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NAIST NLP 19

1251_T

The Family of Philip V (1743)

In The Family of Philip V (1743), how is the Artist discussed?

Van Loo was a French artist who was born in Toulon in 1701. He trained under his father Jean Baptiste van Loo who, under the patronage of the Prince of Carignan, worked in Rome and Turin. Van Loo became court painter in 1737 having replaced Jean Ranc. He came to the Spanish court of the House of Bourbon in 1737 where he worked till 1752. He was the premier painter to Philip V's son Fernando VI but left Spain in 1757 returning to France. Van Loo, according to critics, was also influenced by Dutch art. Van Loo's younger brother Charles Amédée Philippe van Loo also had a successful career and went on to paint Empress Elizabeth of Russia.

1251_NT

The Family of Philip V (1743)

In this artwork, how is the Artist discussed?

Van Loo was a French artist who was born in Toulon in 1701. He trained under his father Jean Baptiste van Loo who, under the patronage of the Prince of Carignan, worked in Rome and Turin. Van Loo became court painter in 1737 having replaced Jean Ranc. He came to the Spanish court of the House of Bourbon in 1737 where he worked till 1752. He was the premier painter to Philip V's son Fernando VI but left Spain in 1757 returning to France. Van Loo, according to critics, was also influenced by Dutch art. Van Loo's younger brother Charles Amédée Philippe van Loo also had a successful career and went on to paint Empress Elizabeth of Russia.

1252_T

The Family of Philip V (1743)

Focus on The Family of Philip V (1743) and explore the Description.

The painting is today held at the Museo del Prado in Madrid. It is an expression of the strength the House of Bourbon brought to the throne with Philip V's succession in 1700. The king, the central male, sits next to his second wife, Elisabeth Farnese. Farnese's arm next to the crown is a symbolic representation of the power she had. Philip V and Maria Luisa's youngest son, Ferdinand, Prince of Asturias, heir to the throne at the time the painting was completed, is to the left of his father. The Princess of Asturias, Barbara of Portugal, sits next to Philip V's eldest daughter Maria Anna Victoria of Spain; she had married Barbara's brother as part of a double marriage between Portugal and Spain in 1729. The central group includes the children of Philip V and Farnese. Between the king and queen is their youngest son the Cardinal Infante Louis who was later the Count of Chinchón. To the right of the queen is Infante Philip, later Duke of Parma, who stands above his wife Louise Élisabeth of France, Madame Infante, daughter of Louis XV. The two females standing above Madame Infante are the younger daughter of Philip V and Farnese, the Infanta's Maria Teresa Rafaela and her junior Maria Antonia. Maria Teresa Rafaela would marry Madame Infante's brother Louis, Dauphin of France in 1745 and Maria Antonia Fernanda married the future King of Sardinia in 1750. On the far right is Maria Amalia of Saxony sitting next to her husband Charles, then king of Naples and Sicily and later king of Spain. The couple were in Naples at the time but returned to Spain at the death of Ferdinand VI in 1759. The wealth of materials depicted in the painting such as jewels, fabrics and the use of bright colours was previously unseen in paintings in Spain which had been traditionally dark and sombre, and was a reference to the Flemish school. Partially hidden by the extensive theatrical red curtain that falls from the roof there is a balcony where a band plays a concert. The real characters are in a large room opening onto a garden.

1252_NT

The Family of Philip V (1743)

Focus on this artwork and explore the Description.

The painting is today held at the Museo del Prado in Madrid. It is an expression of the strength the House of Bourbon brought to the throne with Philip V's succession in 1700. The king, the central male, sits next to his second wife, Elisabeth Farnese. Farnese's arm next to the crown is a symbolic representation of the power she had. Philip V and Maria Luisa's youngest son, Ferdinand, Prince of Asturias, heir to the throne at the time the painting was completed, is to the left of his father. The Princess of Asturias, Barbara of Portugal, sits next to Philip V's eldest daughter Maria Anna Victoria of Spain; she had married Barbara's brother as part of a double marriage between Portugal and Spain in 1729. The central group includes the children of Philip V and Farnese. Between the king and queen is their youngest son the Cardinal Infante Louis who was later the Count of Chinchón. To the right of the queen is Infante Philip, later Duke of Parma, who stands above his wife Louise Élisabeth of France, Madame Infante, daughter of Louis XV. The two females standing above Madame Infante are the younger daughter of Philip V and Farnese, the Infanta's Maria Teresa Rafaela and her junior Maria Antonia. Maria Teresa Rafaela would marry Madame Infante's brother Louis, Dauphin of France in 1745 and Maria Antonia Fernanda married the future King of Sardinia in 1750. On the far right is Maria Amalia of Saxony sitting next to her husband Charles, then king of Naples and Sicily and later king of Spain. The couple were in Naples at the time but returned to Spain at the death of Ferdinand VI in 1759. The wealth of materials depicted in the painting such as jewels, fabrics and the use of bright colours was previously unseen in paintings in Spain which had been traditionally dark and sombre, and was a reference to the Flemish school. Partially hidden by the extensive theatrical red curtain that falls from the roof there is a balcony where a band plays a concert. The real characters are in a large room opening onto a garden.

1253_T

The Family of Philip V (1743)

Focus on The Family of Philip V (1743) and explain the Sitters.

Mariana Victoria of Spain, Princess of Brazil (1718-1781) future queen of Portugal. Barbara of Portugal, Princess of Asturias (1711-1758) future queen of Spain. Ferdinand, Prince of Asturias (1713-1759) future king of Spain. King Philip V (1683-1746) Cardinal Infante Louis (1727-1785) future count of Chinchón. Queen Elisabeth (Isabel) (1692-1766) Infante Philip (1720-1765) future duke of Parma. Louise Élisabeth of France (1727-1759) future duchess of Parma. Infanta Maria Teresa (1726-1746) future dauphine of France. Infanta Maria Antonia (1729-1785) future queen of Sardinia. Maria Amalia of Saxony (1724-1760) future queen of Spain. Charles, King of Naples (1716-1788) future king of Spain. Infanta Isabella (1741-1763) future archduchess of Austria. Maria Isabella Anna of Naples and Sicily (1743-1749) died in infancy.

1253_NT

The Family of Philip V (1743)

Focus on this artwork and explain the Sitters.

Mariana Victoria of Spain, Princess of Brazil (1718-1781) future queen of Portugal. Barbara of Portugal, Princess of Asturias (1711-1758) future queen of Spain. Ferdinand, Prince of Asturias (1713-1759) future king of Spain. King Philip V (1683-1746) Cardinal Infante Louis (1727-1785) future count of Chinchón. Queen Elisabeth (Isabel) (1692-1766) Infante Philip (1720-1765) future duke of Parma. Louise Élisabeth of France (1727-1759) future duchess of Parma. Infanta Maria Teresa (1726-1746) future dauphine of France. Infanta Maria Antonia (1729-1785) future queen of Sardinia. Maria Amalia of Saxony (1724-1760) future queen of Spain. Charles, King of Naples (1716-1788) future king of Spain. Infanta Isabella (1741-1763) future archduchess of Austria. Maria Isabella Anna of Naples and Sicily (1743-1749) died in infancy.

1254_T

Friendship Circle (sculpture)

Explore the abstract of this artwork, Friendship Circle (sculpture).

Friendship Circle is a collaborative art installation by American artist Lee Kelly and musician Michael Stirling, located in Portland, Oregon's Tom McCall Waterfront Park, in the United States. The installation features a stainless steel sculpture with two 20-foot towers, designed by Kelly, and a 35-minute score composed by Stirling. It celebrates the sister city relationship between Portland and Sapporo, Japan.

1254_NT

Friendship Circle (sculpture)

Explore the abstract of this artwork.

Friendship Circle is a collaborative art installation by American artist Lee Kelly and musician Michael Stirling, located in Portland, Oregon's Tom McCall Waterfront Park, in the United States. The installation features a stainless steel sculpture with two 20-foot towers, designed by Kelly, and a 35-minute score composed by Stirling. It celebrates the sister city relationship between Portland and Sapporo, Japan.

1255_T

Friendship Circle (sculpture)

Focus on Friendship Circle (sculpture) and discuss the Description and history.

Friendship Circle was commissioned and installed in 1990. According to the Regional Arts & Culture Council, which administers the work, the sculpture's two structures measure 22 feet (6.7 m) × 8 feet (2.4 m) and 24 feet (7.3 m) × 9 feet (2.7 m), respectively.

1255_NT

Friendship Circle (sculpture)

Focus on this artwork and discuss the Description and history.

Friendship Circle was commissioned and installed in 1990. According to the Regional Arts & Culture Council, which administers the work, the sculpture's two structures measure 22 feet (6.7 m) × 8 feet (2.4 m) and 24 feet (7.3 m) × 9 feet (2.7 m), respectively.

1256_T

The Floating Feather

How does The Floating Feather elucidate its abstract?

