by the idea that the work would be reflected in the water, and decided to work on the concept of woman and rock rising from the water. (Meanwhile, back-room negotiations ensured that the Moore sculpture intended for the Lincoln Center would not become overshadowed by prospective Moore commissions for the Seagram Building, at One Chase Manhattan Plaza, and at Columbia Law School, although a cast of Moore's Three-Way Piece: Points was installed at Columbia in 1967.)

1112_T

Reclining Figure (Lincoln Center)

Focus on Reclining Figure (Lincoln Center) and discuss the Casts.

Moore's ideas for the sculpture may have been inspired by a flint stone, and he probably worked on some early clay or plaster maquettes in 1962 to develop his ideas, although none have been identified from those that survive. Two of the maquettes were increased in scale to create half-size plaster working models, each supported by an armature. Moore worked on the surface of the working models with chisels and other tools. The completed plaster models were painted a dark colour, and placed in a pond at his home and studio at Perry Green, Hertfordshire. Moore selected one working model (LH 518) for the Lincoln Center commission, and the other became Two Piece Reclining Figure No.5 1963-4 (LH 517). Moore later had two bronze casts made of the plaster working model, measuring 2.35 by 3.72 by 1.65 metres (7 ft 9 in × 12 ft 2 in × 5 ft 5 in). Moore presented one bronze cast to the Tate Gallery in 1978, along with 35 other works. It was included in the exhibition to celebrate Moore's 80th birthday at the Tate that year, on the grass outside the gallery. It has been on long-term loan to Charing Cross Hospital since 1980, where it is displayed in a pool that was created for it. Moore donated the plaster working model to the Art Gallery of Ontario in 1974. A second bronze cast is in the collection of the MIT List Visual Arts Center, mounted on a granite base; it was donated by Vera Glaser List in memory of Samuel Glaser. A third version is located on Henry Moore’s estate in Hertfordshire, England.The working model was scaled up again to create a plaster version of the full-size sculpture. This sculpture was so large that Moore needed a new temporary studio, a metal structure covered with transparent plastic sheeting, to house it while he worked on it. He used the same structure for his largest outdoor works until it became dilapidated and was removed in the 1980s.After the full-scale plaster model was completed in August 1964, it was cut into pieces to be sent to the Hermann Noack foundry in Berlin, where the pieces were cast in bronze and welded together again to create the completed work. It was shipped on MS Finnclipper in July 1965, and installed at the Lincoln Centre on 21 September 1965.The 6-short-ton (5.4 t) full-size bronze sculpture (LH 519) is 16 feet (4.9 m) high and 30 feet (9.1 m) feet long, making it Moore's largest work at that date: it was twice the size of his stone UNESCO Reclining Figure of 1958, although his later Large Reclining Figure of 1984 would be 9 metres (30 ft) long.The work was removed in 2007, to allow the North Plaza at the Lincoln Center to be reconfigured. The sculpture was reinstalled in a smaller pool in 2009, which was named the Paul Milstein Pool in 2011.

1112_NT

Reclining Figure (Lincoln Center)

Focus on this artwork and discuss the Casts.

Moore's ideas for the sculpture may have been inspired by a flint stone, and he probably worked on some early clay or plaster maquettes in 1962 to develop his ideas, although none have been identified from those that survive. Two of the maquettes were increased in scale to create half-size plaster working models, each supported by an armature. Moore worked on the surface of the working models with chisels and other tools. The completed plaster models were painted a dark colour, and placed in a pond at his home and studio at Perry Green, Hertfordshire. Moore selected one working model (LH 518) for the Lincoln Center commission, and the other became Two Piece Reclining Figure No.5 1963-4 (LH 517). Moore later had two bronze casts made of the plaster working model, measuring 2.35 by 3.72 by 1.65 metres (7 ft 9 in × 12 ft 2 in × 5 ft 5 in). Moore presented one bronze cast to the Tate Gallery in 1978, along with 35 other works. It was included in the exhibition to celebrate Moore's 80th birthday at the Tate that year, on the grass outside the gallery. It has been on long-term loan to Charing Cross Hospital since 1980, where it is displayed in a pool that was created for it. Moore donated the plaster working model to the Art Gallery of Ontario in 1974. A second bronze cast is in the collection of the MIT List Visual Arts Center, mounted on a granite base; it was donated by Vera Glaser List in memory of Samuel Glaser. A third version is located on Henry Moore’s estate in Hertfordshire, England.The working model was scaled up again to create a plaster version of the full-size sculpture. This sculpture was so large that Moore needed a new temporary studio, a metal structure covered with transparent plastic sheeting, to house it while he worked on it. He used the same structure for his largest outdoor works until it became dilapidated and was removed in the 1980s.After the full-scale plaster model was completed in August 1964, it was cut into pieces to be sent to the Hermann Noack foundry in Berlin, where the pieces were cast in bronze and welded together again to create the completed work. It was shipped on MS Finnclipper in July 1965, and installed at the Lincoln Centre on 21 September 1965.The 6-short-ton (5.4 t) full-size bronze sculpture (LH 519) is 16 feet (4.9 m) high and 30 feet (9.1 m) feet long, making it Moore's largest work at that date: it was twice the size of his stone UNESCO Reclining Figure of 1958, although his later Large Reclining Figure of 1984 would be 9 metres (30 ft) long.The work was removed in 2007, to allow the North Plaza at the Lincoln Center to be reconfigured. The sculpture was reinstalled in a smaller pool in 2009, which was named the Paul Milstein Pool in 2011.

1113_T

Christ Blessing (Bellini, 1460)

How does Christ Blessing (Bellini, 1460) elucidate its abstract?

Christ Blessing is a tempera-on-panel painting by the Italian artist Giovanni Bellini. It is usually dated to the early 1460s, that is, in the middle of Bellini's Mantegnese phase. It is now in the Louvre in Paris. It is probably the painting mentioned by the historian Carlo Ridolfi as an "Effigy of the Saviour" in the Augustinian monastery of Santo Stefano Church in Venice. Morassi is the only art historian to demur from this consensus, instead identifying the painting seen by Ridolfi with a painting in a Swiss private collection dating to 1500.

1113_NT

Christ Blessing (Bellini, 1460)

How does this artwork elucidate its abstract?

Christ Blessing is a tempera-on-panel painting by the Italian artist Giovanni Bellini. It is usually dated to the early 1460s, that is, in the middle of Bellini's Mantegnese phase. It is now in the Louvre in Paris. It is probably the painting mentioned by the historian Carlo Ridolfi as an "Effigy of the Saviour" in the Augustinian monastery of Santo Stefano Church in Venice. Morassi is the only art historian to demur from this consensus, instead identifying the painting seen by Ridolfi with a painting in a Swiss private collection dating to 1500.

1114_T

Nine Dragons (painting)

Focus on Nine Dragons (painting) and analyze the abstract.

Nine Dragons or 九龍圖卷 (陳容) is a handscroll painting by Chinese artist Chen Rong from 1244. Depicting the apparitions of dragons soaring amidst clouds, mists, whirlpools, rocky mountains and fire, the painting refers to the dynamic forces of nature in Daoism and the liquid, water-like essence of the Tao. The depicted dragons are associated with nine sons of the Dragon King, while the number nine itself is considered auspicious in Chinese astrology and folk beliefs.Areas of the painting are spattered with drops of ink, either flung or blown onto the surface in a manner similar to action painting. This is a conscious evocation of rain and may even be a rainmaking ritual by the artist; lines 32 and 33 of Chen Rong's poetic inscription describe how his dragons either could, or did, produce rainfall: In the world people longed for sustained rain. Suoweng [that is, I] sketched forth Nine Dragons The painting features multiple inscriptions and stamps. The left side features various colophons, including those by Zhang Sicheng and Dong Sixue, a Song dynasty official. Two inscriptions on the painting were made by the artist's own hand. The dating is based on one of them. According to the inscription placed at the end of the painting, the work was inspired by two other paintings, Cao Ba's Nine Horses and Nine Deers, attributed to Huichong. A later inscription by the Qianlong Emperor says that besides praising Chen Rong's painting, Qianlong ordered a court painter to make a copy of it. Qianlong also impressed several seals on the original painting, whose text appreciate the work.

1114_NT

Nine Dragons (painting)

Focus on this artwork and analyze the abstract.

Nine Dragons or 九龍圖卷 (陳容) is a handscroll painting by Chinese artist Chen Rong from 1244. Depicting the apparitions of dragons soaring amidst clouds, mists, whirlpools, rocky mountains and fire, the painting refers to the dynamic forces of nature in Daoism and the liquid, water-like essence of the Tao. The depicted dragons are associated with nine sons of the Dragon King, while the number nine itself is considered auspicious in Chinese astrology and folk beliefs.Areas of the painting are spattered with drops of ink, either flung or blown onto the surface in a manner similar to action painting. This is a conscious evocation of rain and may even be a rainmaking ritual by the artist; lines 32 and 33 of Chen Rong's poetic inscription describe how his dragons either could, or did, produce rainfall: In the world people longed for sustained rain. Suoweng [that is, I] sketched forth Nine Dragons The painting features multiple inscriptions and stamps. The left side features various colophons, including those by Zhang Sicheng and Dong Sixue, a Song dynasty official. Two inscriptions on the painting were made by the artist's own hand. The dating is based on one of them. According to the inscription placed at the end of the painting, the work was inspired by two other paintings, Cao Ba's Nine Horses and Nine Deers, attributed to Huichong. A later inscription by the Qianlong Emperor says that besides praising Chen Rong's painting, Qianlong ordered a court painter to make a copy of it. Qianlong also impressed several seals on the original painting, whose text appreciate the work.

1115_T

Nine Dragons (painting)

In Nine Dragons (painting), how is the Provenance discussed?

In the 17th century the scroll was in the possession of Geng Zhaozhong (1640–1686) son of Prince Geng Jimao and court attendant to the Shunzhi Emperor. The Qianlong Emperor (1711–1799) passed it to the Jiaqing Emperor (1760–1820) and it was probably given by one of the later Qing emperors to Prince Gong (1833–1898). It was later owned by New York art dealers Yamanaka and Co. who in 1917 sold it to the Museum of Fine Arts Boston for $25,000.

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Nine Dragons (painting)

In this artwork, how is the Provenance discussed?

In the 17th century the scroll was in the possession of Geng Zhaozhong (1640–1686) son of Prince Geng Jimao and court attendant to the Shunzhi Emperor. The Qianlong Emperor (1711–1799) passed it to the Jiaqing Emperor (1760–1820) and it was probably given by one of the later Qing emperors to Prince Gong (1833–1898). It was later owned by New York art dealers Yamanaka and Co. who in 1917 sold it to the Museum of Fine Arts Boston for $25,000.

1116_T

Portrait of the Vendramin Family

Focus on Portrait of the Vendramin Family and explore the History.

This painting remained in Venice until at least 1636 when it was bought by Anthony van Dyck who was painter at the court of Charles I. After his death it was claimed as the property of Lady Anne Middleton by her son, Sir John Wittewronge. After claiming possession Sir John sold the painting to Algernon Percy, 10th Earl of Northumberland, one of Van Dyck's major patrons, and passed by descent through the Earls and Dukes of Northumberland and Somerset until 1929, when it was bought by the National Gallery. At some point it has been cut down on both sides and at the bottom.

1116_NT

Portrait of the Vendramin Family

Focus on this artwork and explore the History.

This painting remained in Venice until at least 1636 when it was bought by Anthony van Dyck who was painter at the court of Charles I. After his death it was claimed as the property of Lady Anne Middleton by her son, Sir John Wittewronge. After claiming possession Sir John sold the painting to Algernon Percy, 10th Earl of Northumberland, one of Van Dyck's major patrons, and passed by descent through the Earls and Dukes of Northumberland and Somerset until 1929, when it was bought by the National Gallery. At some point it has been cut down on both sides and at the bottom.

1117_T

Green Caesar

Focus on Green Caesar and explain the abstract.

The Green Caesar is a portrait of Gaius Julius Caesar made of green slate kept in the Antikensammlung Berlin, which was probably made in the first century AD.

1117_NT

Green Caesar

Focus on this artwork and explain the abstract.

The Green Caesar is a portrait of Gaius Julius Caesar made of green slate kept in the Antikensammlung Berlin, which was probably made in the first century AD.

1118_T

Green Caesar

Explore the Description of this artwork, Green Caesar.

The portrait is 41 centimetres high and therefore a little over life size. It is made of green slate rather than the usual marble, but the execution is nevertheless outstandingly good. Signs of old age, like the receding hairline, lines on the forehead and nose, lightly wrinkled cheeks, deep nasolabial folds and crow's feet around the eyes. Lines on the neck result from the incline of the head to the right hand side. The face is long, narrow and angular with marked cheekbones, a high forehead and a strong chin. The long, straight nose, the slight Adam's apple and the narrow-lipped mouth contribute to a lean, even emaciated appearance. The short, curled hair is combed forward from the back, but is merely engraved on the sculpture, not depicted in three dimensions. This increases the sparse appearance of the hair and head. The bust is largely intact, but there are small modern restorations to the seam of the tunic and toga on the right hand side. A gap in the right ear was also repaired at first, but is now once more in a fragmentary condition. The marble inlays in the eyes are modern, as is the podium.

1118_NT

Green Caesar

Explore the Description of this artwork.

The portrait is 41 centimetres high and therefore a little over life size. It is made of green slate rather than the usual marble, but the execution is nevertheless outstandingly good. Signs of old age, like the receding hairline, lines on the forehead and nose, lightly wrinkled cheeks, deep nasolabial folds and crow's feet around the eyes. Lines on the neck result from the incline of the head to the right hand side. The face is long, narrow and angular with marked cheekbones, a high forehead and a strong chin. The long, straight nose, the slight Adam's apple and the narrow-lipped mouth contribute to a lean, even emaciated appearance. The short, curled hair is combed forward from the back, but is merely engraved on the sculpture, not depicted in three dimensions. This increases the sparse appearance of the hair and head. The bust is largely intact, but there are small modern restorations to the seam of the tunic and toga on the right hand side. A gap in the right ear was also repaired at first, but is now once more in a fragmentary condition. The marble inlays in the eyes are modern, as is the podium.