The Floating Feather is the commonly used name for an oil-on-canvas painting by Dutch artist Melchior d'Hondecoeter, properly titled A Pelican and Other Birds Near a Pool. The fine detail of the feather floating on the pond led to the "official" title being quickly supplanted. The picture was painted around 1680, probably for either the hunting lodge of the Stadholder William III of Orange, which is now the royal palace at Soestdijk, or Het Loo Palace in Apeldoorn. The painting shows a number of birds, both common and exotic, gathered around a pool. Hondecoeter was known for his bird studies and in particular for the realistic portrayal of the subjects. Although he experimented with different styles early in his career, after 1660 he favoured compositions similar to that seen in The Floating Feather: carefully observed subjects set in farmyards, courtyards or country parks with architectural or landscape features enhancing the backgrounds. His paintings were admired by the regents and merchants of Amsterdam, and by William III, who had works at three of his palaces. Hondecoeter's murals and large paintings were well-suited to both the large country houses and the tastes of the time. Hondecoeter kept his own poultry yard at his house, but visited the country houses of his patrons where he could study more exotic species. It was said that he had trained a rooster to stand still on command, so that he could paint it without interruption. In this picture, alongside the great white pelican are species of wild fowl and domesticated duck, among them a Eurasian teal, common merganser, red-breasted goose, Eurasian wigeon, common shelduck, muscovy duck, brant goose, smew, Egyptian goose, and northern pintail. On the far side of the pool are also large birds from different continents: a southern cassowary, black crowned crane, and American flamingo. A sarus crane and a second flamingo are visible in the background. Flying above the pool there is a golden oriole depicted.Hondecoeter produced a strikingly similar picture, A Pelican and other exotic birds in a park, in which some elements of the composition are identical: the birds on the water, the group of exotic birds, the pelican, and the floating feather. Other features are similar, such as the landscape and the muscovy duck which is seen in full, while some are entirely different; in this picture a Moluccan cockatoo perches in a tree above the pool and different birds are introduced on the far side of the pool to the right. The exact date of this painting is not known, but it is estimated to be between 1655 and 1660.

1256_NT

The Floating Feather

How does this artwork elucidate its abstract?

The Floating Feather is the commonly used name for an oil-on-canvas painting by Dutch artist Melchior d'Hondecoeter, properly titled A Pelican and Other Birds Near a Pool. The fine detail of the feather floating on the pond led to the "official" title being quickly supplanted. The picture was painted around 1680, probably for either the hunting lodge of the Stadholder William III of Orange, which is now the royal palace at Soestdijk, or Het Loo Palace in Apeldoorn. The painting shows a number of birds, both common and exotic, gathered around a pool. Hondecoeter was known for his bird studies and in particular for the realistic portrayal of the subjects. Although he experimented with different styles early in his career, after 1660 he favoured compositions similar to that seen in The Floating Feather: carefully observed subjects set in farmyards, courtyards or country parks with architectural or landscape features enhancing the backgrounds. His paintings were admired by the regents and merchants of Amsterdam, and by William III, who had works at three of his palaces. Hondecoeter's murals and large paintings were well-suited to both the large country houses and the tastes of the time. Hondecoeter kept his own poultry yard at his house, but visited the country houses of his patrons where he could study more exotic species. It was said that he had trained a rooster to stand still on command, so that he could paint it without interruption. In this picture, alongside the great white pelican are species of wild fowl and domesticated duck, among them a Eurasian teal, common merganser, red-breasted goose, Eurasian wigeon, common shelduck, muscovy duck, brant goose, smew, Egyptian goose, and northern pintail. On the far side of the pool are also large birds from different continents: a southern cassowary, black crowned crane, and American flamingo. A sarus crane and a second flamingo are visible in the background. Flying above the pool there is a golden oriole depicted.Hondecoeter produced a strikingly similar picture, A Pelican and other exotic birds in a park, in which some elements of the composition are identical: the birds on the water, the group of exotic birds, the pelican, and the floating feather. Other features are similar, such as the landscape and the muscovy duck which is seen in full, while some are entirely different; in this picture a Moluccan cockatoo perches in a tree above the pool and different birds are introduced on the far side of the pool to the right. The exact date of this painting is not known, but it is estimated to be between 1655 and 1660.

1257_T

Prime Ministers of the Imperial Conference (October 1923)

Focus on Prime Ministers of the Imperial Conference (October 1923) and analyze the abstract.

Prime Ministers of the Imperial Conference (October 1923) is an oil on canvas painting by Douglas Chandor. It depicts the leaders present at the 1923 Imperial Conference, held in the conference room at 10 Downing Street, London, in 1923. In 1924, during the British Empire Exhibition, Wembley, it was on display on the staircase going up to the State Apartments.The painting measures 335cm by 290cm. Each figure either sitting or standing around a table, is life-size and include seated from left to right: Stanley Bruce (Australia), Stanley Baldwin (United Kingdom), and McKenzie King (Canada). Standing from left to right are William Massey (New Zealand), the Jai Singh Prabhakar (Alwar), Tej Bahadur Sapru (India), W. T. Cosgrave (Ireland), W. R. Warren (Newfoundland), and General Smuts (South Africa).A reproduction print was produced by Henry Graves. It was presented to the Northampton Corporation after the Australian government declined to keep it for an offer of £5,000.

1257_NT

Prime Ministers of the Imperial Conference (October 1923)

Focus on this artwork and analyze the abstract.

Prime Ministers of the Imperial Conference (October 1923) is an oil on canvas painting by Douglas Chandor. It depicts the leaders present at the 1923 Imperial Conference, held in the conference room at 10 Downing Street, London, in 1923. In 1924, during the British Empire Exhibition, Wembley, it was on display on the staircase going up to the State Apartments.The painting measures 335cm by 290cm. Each figure either sitting or standing around a table, is life-size and include seated from left to right: Stanley Bruce (Australia), Stanley Baldwin (United Kingdom), and McKenzie King (Canada). Standing from left to right are William Massey (New Zealand), the Jai Singh Prabhakar (Alwar), Tej Bahadur Sapru (India), W. T. Cosgrave (Ireland), W. R. Warren (Newfoundland), and General Smuts (South Africa).A reproduction print was produced by Henry Graves. It was presented to the Northampton Corporation after the Australian government declined to keep it for an offer of £5,000.

1258_T

Westward the Course of Empire Takes Its Way

In Westward the Course of Empire Takes Its Way, how is the abstract discussed?

Westward the Course of Empire Takes Its Way (also known as Westward Ho) is a 20-by-30-foot (6.1 m × 9.1 m) painted mural displayed behind the western staircase of the House of Representatives chamber in the United States Capitol Building. The mural was painted by Emanuel Gottlieb Leutze in 1861 and symbolizes Manifest Destiny, the belief that the United States was destined for Western exploration and expansion originating from the initial colonies along the Atlantic seaboard to the Pacific Ocean. A study measuring 33+1⁄4 by 43+3⁄8 inches (84.5 cm × 110.2 cm) hangs in the Smithsonian American Art Museum.

1258_NT

Westward the Course of Empire Takes Its Way

In this artwork, how is the abstract discussed?

Westward the Course of Empire Takes Its Way (also known as Westward Ho) is a 20-by-30-foot (6.1 m × 9.1 m) painted mural displayed behind the western staircase of the House of Representatives chamber in the United States Capitol Building. The mural was painted by Emanuel Gottlieb Leutze in 1861 and symbolizes Manifest Destiny, the belief that the United States was destined for Western exploration and expansion originating from the initial colonies along the Atlantic seaboard to the Pacific Ocean. A study measuring 33+1⁄4 by 43+3⁄8 inches (84.5 cm × 110.2 cm) hangs in the Smithsonian American Art Museum.

1259_T

Westward the Course of Empire Takes Its Way

Focus on Westward the Course of Empire Takes Its Way and explore the Content.

Leutze combined pioneer men and women, mountain guides, wagons, and mules to suggest a divinely ordained pilgrimage to the Promised Land of the western frontier. Within the left half of the picture is a depiction of the entrance to the San Francisco Bay, the Golden Gate, which is being pointed to by the pilgrim seated atop the rock in the foreground. Within the right hemisphere of the painting is a depiction of a valley, representing the Valley of Darkness and symbolic of the troubles faced by explorers. The imagery is familiar imperial iconography and is regarded as a symbol of American exceptionalism and the realization of Manifest Destiny, ultimately leading to the evolution of the American Empire.

1259_NT

Westward the Course of Empire Takes Its Way

Focus on this artwork and explore the Content.

Leutze combined pioneer men and women, mountain guides, wagons, and mules to suggest a divinely ordained pilgrimage to the Promised Land of the western frontier. Within the left half of the picture is a depiction of the entrance to the San Francisco Bay, the Golden Gate, which is being pointed to by the pilgrim seated atop the rock in the foreground. Within the right hemisphere of the painting is a depiction of a valley, representing the Valley of Darkness and symbolic of the troubles faced by explorers. The imagery is familiar imperial iconography and is regarded as a symbol of American exceptionalism and the realization of Manifest Destiny, ultimately leading to the evolution of the American Empire.

1260_T

Westward the Course of Empire Takes Its Way

Focus on Westward the Course of Empire Takes Its Way and explain the Literary reference.

The painting takes its inspiration from the closing lines of George Berkeley's Verses on the Prospect of Planting Arts and Learning in America:

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Westward the Course of Empire Takes Its Way

Focus on this artwork and explain the Literary reference.

The painting takes its inspiration from the closing lines of George Berkeley's Verses on the Prospect of Planting Arts and Learning in America:

1261_T

Westward the Course of Empire Takes Its Way

Explore the Influences of this artwork, Westward the Course of Empire Takes Its Way.

The imagery of the pilgrim gesturing on a high rock is very similar to the 5 cent postage stamp, Fremont in the Rocky Mountains, that was part of the 1898 Trans-Mississippi Issue and reprinted a century later. A Currier and Ives print from 1868 uses the same title and theme for a very different print, showing a railroad crossing a new settlement as the train goes west. A photographic print and a stereograph by Alexander Gardner, both of an 1867 end-of-track frontier construction train, were titled Westward The Course of Empire Takes Its Way.

1261_NT

Westward the Course of Empire Takes Its Way

Explore the Influences of this artwork.