1119_T

Green Caesar

Focus on Green Caesar and discuss the Style.

There is widespread agreement that the individual depicted by the bust is the Roman politician Gaius Julius Caesar, who was one of the most significant figures in the end of the Roman Republic in the first century BC. The only known portraits of him that derive from his lifetime are those on his coins, which are barely idealised and depict him with clearly unique features. They stand entirely in the Republican tradition. All known sculptural portraits were created only after his death. The Green Caesar belongs to a group of late Republican portraits which appear very individualised to the modern viewer, but actually just reproduce various idealised features. These depictions represent values and qualities which were expected of the statesman, using typological forms and normalised formulae. Thus, the signs of old age indicate authority (auctoritas), while the gaze and expression show dignity and strictness (gravitas and severitas) and the tilt of the head shows dynamism and vigour. The viewer sees a serious and dignified man who is fully aware of his position and the duties that go with it, but also of his entitlement to it. The ascetic, sober style imitates the sobriety and endurance of a successful general, even though the clothing is that of a statesman rather than a general. The actual circumstances of the portrait's creation are unclear. Many archaeologists place it in the first century BC, but the majority prefer the first century AD, in the early Imperial period. It was probably made in Egypt, since the green slate it is made of derives from Upper Egypt. In addition, the engraving of the hair instead of carving it in the round derives from Late Egyptian art, as do the firm, heavy contours of the slate.

1119_NT

Green Caesar

Focus on this artwork and discuss the Style.

There is widespread agreement that the individual depicted by the bust is the Roman politician Gaius Julius Caesar, who was one of the most significant figures in the end of the Roman Republic in the first century BC. The only known portraits of him that derive from his lifetime are those on his coins, which are barely idealised and depict him with clearly unique features. They stand entirely in the Republican tradition. All known sculptural portraits were created only after his death. The Green Caesar belongs to a group of late Republican portraits which appear very individualised to the modern viewer, but actually just reproduce various idealised features. These depictions represent values and qualities which were expected of the statesman, using typological forms and normalised formulae. Thus, the signs of old age indicate authority (auctoritas), while the gaze and expression show dignity and strictness (gravitas and severitas) and the tilt of the head shows dynamism and vigour. The viewer sees a serious and dignified man who is fully aware of his position and the duties that go with it, but also of his entitlement to it. The ascetic, sober style imitates the sobriety and endurance of a successful general, even though the clothing is that of a statesman rather than a general. The actual circumstances of the portrait's creation are unclear. Many archaeologists place it in the first century BC, but the majority prefer the first century AD, in the early Imperial period. It was probably made in Egypt, since the green slate it is made of derives from Upper Egypt. In addition, the engraving of the hair instead of carving it in the round derives from Late Egyptian art, as do the firm, heavy contours of the slate.

1120_T

Green Caesar

How does Green Caesar elucidate its Provenance?

Presumably the bust was erected in Rome in ancient times and discovered there in the early modern period. Subsequently it was taken to France and in 1767 it was acquired by Frederick II of Prussia from the collection of Jean de Jullienne in Paris. With other antiquities in the royal possession it was put on display in the Antikensammlung Berlin in the 1820s. There the portrait has been displayed since 2010 in the Altes Museum, immediately next to a portrait of Cleopatra.

1120_NT

Green Caesar

How does this artwork elucidate its Provenance?

Presumably the bust was erected in Rome in ancient times and discovered there in the early modern period. Subsequently it was taken to France and in 1767 it was acquired by Frederick II of Prussia from the collection of Jean de Jullienne in Paris. With other antiquities in the royal possession it was put on display in the Antikensammlung Berlin in the 1820s. There the portrait has been displayed since 2010 in the Altes Museum, immediately next to a portrait of Cleopatra.

1121_T

Le Violon d'Ingres

Focus on Le Violon d'Ingres and analyze the abstract.

Le Violon d'Ingres (French for Ingres's Violin) is a black-and-white photograph created by American visual artist Man Ray in 1924. It is one of his best-known photographs and of surrealist photography. The picture was first published in the Surrealist magazine Littérature in June 1924. It shows model Kiki de Montparnasse from the back, nude to below her waist, with two f-holes painted on to make her body resemble a violin.

1121_NT

Le Violon d'Ingres

Focus on this artwork and analyze the abstract.

Le Violon d'Ingres (French for Ingres's Violin) is a black-and-white photograph created by American visual artist Man Ray in 1924. It is one of his best-known photographs and of surrealist photography. The picture was first published in the Surrealist magazine Littérature in June 1924. It shows model Kiki de Montparnasse from the back, nude to below her waist, with two f-holes painted on to make her body resemble a violin.

1122_T

Le Violon d'Ingres

In Le Violon d'Ingres, how is the Analysis discussed?

The photograph takes its name from a popular French expression, le violon d'Ingres, which means a hobby, in reference to the fact that the French neoclassical painter Jean-Auguste-Dominique Ingres used to play the violin as a pastime when he was not painting. Man Ray admired Ingres's work and he drew inspiration from his painting The Valpinçon Bather (1808) for this photograph. He had his model and then lover Kiki de Montparnasse pose for him. In a first photograph, Étude pour Le Violon d'Ingres, she is seen in profile, with her face and breasts visible. In the final picture, she is depicted in a similar way to the female model of Ingres, nude and seated, looking slightly to her left, seen from the back and with an oriental inspired turban. Her arms are not visible. After the photograph was developed, he painted on a print the f-holes of a violin onto her back, and had the print rephotographed, creating the present work of art.The title humorously shows Ray's goal of depicting the model's torso as a musical instrument, and plays with the fact that she was the artist's model and lover at the same time.Kirsten Hoving Powell stated on the photograph: "Le Violon d'Ingres is a complex photograph that demonstrates Man Ray's long‐standing admiration for Ingres, as well as his desire to mock tradition. Man Ray's distortion and deformation of the model's body engage Surrealist concepts of metamorphosis and formlessness, but they also belong to a larger context of fascination for Ingres's manipulations of anatomy during the interwar period, as seen in the writings of critics such as André Lhote."

1122_NT

Le Violon d'Ingres

In this artwork, how is the Analysis discussed?

The photograph takes its name from a popular French expression, le violon d'Ingres, which means a hobby, in reference to the fact that the French neoclassical painter Jean-Auguste-Dominique Ingres used to play the violin as a pastime when he was not painting. Man Ray admired Ingres's work and he drew inspiration from his painting The Valpinçon Bather (1808) for this photograph. He had his model and then lover Kiki de Montparnasse pose for him. In a first photograph, Étude pour Le Violon d'Ingres, she is seen in profile, with her face and breasts visible. In the final picture, she is depicted in a similar way to the female model of Ingres, nude and seated, looking slightly to her left, seen from the back and with an oriental inspired turban. Her arms are not visible. After the photograph was developed, he painted on a print the f-holes of a violin onto her back, and had the print rephotographed, creating the present work of art.The title humorously shows Ray's goal of depicting the model's torso as a musical instrument, and plays with the fact that she was the artist's model and lover at the same time.Kirsten Hoving Powell stated on the photograph: "Le Violon d'Ingres is a complex photograph that demonstrates Man Ray's long‐standing admiration for Ingres, as well as his desire to mock tradition. Man Ray's distortion and deformation of the model's body engage Surrealist concepts of metamorphosis and formlessness, but they also belong to a larger context of fascination for Ingres's manipulations of anatomy during the interwar period, as seen in the writings of critics such as André Lhote."