The imagery of the pilgrim gesturing on a high rock is very similar to the 5 cent postage stamp, Fremont in the Rocky Mountains, that was part of the 1898 Trans-Mississippi Issue and reprinted a century later. A Currier and Ives print from 1868 uses the same title and theme for a very different print, showing a railroad crossing a new settlement as the train goes west. A photographic print and a stereograph by Alexander Gardner, both of an 1867 end-of-track frontier construction train, were titled Westward The Course of Empire Takes Its Way.

1262_T

Westward the Course of Empire Takes Its Way

Focus on Westward the Course of Empire Takes Its Way and discuss the In popular culture.

David Foster Wallace named one of his short stories "Westward the Course of Empire Takes Its Way" in his 1989 collection Girl with Curious Hair. Early revisions of the 1995 computer game Oregon Trail II depict the study version of this painting on the title screen. The painting is seen in the 2013 video game BioShock Infinite.

1262_NT

Westward the Course of Empire Takes Its Way

Focus on this artwork and discuss the In popular culture.

David Foster Wallace named one of his short stories "Westward the Course of Empire Takes Its Way" in his 1989 collection Girl with Curious Hair. Early revisions of the 1995 computer game Oregon Trail II depict the study version of this painting on the title screen. The painting is seen in the 2013 video game BioShock Infinite.

1263_T

Bashi-Bazouk (Jean-Léon Gérôme)

How does Bashi-Bazouk (Jean-Léon Gérôme) elucidate its abstract?

Bashi-Bazouk (possibly titled Bachi-Bouzouk nègre) is a painting by French artist Jean-Léon Gérôme. Done in oil on canvas, the painting depicts a Bashi-bazouk, an irregular soldier of the Ottoman Empire. The painting is currently on display at the Metropolitan Museum of Art.

1263_NT

Bashi-Bazouk (Jean-Léon Gérôme)

How does this artwork elucidate its abstract?

Bashi-Bazouk (possibly titled Bachi-Bouzouk nègre) is a painting by French artist Jean-Léon Gérôme. Done in oil on canvas, the painting depicts a Bashi-bazouk, an irregular soldier of the Ottoman Empire. The painting is currently on display at the Metropolitan Museum of Art.

1264_T

Bashi-Bazouk (Jean-Léon Gérôme)

Focus on Bashi-Bazouk (Jean-Léon Gérôme) and analyze the Description.

Painted by Jean-Léon Gérôme between 1868 and 1869, the painting depicts a dark-skinned model dressed as a Bashi-bazouk, a levy of irregular Ottoman soldiers infamous for their brutality, looting, and lack of discipline. Gérôme acquired the garb seen in the painting during a trip to the near east in 1868. The haphazard and mixed textiles the model is dressed in is reminiscent of the Bashi-bazouks, as the soldiers were traditionally unpaid and did not adopt a standardized uniform, resulting in the soldiers wearing whatever they could acquire on a march. This a key point of the painting, as the brutal reputation of a Bashi-bazouk is contrasted by the silk tunic, quality clothes, and noble bearing of the subject.

1264_NT

Bashi-Bazouk (Jean-Léon Gérôme)

Focus on this artwork and analyze the Description.

Painted by Jean-Léon Gérôme between 1868 and 1869, the painting depicts a dark-skinned model dressed as a Bashi-bazouk, a levy of irregular Ottoman soldiers infamous for their brutality, looting, and lack of discipline. Gérôme acquired the garb seen in the painting during a trip to the near east in 1868. The haphazard and mixed textiles the model is dressed in is reminiscent of the Bashi-bazouks, as the soldiers were traditionally unpaid and did not adopt a standardized uniform, resulting in the soldiers wearing whatever they could acquire on a march. This a key point of the painting, as the brutal reputation of a Bashi-bazouk is contrasted by the silk tunic, quality clothes, and noble bearing of the subject.

1265_T

Miami Indian (sculpture)

In Miami Indian (sculpture), how is the abstract discussed?

The Miami Indian is a work of public art located in Montpelier, Indiana in the United States. The piece depicts a stereotypical image of Native American man. The piece is best known for its appearance in the introductory montage of the American television program, Parks and Recreation.

1265_NT

Miami Indian (sculpture)

In this artwork, how is the abstract discussed?

The Miami Indian is a work of public art located in Montpelier, Indiana in the United States. The piece depicts a stereotypical image of Native American man. The piece is best known for its appearance in the introductory montage of the American television program, Parks and Recreation.

1266_T

Miami Indian (sculpture)

Focus on Miami Indian (sculpture) and explore the Description.

The sculpture, which stands 25 feet tall, is made of fiberglass that is painted. The sculpture depicts a Plains Indian man. His proper right arm is lifted in the air with his hand reaching outward. He wears a pair of white pants, with brown fringe around his waist. Both arms have fringed brown armbands around them. He wears a pair of white shoes. On his head is a war bonnet, it is blue and white. He has black hair in braids, with a blue band on each braid, that comes down along both cheekbones. On his proper right leg, just above the knee, is painted "INTERNATIONAL FIBERGLASS, VENICE".A plaque, made of granite, is in front of the state and it reads:INDIAN STATUE GIVEN TO THE CITY OF MONTPELIER, JANUARY 1984 BY LARRY P. GODFROY, CHIEF, MIAMI INDIANS

1266_NT

Miami Indian (sculpture)

Focus on this artwork and explore the Description.

The sculpture, which stands 25 feet tall, is made of fiberglass that is painted. The sculpture depicts a Plains Indian man. His proper right arm is lifted in the air with his hand reaching outward. He wears a pair of white pants, with brown fringe around his waist. Both arms have fringed brown armbands around them. He wears a pair of white shoes. On his head is a war bonnet, it is blue and white. He has black hair in braids, with a blue band on each braid, that comes down along both cheekbones. On his proper right leg, just above the knee, is painted "INTERNATIONAL FIBERGLASS, VENICE".A plaque, made of granite, is in front of the state and it reads:INDIAN STATUE GIVEN TO THE CITY OF MONTPELIER, JANUARY 1984 BY LARRY P. GODFROY, CHIEF, MIAMI INDIANS

1267_T

Miami Indian (sculpture)

Focus on Miami Indian (sculpture) and explain the Acquisition.

The piece was originally installed at a Pontiac dealer, in the 1960s, which was located in Indianapolis, Indiana. The sculpture was supposed to represent Chief Pontiac. It was moved to a museum in Bismarck, North Dakota in the 1970s. Eventually, the piece was moved back to Indiana, and to Eagle Creek Park, where a museum resided. It sat outside the entrance of a Native American museum. Eventually, the statue was given to Chief Larry Godfroy of the Miami people. The piece is now located in downtown Montpelier, where it was dedicated in January, 1984. In 1985, the sculpture was donated by Chief Godfroy to the city of Montpelier, which resided near ancestral lands of the Miami.

1267_NT

Miami Indian (sculpture)

Focus on this artwork and explain the Acquisition.

The piece was originally installed at a Pontiac dealer, in the 1960s, which was located in Indianapolis, Indiana. The sculpture was supposed to represent Chief Pontiac. It was moved to a museum in Bismarck, North Dakota in the 1970s. Eventually, the piece was moved back to Indiana, and to Eagle Creek Park, where a museum resided. It sat outside the entrance of a Native American museum. Eventually, the statue was given to Chief Larry Godfroy of the Miami people. The piece is now located in downtown Montpelier, where it was dedicated in January, 1984. In 1985, the sculpture was donated by Chief Godfroy to the city of Montpelier, which resided near ancestral lands of the Miami.

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Miami Indian (sculpture)

Explore the Other information of this artwork, Miami Indian (sculpture).

In front of the statue is an Indiana historical marker referencing the history of the Miami people in the region.

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Miami Indian (sculpture)

Explore the Other information of this artwork.

In front of the statue is an Indiana historical marker referencing the history of the Miami people in the region.

1269_T

Miami Indian (sculpture)

Focus on Miami Indian (sculpture) and discuss the Condition.

In 1993, the sculpture was evaluated by the Save Outdoor Sculpture! surveyors. The piece was described as needing treatment.

1269_NT

Miami Indian (sculpture)

Focus on this artwork and discuss the Condition.

In 1993, the sculpture was evaluated by the Save Outdoor Sculpture! surveyors. The piece was described as needing treatment.

1270_T

Guerrillero Heroico

How does Guerrillero Heroico elucidate its abstract?

Guerrillero Heroico (English: "Heroic Guerrilla Fighter") is an iconic photograph of Marxist revolutionary Che Guevara taken by Alberto Korda. It was captured on March 5, 1960, in Havana, Cuba, at a memorial service for victims of the La Coubre explosion. By the end of the 1960s, the image, in conjunction with Guevara's subsequent actions and eventual execution, helped solidify the leader as a cultural icon. Korda has said that at the moment he shot the picture, he was drawn to Guevara's facial expression, which showed "absolute implacability" as well as anger and pain. Years later, Korda would say that the photograph showed Che's firm and stoic character. Guevara was 31 years old at the time the photograph was taken.Emphasizing the image's ubiquitous nature and wide appeal, the Maryland Institute College of Art called the picture a symbol of the 20th century and the world's most famous photograph. Versions of it have been painted, printed, digitized, embroidered, tattooed, silk-screened, sculpted or sketched on nearly every surface imaginable, leading the Victoria and Albert Museum to say that the photograph has been reproduced more than any other image in photography. Jonathan Green, director of the UCR/California Museum of Photography, has speculated that Korda's image has worked its way into languages around the world. It has become an alpha-numeric symbol, a hieroglyph, an instant symbol. It mysteriously reappears whenever there's a conflict. There isn’t anything else in history that serves in this way.The history and contemporary global impact of the image is the basis for the 2008 documentary Chevolution, directed by Trisha Ziff, along with the 2009 book Che's Afterlife: The Legacy of an Image by Michael Casey.

1270_NT

Guerrillero Heroico

How does this artwork elucidate its abstract?

Guerrillero Heroico (English: "Heroic Guerrilla Fighter") is an iconic photograph of Marxist revolutionary Che Guevara taken by Alberto Korda. It was captured on March 5, 1960, in Havana, Cuba, at a memorial service for victims of the La Coubre explosion. By the end of the 1960s, the image, in conjunction with Guevara's subsequent actions and eventual execution, helped solidify the leader as a cultural icon. Korda has said that at the moment he shot the picture, he was drawn to Guevara's facial expression, which showed "absolute implacability" as well as anger and pain. Years later, Korda would say that the photograph showed Che's firm and stoic character. Guevara was 31 years old at the time the photograph was taken.Emphasizing the image's ubiquitous nature and wide appeal, the Maryland Institute College of Art called the picture a symbol of the 20th century and the world's most famous photograph. Versions of it have been painted, printed, digitized, embroidered, tattooed, silk-screened, sculpted or sketched on nearly every surface imaginable, leading the Victoria and Albert Museum to say that the photograph has been reproduced more than any other image in photography. Jonathan Green, director of the UCR/California Museum of Photography, has speculated that Korda's image has worked its way into languages around the world. It has become an alpha-numeric symbol, a hieroglyph, an instant symbol. It mysteriously reappears whenever there's a conflict. There isn’t anything else in history that serves in this way.The history and contemporary global impact of the image is the basis for the 2008 documentary Chevolution, directed by Trisha Ziff, along with the 2009 book Che's Afterlife: The Legacy of an Image by Michael Casey.

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Guerrillero Heroico

Focus on Guerrillero Heroico and analyze the Origins.

On March 4, 1960, the French freighter La Coubre exploded in Havana Harbor, killing up to 100 people and injuring several hundred more. Upon hearing the blast, Guevara rushed to the harbor to board the burning ship, angrily forcing his way past those concerned for his safety following a secondary explosion.The following day on March 5, President Fidel Castro blamed the U.S. CIA and called for a memorial service and mass demonstration at Havana's Colón Cemetery, to honor the victims. At the time, Guevara was Minister of Industry in the new government, and Korda was Castro's official photographer. After a funeral march along the seafront boulevard known as Malecón, Fidel Castro gave a eulogy for the fallen at a stage on the corner of 23rd and 12th streets. Castro gave a fiery speech, using the words "Patria o Muerte" ("Homeland or Death") for the first time.Meanwhile, at 11:20 am, Guevara came into view for a few seconds, wearing a jacket and a black beret with and inverted five-pointed brass star. Korda snapped just two frames of him from a distance of about 25–30 ft (7.6–9.1 m) before he disappeared from sight. Korda immediately realised his photograph had the attributes of a portrait. Later, Korda said of this photograph, "I remember it as if it were today … seeing him framed in the viewfinder, with that expression. I am still startled by the impact … it shakes me so powerfully". During the rally, Korda took pictures of Cuban dignitaries and famous French existentialist philosophers Jean-Paul Sartre and Simone de Beauvoir, both admirers of Guevara at the time. Included in the film roll were shots of all the speakers and two pictures of Che's brief appearance. The classic picture appears on frame number 40 shot horizontally.The first photograph had Guevara framed alone between the silhouette of Jorge Masetti and a palm tree; the second with someone's head appearing above his shoulder. The first picture, with the intruding material cropped out and the image rotated slightly, became Guevara's most famous portrait. The editor of Revolución where Korda worked, decided to use only his shots of Castro, Sartre, and de Beauvoir, while sending the Che shot back to Korda. Believing the image was powerful, Korda made a cropped version for himself, which he enlarged and hung on his wall next to a portrait of the Chilean poet Pablo Neruda, and also gave copies to some others as a gift. It was not until 1986 that José Figueroa, an established photographer in his own right who printed for Korda and was his unofficially "adopted" son, suggested they try printing the full frame version of the portrait. Korda continued to print both versions of the image up until his death. To take the photograph, Korda used a Leica M2 with a 90 mm lens, loaded with Kodak Plus-X pan film. In speaking about the method, Korda remarked that "this photograph is not the product of knowledge or technique. It was really coincidence, pure luck."

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Guerrillero Heroico

Focus on this artwork and analyze the Origins.

On March 4, 1960, the French freighter La Coubre exploded in Havana Harbor, killing up to 100 people and injuring several hundred more. Upon hearing the blast, Guevara rushed to the harbor to board the burning ship, angrily forcing his way past those concerned for his safety following a secondary explosion.The following day on March 5, President Fidel Castro blamed the U.S. CIA and called for a memorial service and mass demonstration at Havana's Colón Cemetery, to honor the victims. At the time, Guevara was Minister of Industry in the new government, and Korda was Castro's official photographer. After a funeral march along the seafront boulevard known as Malecón, Fidel Castro gave a eulogy for the fallen at a stage on the corner of 23rd and 12th streets. Castro gave a fiery speech, using the words "Patria o Muerte" ("Homeland or Death") for the first time.Meanwhile, at 11:20 am, Guevara came into view for a few seconds, wearing a jacket and a black beret with and inverted five-pointed brass star. Korda snapped just two frames of him from a distance of about 25–30 ft (7.6–9.1 m) before he disappeared from sight. Korda immediately realised his photograph had the attributes of a portrait. Later, Korda said of this photograph, "I remember it as if it were today … seeing him framed in the viewfinder, with that expression. I am still startled by the impact … it shakes me so powerfully". During the rally, Korda took pictures of Cuban dignitaries and famous French existentialist philosophers Jean-Paul Sartre and Simone de Beauvoir, both admirers of Guevara at the time. Included in the film roll were shots of all the speakers and two pictures of Che's brief appearance. The classic picture appears on frame number 40 shot horizontally.The first photograph had Guevara framed alone between the silhouette of Jorge Masetti and a palm tree; the second with someone's head appearing above his shoulder. The first picture, with the intruding material cropped out and the image rotated slightly, became Guevara's most famous portrait. The editor of Revolución where Korda worked, decided to use only his shots of Castro, Sartre, and de Beauvoir, while sending the Che shot back to Korda. Believing the image was powerful, Korda made a cropped version for himself, which he enlarged and hung on his wall next to a portrait of the Chilean poet Pablo Neruda, and also gave copies to some others as a gift. It was not until 1986 that José Figueroa, an established photographer in his own right who printed for Korda and was his unofficially "adopted" son, suggested they try printing the full frame version of the portrait. Korda continued to print both versions of the image up until his death. To take the photograph, Korda used a Leica M2 with a 90 mm lens, loaded with Kodak Plus-X pan film. In speaking about the method, Korda remarked that "this photograph is not the product of knowledge or technique. It was really coincidence, pure luck."

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Guerrillero Heroico

In Guerrillero Heroico, how is the Alberto Korda discussed?

As a lifelong communist and supporter of the Cuban Revolution until his death, Alberto Korda claimed no payment for his picture. A modified version of the portrait through the decades was also reproduced on a range of different media, though Korda never asked for royalties. Korda reasoned that Che's image represented his revolutionary ideals, and thus the more his picture spread the greater the chance Che's ideals would spread as well. Korda's refusal to seek royalties for the vast circulation of his photograph "helped it become the ultimate symbol of Marxist revolution and anti-imperialist struggle."However, Korda did not want commercialization of the image in relation to products he believed Guevara would not support, especially alcohol. This belief was displayed for the first time in 2000, when in response to Smirnoff using Che's picture in a vodka commercial, Korda claimed his moral rights (a form of copyright law) and sued advertising agency Lowe Lintas and Rex Features, the company that supplied the photograph. Lintas and Rex claimed that the image was in the public domain. The final result was an out-of-court settlement for US$50,000, which Korda donated to the Cuban healthcare system, saying, "If Che was still alive, he would have done the same."After the settlement, Korda reiterated that he was not against its propagation altogether, telling reporters:As a supporter of the ideals for which Che Guevara died, I am not averse to its reproduction by those who wish to propagate his memory and the cause of social justice throughout the world, but I am categorically against the exploitation of Che's image for the promotion of products such as alcohol, or for any purpose that denigrates the reputation of Che.

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Guerrillero Heroico

In this artwork, how is the Alberto Korda discussed?

As a lifelong communist and supporter of the Cuban Revolution until his death, Alberto Korda claimed no payment for his picture. A modified version of the portrait through the decades was also reproduced on a range of different media, though Korda never asked for royalties. Korda reasoned that Che's image represented his revolutionary ideals, and thus the more his picture spread the greater the chance Che's ideals would spread as well. Korda's refusal to seek royalties for the vast circulation of his photograph "helped it become the ultimate symbol of Marxist revolution and anti-imperialist struggle."However, Korda did not want commercialization of the image in relation to products he believed Guevara would not support, especially alcohol. This belief was displayed for the first time in 2000, when in response to Smirnoff using Che's picture in a vodka commercial, Korda claimed his moral rights (a form of copyright law) and sued advertising agency Lowe Lintas and Rex Features, the company that supplied the photograph. Lintas and Rex claimed that the image was in the public domain. The final result was an out-of-court settlement for US$50,000, which Korda donated to the Cuban healthcare system, saying, "If Che was still alive, he would have done the same."After the settlement, Korda reiterated that he was not against its propagation altogether, telling reporters:As a supporter of the ideals for which Che Guevara died, I am not averse to its reproduction by those who wish to propagate his memory and the cause of social justice throughout the world, but I am categorically against the exploitation of Che's image for the promotion of products such as alcohol, or for any purpose that denigrates the reputation of Che.

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Guerrillero Heroico

Focus on Guerrillero Heroico and explore the Use in Cuba.