1123_T

Le Violon d'Ingres

Focus on Le Violon d'Ingres and explore the Art market.

An original print of Le Violon d'Ingres set a new record for the most expensive photograph when it sold for $12,400,000, on 14 May 2022, at Christie's New York.

1123_NT

Le Violon d'Ingres

Focus on this artwork and explore the Art market.

An original print of Le Violon d'Ingres set a new record for the most expensive photograph when it sold for $12,400,000, on 14 May 2022, at Christie's New York.

1124_T

Le Violon d'Ingres

Focus on Le Violon d'Ingres and explain the Public collections.

There are prints of the photograph at the Musée National d'Art Moderne, in Paris, and at the J. Paul Getty Museum, in Los Angeles.

1124_NT

Le Violon d'Ingres

Focus on this artwork and explain the Public collections.

There are prints of the photograph at the Musée National d'Art Moderne, in Paris, and at the J. Paul Getty Museum, in Los Angeles.

1125_T

Castrovalva (M. C. Escher)

Explore the abstract of this artwork, Castrovalva (M. C. Escher).

Castrovalva is a lithograph print by the Dutch artist M. C. Escher, first printed in February 1930. Like many of Escher's early works, it depicts a place that he visited on a tour of Italy. It depicts the Abruzzo village of Castrovalva, which lies at the top of a sheer slope. The perspective is toward the northwest, from the narrow trail on the left which, at the point from which this view is seen, makes a hairpin turn to the right, descending to the valley. In the foreground at the side of the trail, there are several flowering plants, grasses, ferns, a beetle and a snail. In the expansive valley below there are cultivated fields and two more towns, the nearest of which is Anversa degli Abruzzi, with Casale in the distance.

1125_NT

Castrovalva (M. C. Escher)

Explore the abstract of this artwork.

Castrovalva is a lithograph print by the Dutch artist M. C. Escher, first printed in February 1930. Like many of Escher's early works, it depicts a place that he visited on a tour of Italy. It depicts the Abruzzo village of Castrovalva, which lies at the top of a sheer slope. The perspective is toward the northwest, from the narrow trail on the left which, at the point from which this view is seen, makes a hairpin turn to the right, descending to the valley. In the foreground at the side of the trail, there are several flowering plants, grasses, ferns, a beetle and a snail. In the expansive valley below there are cultivated fields and two more towns, the nearest of which is Anversa degli Abruzzi, with Casale in the distance.

1126_T

Castrovalva (M. C. Escher)

Focus on Castrovalva (M. C. Escher) and discuss the In popular culture.

In 1982 the name "Castrovalva" was used in a story in the BBC television series Doctor Who. The storyline also relied heavily on recursion, a favorite theme in Escher's later and more famous works, and used ideas taken from Belvedere, Ascending and Descending, and Relativity to trap the protagonists in the city of Castrovalva. The comic Kingdom of the Wicked is set in an imaginary world named Castrovalva.

1126_NT

Castrovalva (M. C. Escher)

Focus on this artwork and discuss the In popular culture.

In 1982 the name "Castrovalva" was used in a story in the BBC television series Doctor Who. The storyline also relied heavily on recursion, a favorite theme in Escher's later and more famous works, and used ideas taken from Belvedere, Ascending and Descending, and Relativity to trap the protagonists in the city of Castrovalva. The comic Kingdom of the Wicked is set in an imaginary world named Castrovalva.

1127_T

Surf, Isles of Shoals

How does Surf, Isles of Shoals elucidate its abstract?

Surf, Isles of Shoals is a 1913 painting by the American Impressionist painter Childe Hassam. Done in oil on canvas, the work depicts the rugged New England shoreline near Portsmouth, New Hampshire. The painting is currently in the collection of the Metropolitan Museum of Art.

1127_NT

Surf, Isles of Shoals

How does this artwork elucidate its abstract?

Surf, Isles of Shoals is a 1913 painting by the American Impressionist painter Childe Hassam. Done in oil on canvas, the work depicts the rugged New England shoreline near Portsmouth, New Hampshire. The painting is currently in the collection of the Metropolitan Museum of Art.

1128_T

Piss Flowers

Focus on Piss Flowers and analyze the abstract.

Piss Flowers is an artwork created by British artist, Helen Chadwick between 1991-1992. It is a group of twelve sculptures that Chadwick created during a residency at the Banff Centre for the arts in Alberta, Canada, in February 1991. It was part of Chadwick's solo exhibition 'Effluvia', displayed on top of green astroturf, at the Serpentine Gallery, London in the summer of 1994.

1128_NT

Piss Flowers

Focus on this artwork and analyze the abstract.

Piss Flowers is an artwork created by British artist, Helen Chadwick between 1991-1992. It is a group of twelve sculptures that Chadwick created during a residency at the Banff Centre for the arts in Alberta, Canada, in February 1991. It was part of Chadwick's solo exhibition 'Effluvia', displayed on top of green astroturf, at the Serpentine Gallery, London in the summer of 1994.

1129_T

Piss Flowers

In Piss Flowers, how is the Background and concept discussed?

While staying in Canada, Chadwick and her partner, David Notarius, set off to different locations and made a mound of snow and placed a large flower shaped cutter over it. Chadwick and Notarius then took turns urinating in the snow. The cavities created by the urine were then filled with plaster and were shipped back to the UK where they were grafted on to hyacinth bulb-shaped pedestals and cast in bronze, enamelled white, and inverted. Initially, Chadwick had planned to take photographs of pitted snow, making light drawings of the alpine microcosm, but later realised that this would only be visible if it was cast and made into a sculpture.Chadwick described the work as a "metaphysical conceit for the union of two people expressing themselves bodily". Upon initial inspection the central phallic form of Piss Flowers may appear to be created by a man; but it is actually caused by Chadwick, who was closer to the ground, squatting. Notarius, who was standing caused the more scattered impressions, forming a circle around Chadwick's in the snow. Piss Flowers explores this relation of the 'between' of sexual difference, the impressions left in the snow are not feminine or masculine but a combination of both.Piss Flowers can be seen as echoing Marcel Duchamp's Fountain, part of his readymade series where he exhibited a urinal. The white colour of Chadwick's sculptures and its formations suggest the waste matter that would usually be flushed away. Piss Flowers can be seen as an example of indexical media - that appear not to be authored but instead preserve an imprint of reality. This kind of media was a particular interest of Chadwick's and can be seen with the use of the photocopier in her earlier work The Oval Court.The work can also be seen to reference the shape of Andy Warhol's Daisy.

1129_NT

Piss Flowers

In this artwork, how is the Background and concept discussed?