Cuban historian Edmundo Desnoes has stated that "Che's image may be cast aside, bought and sold and deified, but it will form a part of the universal system of the revolutionary struggle, and can recover its original meaning at any moment." That meaning's origin harkens back to when Korda's photograph was first published on April 16, 1961, in the daily Cuban newspaper Revolución, advertising a noon conference during which the main speaker was "Dr. Ernesto 'Che' Guevara". The conference was disrupted when 1,300 CIA-supported counter-revolutionaries stormed the beaches of Cuba, in what became known as the failed Bay of Pigs invasion. The image was thus republished a second time advertising the newly convened conference on April 28, 1961. Che, who died six years later, could have seen the photograph that would contribute to his iconic status.The first time Cubans on a large scale became familiar with the photograph, despite its earlier reproduction in Revolución, was upon Che's death in 1967. Upon the news of Che's execution, it was enlarged and draped on a banner down the five-story building of the Ministry of the Interior in the Plaza de la Revolución in Havana. This building where Che himself had formerly worked served as a backdrop to Fidel's eulogy on October 18, 1967, publicly acknowledging the death of Che Guevara before a crowd of more than a million mourners. José Gómez Fresquet, renowned Cuban poster maker and graphic artist, recalls how on hearing the news of Guevara's death, he immediately worked all night producing the poster to be used at the rally honoring him the next day. Korda had given Fresquet a copy of the portrait as a basis for the poster, which he created on red paper. This was the first privately produced Guerrillero Heroico created in Cuba. Since then the building has seen many versions of the image, and today a permanent steel outline, derived from the photograph, adorns the building.

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Guerrillero Heroico

Focus on this artwork and explore the Use in Cuba.

Cuban historian Edmundo Desnoes has stated that "Che's image may be cast aside, bought and sold and deified, but it will form a part of the universal system of the revolutionary struggle, and can recover its original meaning at any moment." That meaning's origin harkens back to when Korda's photograph was first published on April 16, 1961, in the daily Cuban newspaper Revolución, advertising a noon conference during which the main speaker was "Dr. Ernesto 'Che' Guevara". The conference was disrupted when 1,300 CIA-supported counter-revolutionaries stormed the beaches of Cuba, in what became known as the failed Bay of Pigs invasion. The image was thus republished a second time advertising the newly convened conference on April 28, 1961. Che, who died six years later, could have seen the photograph that would contribute to his iconic status.The first time Cubans on a large scale became familiar with the photograph, despite its earlier reproduction in Revolución, was upon Che's death in 1967. Upon the news of Che's execution, it was enlarged and draped on a banner down the five-story building of the Ministry of the Interior in the Plaza de la Revolución in Havana. This building where Che himself had formerly worked served as a backdrop to Fidel's eulogy on October 18, 1967, publicly acknowledging the death of Che Guevara before a crowd of more than a million mourners. José Gómez Fresquet, renowned Cuban poster maker and graphic artist, recalls how on hearing the news of Guevara's death, he immediately worked all night producing the poster to be used at the rally honoring him the next day. Korda had given Fresquet a copy of the portrait as a basis for the poster, which he created on red paper. This was the first privately produced Guerrillero Heroico created in Cuba. Since then the building has seen many versions of the image, and today a permanent steel outline, derived from the photograph, adorns the building.

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Guerrillero Heroico

Explore the Giangiacomo Feltrinelli about the International dissemination of this artwork, Guerrillero Heroico.

Passed out to the occasional friend and published in a few small Cuban publications, Che's image remained relatively unknown for 7 years. A print was sold or given to wealthy Italian publisher and intellectual Giangiacomo Feltrinelli in 1967. Feltrinelli had just returned from Bolivia where he had hoped his fame would help in negotiating the release of French journalist and professor Régis Debray. Debray had been arrested in Bolivia in connection with guerrilla operations led by Che Guevara. As Guevara's eventual capture or death appeared to be imminent with the CIA closing in on his whereabouts, Feltrinelli acquired the rights to publish Che's captured Bolivian Diary. At this time Feltrinelli asked Cuban officials where to obtain Guevara images and was directed to Korda's studio where he presented a letter of introduction from the government. The document asked for Korda's assistance in finding a good portrait of Che. Korda knew right away that his favorite image of Che was perfect and pointed to the 1960 shot of Che hanging on the wall, saying that the photograph was the best of those he had taken of Che. Feltrinelli agreed and ordered 2 prints. When he returned the next day to pick them up Korda told him that because he was a friend of the revolution he did not have to pay. Upon his return to Italy, Feltrinelli disseminated thousands of copies of the poster to raise awareness of Che's precarious situation and impending demise. Later in 1967 after his October 9, 1967 execution, Che's Bolivian Diary with Korda's photograph on the cover was released worldwide. Feltrinelli also created posters to promote the book, crediting the copyright to © Libreria Feltrinelli 1967 (in the lower left hand corner of the image) with no mention of Korda. By this time, Korda's image had officially entered the public consciousness. Alberto Korda later expounded that if Feltrinelli had paid him just one lira for each reproduction, that he would have received millions. However, Korda also expressed that he forgave him, because through his actions, the image became famous.

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Guerrillero Heroico

Explore the Giangiacomo Feltrinelli about the International dissemination of this artwork.

Passed out to the occasional friend and published in a few small Cuban publications, Che's image remained relatively unknown for 7 years. A print was sold or given to wealthy Italian publisher and intellectual Giangiacomo Feltrinelli in 1967. Feltrinelli had just returned from Bolivia where he had hoped his fame would help in negotiating the release of French journalist and professor Régis Debray. Debray had been arrested in Bolivia in connection with guerrilla operations led by Che Guevara. As Guevara's eventual capture or death appeared to be imminent with the CIA closing in on his whereabouts, Feltrinelli acquired the rights to publish Che's captured Bolivian Diary. At this time Feltrinelli asked Cuban officials where to obtain Guevara images and was directed to Korda's studio where he presented a letter of introduction from the government. The document asked for Korda's assistance in finding a good portrait of Che. Korda knew right away that his favorite image of Che was perfect and pointed to the 1960 shot of Che hanging on the wall, saying that the photograph was the best of those he had taken of Che. Feltrinelli agreed and ordered 2 prints. When he returned the next day to pick them up Korda told him that because he was a friend of the revolution he did not have to pay. Upon his return to Italy, Feltrinelli disseminated thousands of copies of the poster to raise awareness of Che's precarious situation and impending demise. Later in 1967 after his October 9, 1967 execution, Che's Bolivian Diary with Korda's photograph on the cover was released worldwide. Feltrinelli also created posters to promote the book, crediting the copyright to © Libreria Feltrinelli 1967 (in the lower left hand corner of the image) with no mention of Korda. By this time, Korda's image had officially entered the public consciousness. Alberto Korda later expounded that if Feltrinelli had paid him just one lira for each reproduction, that he would have received millions. However, Korda also expressed that he forgave him, because through his actions, the image became famous.

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Guerrillero Heroico

In the context of Guerrillero Heroico, discuss the Milan 1967 of the International dissemination.

Feltrinelli's version of the image was used in October 1967 in Milan, Italy, when spontaneous protests occurred in response to the news of Che's death. Italian photographer Giorgio Mondolfo later stated that "the first time I saw the picture by Alberto Korda, I was not even slightly interested in the author. I was only fifteen, and it was the picture that had drawn us – many for the first time – to gather in the streets, crying Che lives!"

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Guerrillero Heroico

In the context of this artwork, discuss the Milan 1967 of the International dissemination.

Feltrinelli's version of the image was used in October 1967 in Milan, Italy, when spontaneous protests occurred in response to the news of Che's death. Italian photographer Giorgio Mondolfo later stated that "the first time I saw the picture by Alberto Korda, I was not even slightly interested in the author. I was only fifteen, and it was the picture that had drawn us – many for the first time – to gather in the streets, crying Che lives!"

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Guerrillero Heroico

In Guerrillero Heroico, how is the Paris Match of the International dissemination elucidated?

Guerrillero Heroico also appeared in the August 1967 issue of Paris Match. Published only a few months before his eventual capture and execution, the issue featured a major article titled "Les Guerrilleros" by journalist Jean Lartéguy. Lartéguy wrote At a time when Cuban revolutionaries want to create Vietnams all over the world, the Americans run the risk of finding their own Algeria in Latin America. The article ended by asking "Where is Che Guevara?" The caption of the photograph read "The official photograph of Che Guevara; on his beret the star, the symbol of the Comandante." It is not known who provided the magazine with the image, and it was also not credited to Feltrinelli. However, with its wide circulation throughout Europe, and its status as an influential news journal, Paris Match could also be viewed as one of the original purveyors of the image.

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Guerrillero Heroico

In this artwork, how is the Paris Match of the International dissemination elucidated?

Guerrillero Heroico also appeared in the August 1967 issue of Paris Match. Published only a few months before his eventual capture and execution, the issue featured a major article titled "Les Guerrilleros" by journalist Jean Lartéguy. Lartéguy wrote At a time when Cuban revolutionaries want to create Vietnams all over the world, the Americans run the risk of finding their own Algeria in Latin America. The article ended by asking "Where is Che Guevara?" The caption of the photograph read "The official photograph of Che Guevara; on his beret the star, the symbol of the Comandante." It is not known who provided the magazine with the image, and it was also not credited to Feltrinelli. However, with its wide circulation throughout Europe, and its status as an influential news journal, Paris Match could also be viewed as one of the original purveyors of the image.

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Guerrillero Heroico

In the context of Guerrillero Heroico, analyze the Paris 1968 of the International dissemination.