While staying in Canada, Chadwick and her partner, David Notarius, set off to different locations and made a mound of snow and placed a large flower shaped cutter over it. Chadwick and Notarius then took turns urinating in the snow. The cavities created by the urine were then filled with plaster and were shipped back to the UK where they were grafted on to hyacinth bulb-shaped pedestals and cast in bronze, enamelled white, and inverted. Initially, Chadwick had planned to take photographs of pitted snow, making light drawings of the alpine microcosm, but later realised that this would only be visible if it was cast and made into a sculpture.Chadwick described the work as a "metaphysical conceit for the union of two people expressing themselves bodily". Upon initial inspection the central phallic form of Piss Flowers may appear to be created by a man; but it is actually caused by Chadwick, who was closer to the ground, squatting. Notarius, who was standing caused the more scattered impressions, forming a circle around Chadwick's in the snow. Piss Flowers explores this relation of the 'between' of sexual difference, the impressions left in the snow are not feminine or masculine but a combination of both.Piss Flowers can be seen as echoing Marcel Duchamp's Fountain, part of his readymade series where he exhibited a urinal. The white colour of Chadwick's sculptures and its formations suggest the waste matter that would usually be flushed away. Piss Flowers can be seen as an example of indexical media - that appear not to be authored but instead preserve an imprint of reality. This kind of media was a particular interest of Chadwick's and can be seen with the use of the photocopier in her earlier work The Oval Court.The work can also be seen to reference the shape of Andy Warhol's Daisy.

1130_T

Piss Flowers

Focus on Piss Flowers and explore the Critical reception.

Outside the art world, a local Nottingham councillor was quoted by the Notthingham Evening Post as saying "I doubt the minds of the people who can create things like this. It is astonishing that someone can go out and do something like this--it is an invitation to kids everywhere to go out and copy this".

1130_NT

Piss Flowers

Focus on this artwork and explore the Critical reception.

Outside the art world, a local Nottingham councillor was quoted by the Notthingham Evening Post as saying "I doubt the minds of the people who can create things like this. It is astonishing that someone can go out and do something like this--it is an invitation to kids everywhere to go out and copy this".

1131_T

Untitled (Fishing)

Focus on Untitled (Fishing) and explain the abstract.

Untitled is a painting created by American artist Jean-Michel Basquiat in 1981. The artwork, which depicts a fisherman displaying his catch hanging at the end of a line, sold for $26.4 million at Christie's in November 2012.

1131_NT

Untitled (Fishing)

Focus on this artwork and explain the abstract.

Untitled is a painting created by American artist Jean-Michel Basquiat in 1981. The artwork, which depicts a fisherman displaying his catch hanging at the end of a line, sold for $26.4 million at Christie's in November 2012.

1132_T

Untitled (Fishing)

Explore the History of this artwork, Untitled (Fishing).

Jean-Michel Basquiat painted Untitled in 1981, a pivotal year when he transitioned from street artist into the adulation of the New York art scene. He worked in the basement of Annina Nosei's gallery in SoHo where Untitled was executed. The artwork depicts a fisherman wearing a crown of thorns and a halo of the same nature. He is standing at the center of the canvas proudly displays his catch, a large fish hanging at the end of a fishing rod. His black body reveals a white skeletal figure. The painting had previously been auctioned in 1988, a few months after Basquiat's death, and sold for $110,000. Sold by fashion photographer Patrick Demarchelier in 2012, it was anticipated to break records before its auction in 2012. Loic Gouzer, international specialist of post-war and contemporary art at Christie's said in a statement: "In contrast to most artists, Basquiat created his best paintings at the beginning of his career. Untitled 1981 unites all the elements of energy, freedom and boldness that one looks for in Basquiat. The market has been waiting a long time for a work of this caliber and freshness, therefore we expect it to set a new record for Basquiat, an artist who is in the process of being recognized as a classic of Post-War American Art alongside Warhol, De Kooning and Pollock." The painting lived up to the pre-sale hype, selling for $26.4 million in November 2012. The sale exceeded Basquiat's previous record of $20.1 million for another Untitled (1981) sold in June 2012. That record has since been surpassed by multiple other paintings. His current record high at auction is Untitled (1982), which sold for $110.5 million at Sotheby's in May 2017.

1132_NT

Untitled (Fishing)

Explore the History of this artwork.

Jean-Michel Basquiat painted Untitled in 1981, a pivotal year when he transitioned from street artist into the adulation of the New York art scene. He worked in the basement of Annina Nosei's gallery in SoHo where Untitled was executed. The artwork depicts a fisherman wearing a crown of thorns and a halo of the same nature. He is standing at the center of the canvas proudly displays his catch, a large fish hanging at the end of a fishing rod. His black body reveals a white skeletal figure. The painting had previously been auctioned in 1988, a few months after Basquiat's death, and sold for $110,000. Sold by fashion photographer Patrick Demarchelier in 2012, it was anticipated to break records before its auction in 2012. Loic Gouzer, international specialist of post-war and contemporary art at Christie's said in a statement: "In contrast to most artists, Basquiat created his best paintings at the beginning of his career. Untitled 1981 unites all the elements of energy, freedom and boldness that one looks for in Basquiat. The market has been waiting a long time for a work of this caliber and freshness, therefore we expect it to set a new record for Basquiat, an artist who is in the process of being recognized as a classic of Post-War American Art alongside Warhol, De Kooning and Pollock." The painting lived up to the pre-sale hype, selling for $26.4 million in November 2012. The sale exceeded Basquiat's previous record of $20.1 million for another Untitled (1981) sold in June 2012. That record has since been surpassed by multiple other paintings. His current record high at auction is Untitled (1982), which sold for $110.5 million at Sotheby's in May 2017.

1133_T

Untitled (Fishing)

Focus on Untitled (Fishing) and discuss the Exhibitions.

The painting has been exhibited at the following art institutions:Jean-Michel Basquiat at Whitney Museum of American Art in New York, October 1992–February 1993; The Menil Collection in Houston, March–May 1993; Des Moines Art Center in Iowa, May–August 1993; Montgomery Museum of Fine Arts in Alabama, November 1993–January 1994. Basquiat at Fondation Beyeler in Switzerland, May–September 2010; Musée d'Art Moderne de la Ville de Paris, October 2010–January 2011.

1133_NT

Untitled (Fishing)

Focus on this artwork and discuss the Exhibitions.

The painting has been exhibited at the following art institutions:Jean-Michel Basquiat at Whitney Museum of American Art in New York, October 1992–February 1993; The Menil Collection in Houston, March–May 1993; Des Moines Art Center in Iowa, May–August 1993; Montgomery Museum of Fine Arts in Alabama, November 1993–January 1994. Basquiat at Fondation Beyeler in Switzerland, May–September 2010; Musée d'Art Moderne de la Ville de Paris, October 2010–January 2011.

1134_T

The Ecstasy of St. Cecilia (Raphael)

How does The Ecstasy of St. Cecilia (Raphael) elucidate its History?

The altarpiece was commissioned for a chapel dedicated to St. Cecilia in the Augustinian church of San Giovanni in Monte in Bologna. According to Vasari the work was commissioned by Cardinal Lorenzo Pucci in 1513. Given the extraordinary popularity of the painter at this time in his career, it is likely that only such a highly placed church authority could have had any hope of hiring him. The patron of the chapel itself, however, was Elena Duglioli dall'Olio, an aristocratic Bolognese woman who would later be beatified for her piety. She was a close friend of Antonio Pucci, Cardinal Lorenzo's nephew, and most art historians today agree that the Pucci must have served as her agents and advisers with Raphael and that the painting was more likely commissioned for her around 1516, when construction on the chapel was completed. Duglioli had a particular devotion to the cult of St. Cecilia and had been given a relic of the saint (her knucklebone) by the papal legate to Bologna, Cardinal Francesco Alidosi. She struggled to live a chaste life in emulation of the saint and persuaded her husband not to consummate their marriage.The painting was looted to Paris in 1798. While there, it was transferred to canvas. In 1815, the painting was returned to Bologna where, after cleaning, it was hung in the Pinactoeca Nazionale. The painting's condition is poor, as it has been damaged by repainting over the years.

1134_NT

The Ecstasy of St. Cecilia (Raphael)

How does this artwork elucidate its History?

The altarpiece was commissioned for a chapel dedicated to St. Cecilia in the Augustinian church of San Giovanni in Monte in Bologna. According to Vasari the work was commissioned by Cardinal Lorenzo Pucci in 1513. Given the extraordinary popularity of the painter at this time in his career, it is likely that only such a highly placed church authority could have had any hope of hiring him. The patron of the chapel itself, however, was Elena Duglioli dall'Olio, an aristocratic Bolognese woman who would later be beatified for her piety. She was a close friend of Antonio Pucci, Cardinal Lorenzo's nephew, and most art historians today agree that the Pucci must have served as her agents and advisers with Raphael and that the painting was more likely commissioned for her around 1516, when construction on the chapel was completed. Duglioli had a particular devotion to the cult of St. Cecilia and had been given a relic of the saint (her knucklebone) by the papal legate to Bologna, Cardinal Francesco Alidosi. She struggled to live a chaste life in emulation of the saint and persuaded her husband not to consummate their marriage.The painting was looted to Paris in 1798. While there, it was transferred to canvas. In 1815, the painting was returned to Bologna where, after cleaning, it was hung in the Pinactoeca Nazionale. The painting's condition is poor, as it has been damaged by repainting over the years.

1135_T

The Ecstasy of St. Cecilia (Raphael)

Focus on The Ecstasy of St. Cecilia (Raphael) and analyze the Iconography.

St. Cecilia's companions are identified in part by their attributes. Immediately to her right, John the Evangelist has an eagle, his usual symbol, peeking out around his robes. Beside him, Paul leans on the sword with which he had come to be identified in medieval art. St. Augustine holds his crosier. Mary Magdalene holds the alabaster jar by which she is most commonly identified.The iconography of the altarpiece is unusual in that rather than portraying a figure or figures to be worshipped, it represents the act of worship itself. Each of the saints was associated with visions—as was Elena Duglioni herself—and the celestial choir that opens above the saints' heads is closely associated with the patron's own devotions, in which music was an important element. Cecilia was associated with music from the Middle Ages, but the broken instruments here appear to refer to the abandonment of earthly pleasures that resulted from Cecilia's devotion to the sacred. In this painting she personifies religious music as a route to union with God.The painting further celebrates the theme of chastity. St. Cecilia's simple belt is a traditional Renaissance symbol for chastity; John the Evangelist was the patron saint of virginity; and Paul praised celibacy in I Corinthians. Thus the painting's iconography is closely tied to the life of the patron on many levels.There is an engraving of the painting by Marcantonio Raimondi: it differs significantly from the work, and some scholars have suggested that it reflects a lost sketch for the altarpiece. In it Raphael depicted the angels with instruments as well—harp, triangle and violin—and the figures are in very different poses. Augustine (wearing his mitre) and Paul look downward; John looks out towards the viewer; the Magdalene looks upward to the angelic host, as Cecilia does. Raimondi's engravings are frequently known to alter Raphael's works, however, so it is not impossible that it represents a free variant of the finished altarpiece rather than a copy of a sketch of Raphael's initial intentions.

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The Ecstasy of St. Cecilia (Raphael)

Focus on this artwork and analyze the Iconography.

St. Cecilia's companions are identified in part by their attributes. Immediately to her right, John the Evangelist has an eagle, his usual symbol, peeking out around his robes. Beside him, Paul leans on the sword with which he had come to be identified in medieval art. St. Augustine holds his crosier. Mary Magdalene holds the alabaster jar by which she is most commonly identified.The iconography of the altarpiece is unusual in that rather than portraying a figure or figures to be worshipped, it represents the act of worship itself. Each of the saints was associated with visions—as was Elena Duglioni herself—and the celestial choir that opens above the saints' heads is closely associated with the patron's own devotions, in which music was an important element. Cecilia was associated with music from the Middle Ages, but the broken instruments here appear to refer to the abandonment of earthly pleasures that resulted from Cecilia's devotion to the sacred. In this painting she personifies religious music as a route to union with God.The painting further celebrates the theme of chastity. St. Cecilia's simple belt is a traditional Renaissance symbol for chastity; John the Evangelist was the patron saint of virginity; and Paul praised celibacy in I Corinthians. Thus the painting's iconography is closely tied to the life of the patron on many levels.There is an engraving of the painting by Marcantonio Raimondi: it differs significantly from the work, and some scholars have suggested that it reflects a lost sketch for the altarpiece. In it Raphael depicted the angels with instruments as well—harp, triangle and violin—and the figures are in very different poses. Augustine (wearing his mitre) and Paul look downward; John looks out towards the viewer; the Magdalene looks upward to the angelic host, as Cecilia does. Raimondi's engravings are frequently known to alter Raphael's works, however, so it is not impossible that it represents a free variant of the finished altarpiece rather than a copy of a sketch of Raphael's initial intentions.

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Portrait of Doge Leonardo Loredan

In Portrait of Doge Leonardo Loredan, how is the abstract discussed?

The Portrait of Doge Leonardo Loredan (Italian: Ritratto del doge Leonardo Loredan) is a painting by Italian Renaissance master Giovanni Bellini, dating from c. 1501–02. It portrays Leonardo Loredan, the Doge of Venice from 1501 to 1521, in his ceremonial garments with the corno ducale worn over a linen cap, and is signed IOANNES BELLINVS on a cartellino ("small paper"). It is on display in the National Gallery in London.

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Portrait of Doge Leonardo Loredan

In this artwork, how is the abstract discussed?

The Portrait of Doge Leonardo Loredan (Italian: Ritratto del doge Leonardo Loredan) is a painting by Italian Renaissance master Giovanni Bellini, dating from c. 1501–02. It portrays Leonardo Loredan, the Doge of Venice from 1501 to 1521, in his ceremonial garments with the corno ducale worn over a linen cap, and is signed IOANNES BELLINVS on a cartellino ("small paper"). It is on display in the National Gallery in London.

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Portrait of Doge Leonardo Loredan

Focus on Portrait of Doge Leonardo Loredan and explore the Description.