During the May 1968 Paris student riots, which eventually shook the de Gaulle government (but did not overthrow it), organizer "Danny The Red" utilized Fitzpatrick's rendition of Che during the protests. At this time, Che's image was picked up by the Dutch anarchist group "The Provos" in Amsterdam, who focused on triggering violent responses from authorities through non-violent means.

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Guerrillero Heroico

In the context of this artwork, analyze the Paris 1968 of the International dissemination.

During the May 1968 Paris student riots, which eventually shook the de Gaulle government (but did not overthrow it), organizer "Danny The Red" utilized Fitzpatrick's rendition of Che during the protests. At this time, Che's image was picked up by the Dutch anarchist group "The Provos" in Amsterdam, who focused on triggering violent responses from authorities through non-violent means.

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Guerrillero Heroico

Describe the characteristics of the Jim Fitzpatrick in Guerrillero Heroico's International dissemination.

In 1967, Irish artist Jim Fitzpatrick was also using Korda's image as a basis for creating his own stylized posters. Fitzpatrick claims he received a copy of the photograph from the Dutch anarchist group "the Provos", who produced a magazine bearing the group's name. Fitzpatrick remembers that Provo magazine claimed the image originally came to Europe via Jean-Paul Sartre. Fitzpatrick's source of the image, then, would not have been Feltrinelli. The first image I did of Che was psychedelic, it looks like he is in seaweed. His hair was not hair, it was shapes that I felt gave it an extra dimension. That was the image I produced for the magazine and that was done before he died and that is the important thing about that image. At first it did not print. It was considered far too strong and revolutionary. I was very inspired by Che's trip to Bolivia. He went there with the intent to overthrow the intensely corrupt government, helped by the Americans at the time, and that's where he died. I thought he was one of the greatest men who ever lived and I still do in many ways. And when he was murdered, I decided I wanted to do something about it, so I created the poster. I felt this image had to come out, or he would not be commemorated otherwise, he would go where heroes go, which is usually into anonymity. To create the image Fitzpatrick made a paper negative on a piece of equipment called a grant. They were then printed in one color black and one color red, and he handpainted the star in yellow. Fitzpatrick "wanted the image to breed like rabbits" and hand printed thousands of images to give away to anyone for free in London, in addition to getting friends to pass them out while encouraging others to make their own versions. He printed about a hundred copies at a time to fulfill the demand of political groups in Ireland, France, and the Netherlands who began requesting the image. A batch was also sent to Spain, where they were seized by Franco's police. Because of the high demand, Fitzpatrick formed a poster company called Two Bear Feet and produced a variety of posters in 1967 using the Korda image. All of them were created without copyright, because Fitzpatrick wanted them to be reproduced. One of these posters would be published in the satirical magazine Private Eye. The best-known was printed on silver foil and was exhibited in an exhibition in London called "Viva Che" at the Arts Laboratory, curated by Peter Meyer. This show was originally to be held at the Lisson Gallery in 1968 and illustrates how fast the image moved from protest into the realm of fine art.Because of Fitzpatrick's desire for the photograph to reflect something of himself, he raised Che's eyes more and added his initial, an "F", on the shoulder. It was not until the 40th anniversary of Che's death that Fitzpatrick admitted to this fact stating "I’m a bit mischievous, so I never told anyone." At this time Fitzpatrick said that "I love the picture and wherever I am in the world, if I see it, I take a photo of it. I always have a chuckle when I see that little 'F'. I know that it's mine." In November 2008, Fitzpatrick announced that he would be signing over the copyright of his Che image to the William Soler Pediatric Cardiology Hospital in Havana, Cuba. In announcing his reason for ensuring all future proceeds would go to the children's hospital, Fitzpatrick stated that "Cuba trains doctors and then sends them around the world ... I want their medical system to benefit." Additionally, Fitzpatrick publicized his desire to gift the original artwork to the archive run by Guevara's widow, Aleida March.

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Guerrillero Heroico

Describe the characteristics of the Jim Fitzpatrick in this artwork's International dissemination.

In 1967, Irish artist Jim Fitzpatrick was also using Korda's image as a basis for creating his own stylized posters. Fitzpatrick claims he received a copy of the photograph from the Dutch anarchist group "the Provos", who produced a magazine bearing the group's name. Fitzpatrick remembers that Provo magazine claimed the image originally came to Europe via Jean-Paul Sartre. Fitzpatrick's source of the image, then, would not have been Feltrinelli. The first image I did of Che was psychedelic, it looks like he is in seaweed. His hair was not hair, it was shapes that I felt gave it an extra dimension. That was the image I produced for the magazine and that was done before he died and that is the important thing about that image. At first it did not print. It was considered far too strong and revolutionary. I was very inspired by Che's trip to Bolivia. He went there with the intent to overthrow the intensely corrupt government, helped by the Americans at the time, and that's where he died. I thought he was one of the greatest men who ever lived and I still do in many ways. And when he was murdered, I decided I wanted to do something about it, so I created the poster. I felt this image had to come out, or he would not be commemorated otherwise, he would go where heroes go, which is usually into anonymity. To create the image Fitzpatrick made a paper negative on a piece of equipment called a grant. They were then printed in one color black and one color red, and he handpainted the star in yellow. Fitzpatrick "wanted the image to breed like rabbits" and hand printed thousands of images to give away to anyone for free in London, in addition to getting friends to pass them out while encouraging others to make their own versions. He printed about a hundred copies at a time to fulfill the demand of political groups in Ireland, France, and the Netherlands who began requesting the image. A batch was also sent to Spain, where they were seized by Franco's police. Because of the high demand, Fitzpatrick formed a poster company called Two Bear Feet and produced a variety of posters in 1967 using the Korda image. All of them were created without copyright, because Fitzpatrick wanted them to be reproduced. One of these posters would be published in the satirical magazine Private Eye. The best-known was printed on silver foil and was exhibited in an exhibition in London called "Viva Che" at the Arts Laboratory, curated by Peter Meyer. This show was originally to be held at the Lisson Gallery in 1968 and illustrates how fast the image moved from protest into the realm of fine art.Because of Fitzpatrick's desire for the photograph to reflect something of himself, he raised Che's eyes more and added his initial, an "F", on the shoulder. It was not until the 40th anniversary of Che's death that Fitzpatrick admitted to this fact stating "I’m a bit mischievous, so I never told anyone." At this time Fitzpatrick said that "I love the picture and wherever I am in the world, if I see it, I take a photo of it. I always have a chuckle when I see that little 'F'. I know that it's mine." In November 2008, Fitzpatrick announced that he would be signing over the copyright of his Che image to the William Soler Pediatric Cardiology Hospital in Havana, Cuba. In announcing his reason for ensuring all future proceeds would go to the children's hospital, Fitzpatrick stated that "Cuba trains doctors and then sends them around the world ... I want their medical system to benefit." Additionally, Fitzpatrick publicized his desire to gift the original artwork to the archive run by Guevara's widow, Aleida March.

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Guerrillero Heroico

In the context of Guerrillero Heroico, explore the Ireland of the International dissemination.

Sinn Féin president Gerry Adams is interviewed in the 2008 documentary Chevolution about the famous photograph. As he speaks, the film shows a montage of Che murals in Belfast, with Adams remarking "I suppose people from my background were drawn to that image, because of what Che Guevara represented." To mark the 50th anniversary of Guevara's death the Irish postal service An Post issued a €1 stamp featuring Fitzpatrick's stylised version of the image. The initial print run of 122,000 sold out within days with An Post saying they experienced "unprecedented demand".

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Guerrillero Heroico

In the context of this artwork, explore the Ireland of the International dissemination.

Sinn Féin president Gerry Adams is interviewed in the 2008 documentary Chevolution about the famous photograph. As he speaks, the film shows a montage of Che murals in Belfast, with Adams remarking "I suppose people from my background were drawn to that image, because of what Che Guevara represented." To mark the 50th anniversary of Guevara's death the Irish postal service An Post issued a €1 stamp featuring Fitzpatrick's stylised version of the image. The initial print run of 122,000 sold out within days with An Post saying they experienced "unprecedented demand".

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Guerrillero Heroico

In the context of Guerrillero Heroico, explain the The United States and further influence of the International dissemination.

Guerrillero Heroico made its American debut in 1968 on New York City Subway billboards, when the image appeared in painted form by Paul Davis, for a poster advertising the February issue of Evergreen Review. Paul Davis has stated that he was "inspired by Italian paintings of martyred saints and Christ", in his romanticised version of Che.However, the fascination was not solely an American phenomenon. For instance, British journalist Richard Gott who met with Che Guevara several times expressed a similar view, by stating how he was "struck by his magnetic physical attraction, comparable to the aura of a rock star". In Gott's opinion "almost everyone had the same impression, and journalists were particularly susceptible". Time magazine, in an August 8, 1960, cover story after meeting with Guevara displayed this view, by remarking that Che wore "a smile of melancholy sweetness that many women find devastating".Argentine journalist Julia Costenlos, recalls that in her view he was "blessed with a unique appeal, an incalculable enchantment that came completely naturally". Even under duress, The Times journalist Henry Brandon, who spoke with Guevara at the height of the Cuban Missile Crisis, remarked that Che possessed a "genial charm" that "might have made Charles Boyer envious".In judging the enduring appeal of the image, Darrel Couturier, representative for Korda since 1997, has opined that it was "the image of a very dashing young man" and that in the "age of free love and flower power ... the time was ripe for a figure" or "image that could represent this great diversity in thinking and behavior the world over". According to Couturier, this "age of religious revolution", matched with Guevara's premature death, "elevated him to almost martyrdom".

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Guerrillero Heroico

In the context of this artwork, explain the The United States and further influence of the International dissemination.