This formal portrait depicts Leonardo Loredan in his official state robes as Doge of Venice, with its ornate buttons. The distinctively shaped hat is derived from the hood of a doublet. As with other traditional portraits of the Doge, the composition resembles a Roman sculpted portrait bust. The painting is signed IOANNES BELLINVS – the Latin form of Giovanni Bellini – on a cartellino attached to a parapet at the base of the composition.John Pope-Hennessy described Bellini as "by far the greatest fifteenth-century official portraitist", adding that "the tendency towards ideality that impairs his private portraits here stood him in good stead, and enabled him to codify, with unwavering conviction, the official personality".

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Portrait of Doge Leonardo Loredan

Focus on this artwork and explore the Description.

This formal portrait depicts Leonardo Loredan in his official state robes as Doge of Venice, with its ornate buttons. The distinctively shaped hat is derived from the hood of a doublet. As with other traditional portraits of the Doge, the composition resembles a Roman sculpted portrait bust. The painting is signed IOANNES BELLINVS – the Latin form of Giovanni Bellini – on a cartellino attached to a parapet at the base of the composition.John Pope-Hennessy described Bellini as "by far the greatest fifteenth-century official portraitist", adding that "the tendency towards ideality that impairs his private portraits here stood him in good stead, and enabled him to codify, with unwavering conviction, the official personality".

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White Center (Yellow, Pink and Lavender on Rose)

Focus on White Center (Yellow, Pink and Lavender on Rose) and explain the abstract.

White Center (Yellow, Pink and Lavender on Rose) is an 1950 abstract painting by Mark Rothko completed in 1950.

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White Center (Yellow, Pink and Lavender on Rose)

Focus on this artwork and explain the abstract.

White Center (Yellow, Pink and Lavender on Rose) is an 1950 abstract painting by Mark Rothko completed in 1950.

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White Center (Yellow, Pink and Lavender on Rose)

Explore the Description of this artwork, White Center (Yellow, Pink and Lavender on Rose).

White Center is part of Rothko's distinctive multiform style: several blocks of layered, complementary colors on a large canvas.The painting is structured vertically, starting with a yellow horizontal rectangle at the top, a black horizontal strip, a narrow white rectangular band and the bottom half is lavender. The top half of the rose ground is deeper in colour and the bottom half is pale. It measures 205.8 × 141 cm.

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White Center (Yellow, Pink and Lavender on Rose)

Explore the Description of this artwork.

White Center is part of Rothko's distinctive multiform style: several blocks of layered, complementary colors on a large canvas.The painting is structured vertically, starting with a yellow horizontal rectangle at the top, a black horizontal strip, a narrow white rectangular band and the bottom half is lavender. The top half of the rose ground is deeper in colour and the bottom half is pale. It measures 205.8 × 141 cm.

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White Center (Yellow, Pink and Lavender on Rose)

Focus on White Center (Yellow, Pink and Lavender on Rose) and discuss the 2007 sale.

The painting was bought in 1960 by Eliza Bliss Parkinson (the niece of Lillie P. Bliss, one of the founders of the Museum of Modern Art) from the Sidney Janis Gallery, New York before being bought in June 1960 by David Rockefeller.The work was sold in May 2007 by Sotheby's on behalf of David Rockefeller to the Royal family of Qatar; Sheikh Hamad bin Khalifa Al-Thani, and his wife, Mozah bint Nasser Al Missned. The painting sold for 72.84 million (USD), then setting the record of the current most expensive post-war work of art sold at auction.

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White Center (Yellow, Pink and Lavender on Rose)

Focus on this artwork and discuss the 2007 sale.

The painting was bought in 1960 by Eliza Bliss Parkinson (the niece of Lillie P. Bliss, one of the founders of the Museum of Modern Art) from the Sidney Janis Gallery, New York before being bought in June 1960 by David Rockefeller.The work was sold in May 2007 by Sotheby's on behalf of David Rockefeller to the Royal family of Qatar; Sheikh Hamad bin Khalifa Al-Thani, and his wife, Mozah bint Nasser Al Missned. The painting sold for 72.84 million (USD), then setting the record of the current most expensive post-war work of art sold at auction.

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Rinzen

How does Rinzen elucidate its abstract?

Rinzen is a sculpture by Antoni Tàpies conserved at MACBA, the Contemporary Art Museum of Barcelona.

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Rinzen

How does this artwork elucidate its abstract?

Rinzen is a sculpture by Antoni Tàpies conserved at MACBA, the Contemporary Art Museum of Barcelona.

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Rinzen

Focus on Rinzen and analyze the Description.

Rinzen is a masterful piece by the Catalan artist Antoni Tàpies, part of the permanent collection of the MACBA, since when joined the museum's collection thanks to a donation from Repsol to the MACBA Foundation. It was designed for the Spanish Pavilion at the XLV Venice Biennale of 1993 and won the Golden Lion for this event. Six years later, in 1998, Tàpies installed the work permanently in the MACBA.

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Rinzen

Focus on this artwork and analyze the Description.

Rinzen is a masterful piece by the Catalan artist Antoni Tàpies, part of the permanent collection of the MACBA, since when joined the museum's collection thanks to a donation from Repsol to the MACBA Foundation. It was designed for the Spanish Pavilion at the XLV Venice Biennale of 1993 and won the Golden Lion for this event. Six years later, in 1998, Tàpies installed the work permanently in the MACBA.

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Madonna and Child with Saint Peter and Saint Sebastian

In Madonna and Child with Saint Peter and Saint Sebastian, how is the abstract discussed?

Madonna and Child with Saint Peter and Saint Sebastian is an 84 cm by 61 cm oil painting by the Italian Renaissance artist Giovanni Bellini, dating to 1487 and bought in 1859 by the Louvre in Paris, where it still hangs today.

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Madonna and Child with Saint Peter and Saint Sebastian

In this artwork, how is the abstract discussed?

Madonna and Child with Saint Peter and Saint Sebastian is an 84 cm by 61 cm oil painting by the Italian Renaissance artist Giovanni Bellini, dating to 1487 and bought in 1859 by the Louvre in Paris, where it still hangs today.

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Houser Memorial

Focus on Houser Memorial and explore the abstract.

Houser Memorial is a public artwork by an unknown artist, located at Rock Creek Cemetery in Washington, D.C., United States. Houser Memorial was originally surveyed as part of the Smithsonian's Inventories of American Painting and Sculpture. The monument is the grave of Helen L. Houser and her daughter Anna Victoria Houser

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Houser Memorial

Focus on this artwork and explore the abstract.

Houser Memorial is a public artwork by an unknown artist, located at Rock Creek Cemetery in Washington, D.C., United States. Houser Memorial was originally surveyed as part of the Smithsonian's Inventories of American Painting and Sculpture. The monument is the grave of Helen L. Houser and her daughter Anna Victoria Houser

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Houser Memorial

Focus on Houser Memorial and explain the Description.

This grave marker features a granite sculpture of Helen Houser sitting with her daughter Anna Victoria. With her proper right arm around Anna's shoulder, Helen points with her proper left hand to a page in a book resting on Anna's lap. The sculpture sits upon a large rectangular base. An inscription on the base reads: HOUSER On the right side of the base:HELEN L. HOUSER MAR. 27 1880 AUG. 22 1934On the left side of the base:ANNA VICTORIA HOUSER OCTOBER 31, 1906 JULY 3, 1918

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Houser Memorial

Focus on this artwork and explain the Description.