Guerrillero Heroico made its American debut in 1968 on New York City Subway billboards, when the image appeared in painted form by Paul Davis, for a poster advertising the February issue of Evergreen Review. Paul Davis has stated that he was "inspired by Italian paintings of martyred saints and Christ", in his romanticised version of Che.However, the fascination was not solely an American phenomenon. For instance, British journalist Richard Gott who met with Che Guevara several times expressed a similar view, by stating how he was "struck by his magnetic physical attraction, comparable to the aura of a rock star". In Gott's opinion "almost everyone had the same impression, and journalists were particularly susceptible". Time magazine, in an August 8, 1960, cover story after meeting with Guevara displayed this view, by remarking that Che wore "a smile of melancholy sweetness that many women find devastating".Argentine journalist Julia Costenlos, recalls that in her view he was "blessed with a unique appeal, an incalculable enchantment that came completely naturally". Even under duress, The Times journalist Henry Brandon, who spoke with Guevara at the height of the Cuban Missile Crisis, remarked that Che possessed a "genial charm" that "might have made Charles Boyer envious".In judging the enduring appeal of the image, Darrel Couturier, representative for Korda since 1997, has opined that it was "the image of a very dashing young man" and that in the "age of free love and flower power ... the time was ripe for a figure" or "image that could represent this great diversity in thinking and behavior the world over". According to Couturier, this "age of religious revolution", matched with Guevara's premature death, "elevated him to almost martyrdom".

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Guerrillero Heroico

Explore the In art and culture of this artwork, Guerrillero Heroico.

When you look closely, you can see that many iconic photographs are constructed in the same way; it is possible to copy the formula. Look at some of the most enduring images of our age … Like Che, they are shot from below against a light background, giving them a raised, Godlike quality. The angle of the shot is particularly crucial, as profiles have little impact and full frontals tend to flatten the features. The direction and intensity of the subject's gaze is also key. Che is looking past the camera, out to his vision. His line of vision has been much tinkered with by various artists, but it retains its passion even on a table mat or a screensaver. An image like this is about a sign: it's a shorthand. This particular one now stands for opposition to the establishment, freedom and revolution. As pop artists took to the image with glee, it evolved into a popular and heavily commercialized icon that often strayed far from Che's hard-line Marxist message. British pop artist Sir Peter Blake has referred to Guerrillero Heroico as "one of the great icons of the 20th century". When converted into a stark black cut-out, Korda's photograph became easy, cheap, and fast to copy using the favored material and method of the 1960s: lith film and screen painting. By the time of his death in 1967, Che was already "a legend, the romantic epitome of worldwide rebellion" and in the wake of his perceived martyrdom, Korda's photograph went viral. Rebellious young people found in it a "sense of empowerment, a crystallization of the perennial idealism of youth". According to the V&A Museum, "the photograph enshrines Che as a mythic hero. Taken from below, the revolutionary leader with searching eyes and resolute expression becomes larger than life. A perspective that dominates the imagery of social realism, it bears an irresistible aura of authority, independence and defiance." The V&A Museum goes on to state that Korda's famous photograph first deified Che and turned him into an icon of radical chic. Its story, a complex mesh of conflicting narratives, gave Guerrillero Heroico a life of its own, an enduring fascination independent of Che himself. The Italian magazine Skime evokes even more praise, decreeing it "absolutely the most famous of history" while proclaiming that it "captures beauty and youth, courage and generosity, aesthetic and moral virtues of a person who possessed all the characteristics necessary to be converted into a symbol of an epoch like ours, lacking in historic legends and mythic incarnations." Journalist Richard Gott has also remarked that "the red star in Che's beret was up there with 'Lucy in the Sky with Diamonds'." Jonathan Green, director of the UCR photography museum, has remarked that "pop art is a rejection of traditional figuration, rhetoric, and rendition. Its egalitarian anti-art stance was the perfect corollary for Che's anti-establishment attitude."

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Guerrillero Heroico

Explore the In art and culture of this artwork.

When you look closely, you can see that many iconic photographs are constructed in the same way; it is possible to copy the formula. Look at some of the most enduring images of our age … Like Che, they are shot from below against a light background, giving them a raised, Godlike quality. The angle of the shot is particularly crucial, as profiles have little impact and full frontals tend to flatten the features. The direction and intensity of the subject's gaze is also key. Che is looking past the camera, out to his vision. His line of vision has been much tinkered with by various artists, but it retains its passion even on a table mat or a screensaver. An image like this is about a sign: it's a shorthand. This particular one now stands for opposition to the establishment, freedom and revolution. As pop artists took to the image with glee, it evolved into a popular and heavily commercialized icon that often strayed far from Che's hard-line Marxist message. British pop artist Sir Peter Blake has referred to Guerrillero Heroico as "one of the great icons of the 20th century". When converted into a stark black cut-out, Korda's photograph became easy, cheap, and fast to copy using the favored material and method of the 1960s: lith film and screen painting. By the time of his death in 1967, Che was already "a legend, the romantic epitome of worldwide rebellion" and in the wake of his perceived martyrdom, Korda's photograph went viral. Rebellious young people found in it a "sense of empowerment, a crystallization of the perennial idealism of youth". According to the V&A Museum, "the photograph enshrines Che as a mythic hero. Taken from below, the revolutionary leader with searching eyes and resolute expression becomes larger than life. A perspective that dominates the imagery of social realism, it bears an irresistible aura of authority, independence and defiance." The V&A Museum goes on to state that Korda's famous photograph first deified Che and turned him into an icon of radical chic. Its story, a complex mesh of conflicting narratives, gave Guerrillero Heroico a life of its own, an enduring fascination independent of Che himself. The Italian magazine Skime evokes even more praise, decreeing it "absolutely the most famous of history" while proclaiming that it "captures beauty and youth, courage and generosity, aesthetic and moral virtues of a person who possessed all the characteristics necessary to be converted into a symbol of an epoch like ours, lacking in historic legends and mythic incarnations." Journalist Richard Gott has also remarked that "the red star in Che's beret was up there with 'Lucy in the Sky with Diamonds'." Jonathan Green, director of the UCR photography museum, has remarked that "pop art is a rejection of traditional figuration, rhetoric, and rendition. Its egalitarian anti-art stance was the perfect corollary for Che's anti-establishment attitude."

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Guerrillero Heroico

In the context of Guerrillero Heroico, discuss the Exhibits of the In art and culture.

It is the image of a very dashing young man who was part of a revolution. This was a revolution of the people for the people in a time when there was a great unrest in many parts of the world, particularly in Latin America, Europe and the US. The Vietnam War was raging; students and workers were protesting and striking; it was the age of free love and flower power; it was the pop age; it was the age of religious revolution. The time was ripe for a figure, an image that could represent this great diversity in thinking and behavior the world over. Che's role in the Cuban Revolution made him a revered symbol of world class struggle, equality and freedom from domination and his premature death in 1967 elevated him to almost martyrdom. 1968, the Arts Laboratory in London held an exhibition on the photograph entitled "Viva Che". 1990, the Jour Agnes B Gallery in Paris, France, presented an exhibit of Korda's image titled "Che Guevara: A 21st Century Man". 1998, the UCLA Fowler Museum of Cultural History in Los Angeles, California, featured an exhibition compiled by David Kunzle titled "Che Guevara: Icon, Myth and Message". 2003, the Centre for Contemporary Art in Rethymnon, Greece, presented an exhibit titled "Che Guevara's Death". 2004, the Centro Nacional de la Música, in Buenos Aires, Argentina, held an exhibition titled "Che Guevara by the photographers of the Cuban Revolution". 2005, the UCR/California Museum of Photography featured an exhibition titled "Revolution and Commerce: The Legacy of Korda's Portrait of Che Guevara". 2005, the International Center of Photography in New York City held an exhibition titled "¡Che! Revolution and Commerce". 2006, the Victoria and Albert Museum in London hosted an exhibition titled "Che Guevara: Revolutionary and Icon". 2007, the La Triennale in Milan, Italy, featured an exhibition titled "Che Guevara Rebel and Icon: The Legacy of Korda's Portrait". 2007, the Tropenmuseum in Amsterdam held a special exhibition about the photograph titled "Che! A Commercial Revolution". 2007, the Frost Art Museum at Florida International University in Miami, Florida, presented an exhibition featuring the photograph. 2008, the WestLicht Gallery in Vienna, Austria, offered an exhibition on Guerrillero Heróico in relation to the "development of a mythos". 2008, the Fototeca center in Havana, Cuba, held an exhibition titled "Korda, Known. Unknown." 2008, the Santralistanbul in Istanbul, Turkey, hosted the exhibit "Narrative of a Portrait: Korda's Che from Revolution to Icon". 2009, the Dom Nashchokina Gallery in Moscow, hosted the exhibition "Che: Hasta Siempre! Meet You in the Eternity" from June 18 to September 20, 2009. 2010, the International Center of Photography in New York City, hosted the exhibition "Cuba in Revolution" from November 11 to January 9, 2011 – which featured several versions of the image.

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Guerrillero Heroico

In the context of this artwork, discuss the Exhibits of the In art and culture.