This grave marker features a granite sculpture of Helen Houser sitting with her daughter Anna Victoria. With her proper right arm around Anna's shoulder, Helen points with her proper left hand to a page in a book resting on Anna's lap. The sculpture sits upon a large rectangular base. An inscription on the base reads: HOUSER On the right side of the base:HELEN L. HOUSER MAR. 27 1880 AUG. 22 1934On the left side of the base:ANNA VICTORIA HOUSER OCTOBER 31, 1906 JULY 3, 1918

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Houser Memorial

Explore the The Houser family of this artwork, Houser Memorial.

The Houser's were a wealthy Washington family who lived in the Logan Circle neighborhood. They owned various properties in Washington. Anna Victoria Houser was the only child of Helen and Edward Houser. When she died, possibly of influenza, when she was eleven, the Houser's sold their businesses and dedicated their lives to donating and raising funds for charities.

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Houser Memorial

Explore the The Houser family of this artwork.

The Houser's were a wealthy Washington family who lived in the Logan Circle neighborhood. They owned various properties in Washington. Anna Victoria Houser was the only child of Helen and Edward Houser. When she died, possibly of influenza, when she was eleven, the Houser's sold their businesses and dedicated their lives to donating and raising funds for charities.

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The Crucifixion (Paleokapas)

Focus on The Crucifixion (Paleokapas) and discuss the abstract.

The Crucifixion is a tempera painting by Konstantinos Paleokapas. Paleokapas was a Greek painter from the island of Crete. He was active during the early part of the 1600s. Six of his works survived, four are signed. The Crucifixion is one of the most popular events in human history. The scene has been duplicated countless times. Many crucifixion paintings were created by painters from the island of Crete. Some painters included El Greco, Andreas Pavias, Georgios Markazinis and Ioannis Moskos. Paleokapas created his own version of the popular subject. His crucifixion painting followed the prototype of many other paintings thematically. He added both the dice players and the resurrection of the dead. Andreas Pavias’s The Crucifixion (Pavias) and Margkazinis’s The Crucifixion (Margkazinis) both feature the popular pictorial representation of Mathews gospel. Paleokapas’s Crucifixion is located at the Gonia Monastery in Crete.

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The Crucifixion (Paleokapas)

Focus on this artwork and discuss the abstract.

The Crucifixion is a tempera painting by Konstantinos Paleokapas. Paleokapas was a Greek painter from the island of Crete. He was active during the early part of the 1600s. Six of his works survived, four are signed. The Crucifixion is one of the most popular events in human history. The scene has been duplicated countless times. Many crucifixion paintings were created by painters from the island of Crete. Some painters included El Greco, Andreas Pavias, Georgios Markazinis and Ioannis Moskos. Paleokapas created his own version of the popular subject. His crucifixion painting followed the prototype of many other paintings thematically. He added both the dice players and the resurrection of the dead. Andreas Pavias’s The Crucifixion (Pavias) and Margkazinis’s The Crucifixion (Margkazinis) both feature the popular pictorial representation of Mathews gospel. Paleokapas’s Crucifixion is located at the Gonia Monastery in Crete.

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The Crucifixion (Paleokapas)

How does The Crucifixion (Paleokapas) elucidate its Description?

The painting is egg tempera and gold leaf on wood. The height is 117 cm (46 in) and Width is 73 cm (28.7 in). The three crosses and their orientation escape Andreas Pavias’s turned around impenitent thief. Both Theophanes the Cretan and Emmanuel Lambardos followed Pavias’s technique. Pavias led an artistic following with his unique depiction of the impenitent thief. Paleokapas’s Crucifixion is one of the simplest versions of the Cretan School. It follows the traditional prototype. Jerusalem is in the background.The dead are rising right behind the crosses. The impenitent thief is to Jesus’s left and the penitent thief is to his right. A soldier is breaking the legs of the impenitent thief. Another soldier is about to kill Jesus with the sphere of destiny. The Virgin Mary is very sad she is embraced by Mary Magdalene. To the right of the cross John the Evangelist is present. A similar figure was painted in Margkazini’s Crucifixion behind the crosses. The figures' clothing and uniforms were influenced by a mixture of Venetian prototypes and 1st century standards. In the foreground, a man is trying to grab the attention of the gambling trio. Two angels appear above the cross. The cross also features a Greek inscription.

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The Crucifixion (Paleokapas)

How does this artwork elucidate its Description?

The painting is egg tempera and gold leaf on wood. The height is 117 cm (46 in) and Width is 73 cm (28.7 in). The three crosses and their orientation escape Andreas Pavias’s turned around impenitent thief. Both Theophanes the Cretan and Emmanuel Lambardos followed Pavias’s technique. Pavias led an artistic following with his unique depiction of the impenitent thief. Paleokapas’s Crucifixion is one of the simplest versions of the Cretan School. It follows the traditional prototype. Jerusalem is in the background.The dead are rising right behind the crosses. The impenitent thief is to Jesus’s left and the penitent thief is to his right. A soldier is breaking the legs of the impenitent thief. Another soldier is about to kill Jesus with the sphere of destiny. The Virgin Mary is very sad she is embraced by Mary Magdalene. To the right of the cross John the Evangelist is present. A similar figure was painted in Margkazini’s Crucifixion behind the crosses. The figures' clothing and uniforms were influenced by a mixture of Venetian prototypes and 1st century standards. In the foreground, a man is trying to grab the attention of the gambling trio. Two angels appear above the cross. The cross also features a Greek inscription.

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Statue of Samuel Eliot Morison

Focus on Statue of Samuel Eliot Morison and analyze the abstract.

A statue of military historian Samuel Eliot Morison by Penelope Jencks is installed along Boston's Commonwealth Avenue Mall, in the U.S. state of Massachusetts.

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Statue of Samuel Eliot Morison

Focus on this artwork and analyze the abstract.

A statue of military historian Samuel Eliot Morison by Penelope Jencks is installed along Boston's Commonwealth Avenue Mall, in the U.S. state of Massachusetts.

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A Monument to Peace: Our Hope for the Children

In A Monument to Peace: Our Hope for the Children, how is the abstract discussed?

A Monument to Peace: Our Hope for the Children is a monument by Avard Fairbanks, installed in Salt Lake City's Jordan Park in the U.S. state of Utah. The work has several titles and is sometimes considered more than one sculpture. Other titles include:International Peace Garden Monument: Our Hope for the Children International Peace Garden Monument: Peace on Earth Our Hope for the Children Peace on Earth The Dawn of a New Era The Dawn of a New Era: Peace

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A Monument to Peace: Our Hope for the Children

In this artwork, how is the abstract discussed?

A Monument to Peace: Our Hope for the Children is a monument by Avard Fairbanks, installed in Salt Lake City's Jordan Park in the U.S. state of Utah. The work has several titles and is sometimes considered more than one sculpture. Other titles include:International Peace Garden Monument: Our Hope for the Children International Peace Garden Monument: Peace on Earth Our Hope for the Children Peace on Earth The Dawn of a New Era The Dawn of a New Era: Peace