It is the image of a very dashing young man who was part of a revolution. This was a revolution of the people for the people in a time when there was a great unrest in many parts of the world, particularly in Latin America, Europe and the US. The Vietnam War was raging; students and workers were protesting and striking; it was the age of free love and flower power; it was the pop age; it was the age of religious revolution. The time was ripe for a figure, an image that could represent this great diversity in thinking and behavior the world over. Che's role in the Cuban Revolution made him a revered symbol of world class struggle, equality and freedom from domination and his premature death in 1967 elevated him to almost martyrdom. 1968, the Arts Laboratory in London held an exhibition on the photograph entitled "Viva Che". 1990, the Jour Agnes B Gallery in Paris, France, presented an exhibit of Korda's image titled "Che Guevara: A 21st Century Man". 1998, the UCLA Fowler Museum of Cultural History in Los Angeles, California, featured an exhibition compiled by David Kunzle titled "Che Guevara: Icon, Myth and Message". 2003, the Centre for Contemporary Art in Rethymnon, Greece, presented an exhibit titled "Che Guevara's Death". 2004, the Centro Nacional de la Música, in Buenos Aires, Argentina, held an exhibition titled "Che Guevara by the photographers of the Cuban Revolution". 2005, the UCR/California Museum of Photography featured an exhibition titled "Revolution and Commerce: The Legacy of Korda's Portrait of Che Guevara". 2005, the International Center of Photography in New York City held an exhibition titled "¡Che! Revolution and Commerce". 2006, the Victoria and Albert Museum in London hosted an exhibition titled "Che Guevara: Revolutionary and Icon". 2007, the La Triennale in Milan, Italy, featured an exhibition titled "Che Guevara Rebel and Icon: The Legacy of Korda's Portrait". 2007, the Tropenmuseum in Amsterdam held a special exhibition about the photograph titled "Che! A Commercial Revolution". 2007, the Frost Art Museum at Florida International University in Miami, Florida, presented an exhibition featuring the photograph. 2008, the WestLicht Gallery in Vienna, Austria, offered an exhibition on Guerrillero Heróico in relation to the "development of a mythos". 2008, the Fototeca center in Havana, Cuba, held an exhibition titled "Korda, Known. Unknown." 2008, the Santralistanbul in Istanbul, Turkey, hosted the exhibit "Narrative of a Portrait: Korda's Che from Revolution to Icon". 2009, the Dom Nashchokina Gallery in Moscow, hosted the exhibition "Che: Hasta Siempre! Meet You in the Eternity" from June 18 to September 20, 2009. 2010, the International Center of Photography in New York City, hosted the exhibition "Cuba in Revolution" from November 11 to January 9, 2011 – which featured several versions of the image.

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Guerrillero Heroico

In Guerrillero Heroico, how is the Posters and covers of the In art and culture elucidated?

In 1967 Polish artist Roman Cieslewicz designed a poster with the words "Che Si" (translation: 'Yes Che') emblazoned over his face as eyes and nose. This was later featured on the October 1967 cover of the French art magazine Opus International. In 1968, Elena Serrano produced a widely distributed poster titled "Day of the Heroic Guerrilla", which shows telescoping images of Korda's photograph expanding to cover the entire red map of South America. The 1968 February issue of Evergreen Review, featured Che's image in a painted form by Paul Davis. The September 1969 issue of Tricontinental Magazine featured a conjoined image of Korda's Che with Ho Chi Minh. During a 1969 student strike at Berkeley, a poster was produced and distributed with a cartoon bubble coming from Che's mouth possessing the words: "Shut it down!" In 1970, the Art Workers' Coalition produced a widely distributed anti-Vietnam War poster featuring an outline of Che on a yellow background, with his famous quotation: "Let me say at the risk of appearing ridiculous, that the true revolutionary is guided by great feelings of love." The Rage Against the Machine artwork for their 1993 single, "Bombtrack" features a mirrored version of the iconic two-tone portrait by Jim Fitzpatrick. The September 16, 1996 edition of Der Spiegel magazine titled: "The Myth of Che Guevara", featured Che's image adorned with a halo of moving bullets. A computerized rendition of Guerrillero Heroico appeared on the cover of the March 1–7, 2006 issue of Metro, above the title "The Blog Revolution". In 2003, Madonna's album American Life featured the singer redoing Guerrillero Heroico. The December 2008 issue of Rolling Stone Argentina features Guerrillero Heroico on the cover.

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Guerrillero Heroico

In this artwork, how is the Posters and covers of the In art and culture elucidated?

In 1967 Polish artist Roman Cieslewicz designed a poster with the words "Che Si" (translation: 'Yes Che') emblazoned over his face as eyes and nose. This was later featured on the October 1967 cover of the French art magazine Opus International. In 1968, Elena Serrano produced a widely distributed poster titled "Day of the Heroic Guerrilla", which shows telescoping images of Korda's photograph expanding to cover the entire red map of South America. The 1968 February issue of Evergreen Review, featured Che's image in a painted form by Paul Davis. The September 1969 issue of Tricontinental Magazine featured a conjoined image of Korda's Che with Ho Chi Minh. During a 1969 student strike at Berkeley, a poster was produced and distributed with a cartoon bubble coming from Che's mouth possessing the words: "Shut it down!" In 1970, the Art Workers' Coalition produced a widely distributed anti-Vietnam War poster featuring an outline of Che on a yellow background, with his famous quotation: "Let me say at the risk of appearing ridiculous, that the true revolutionary is guided by great feelings of love." The Rage Against the Machine artwork for their 1993 single, "Bombtrack" features a mirrored version of the iconic two-tone portrait by Jim Fitzpatrick. The September 16, 1996 edition of Der Spiegel magazine titled: "The Myth of Che Guevara", featured Che's image adorned with a halo of moving bullets. A computerized rendition of Guerrillero Heroico appeared on the cover of the March 1–7, 2006 issue of Metro, above the title "The Blog Revolution". In 2003, Madonna's album American Life featured the singer redoing Guerrillero Heroico. The December 2008 issue of Rolling Stone Argentina features Guerrillero Heroico on the cover.

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Guerrillero Heroico

Focus on Guerrillero Heroico and analyze the Commodity.

The Che image has been cited as an example of the merging of politics and marketing and the power that images hold over our society. Trisha Ziff, the curator of a 2004 touring exhibition on the iconography of Che has stated that "Che Guevara has become a brand. And the brand's logo is the image, which represents change. It has become the icon of the outside thinker, at whatever level, whether it is anti-war, pro-green or anti-globalisation. Its presence, everywhere from Belfast to Soweto, or from walls in the Palestinian territories to Parisian boutiques, makes it an image that is out of control. It has become a corporation, an empire, at this point."Alberto Korda's photograph has received wide distribution and modification, appearing on countless numbers of T-shirts, posters, consumer products, protest banners, personal tattoos, and in many other formats. It has morphed into an iconic countercultural symbol for a new generation of youth. The image is now worn on the chests of a diverse group of individuals, from those who truly support the ideals that Che Guevara lived for, to those expressing a more generalized anti-authoritarian stance.

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Guerrillero Heroico

Focus on this artwork and analyze the Commodity.

The Che image has been cited as an example of the merging of politics and marketing and the power that images hold over our society. Trisha Ziff, the curator of a 2004 touring exhibition on the iconography of Che has stated that "Che Guevara has become a brand. And the brand's logo is the image, which represents change. It has become the icon of the outside thinker, at whatever level, whether it is anti-war, pro-green or anti-globalisation. Its presence, everywhere from Belfast to Soweto, or from walls in the Palestinian territories to Parisian boutiques, makes it an image that is out of control. It has become a corporation, an empire, at this point."Alberto Korda's photograph has received wide distribution and modification, appearing on countless numbers of T-shirts, posters, consumer products, protest banners, personal tattoos, and in many other formats. It has morphed into an iconic countercultural symbol for a new generation of youth. The image is now worn on the chests of a diverse group of individuals, from those who truly support the ideals that Che Guevara lived for, to those expressing a more generalized anti-authoritarian stance.

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Guerrillero Heroico

In Guerrillero Heroico, how is the Iconography discussed?

If this were a photo session, you couldn't have asked for more. The model, long-haired with steely gaze and wispy guerrillero beard. Jacket zipped to the chin. Collar up and hair uncombed. Jaw set in anger. Beret at a perfect, rakish tilt. There's tension even in his pose: his shoulders turning one way, his face another. And those eyes, mournful but defiant, staring up and to the right as if at some distant vision of the future, or a giant, slow-approaching foe. Journalist Michael Casey, in his 2009 book Che's Afterlife: The Legacy of an Image, notes how the universal image can be found "in all corners of the world" and theorizes that it arrived as a symbol of rebellion during an era when the world was aching for change. In defining Korda's photograph as a "brand" and "quintessential post-modern icon", Casey notes that somehow the photograph encapsulates "hope and beauty", which causes people around the globe to "invest their dreams in it". While David Kunzle, author of the book Che Guevara: Icon, Myth, and Message, has opined that "The beret functions subliminally as a flattened halo." Trisha Ziff, the curator of Che! Revolution and Commerce describes Guerrillero Heroico as a "statuesque image taken from below", which "derives from a visual language of mythologized heroes harking back to an era of socialist realism" while referencing "a classical Christ-like demeanor". Jon Lee Anderson, author of Che Guevara: A Revolutionary Life, in the photograph Che appears "as the ultimate revolutionary icon" with "his eyes staring boldly into the future" and "his expression a virile embodiment of outrage at social injustice".The stylized image of Che Guevara, adapted from Korda's photograph, is commonly accompanied by several different symbols that add context to its inherent suggested meaning. The most common of these are the red star, hammer and sickle, Cuban flag, and the saying in Spanish "Hasta la Victoria Siempre" (translation: "Towards Victory, Always"). The multi-meaning phrase became the sign off for Che Guevara's numerous letters and speeches as a revolutionary, and represent the commitment to both never give up on the eventual triumph of a Marxist world revolution, and the belief that this victory once it occurs, will be eternal. As a result, "Hasta la Victoria Siempre" has become a de facto slogan or catchphrase, used as a motto by those who continue to support and/or admire Che Guevara's life and/or ideals.

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Guerrillero Heroico

In this artwork, how is the Iconography discussed?

If this were a photo session, you couldn't have asked for more. The model, long-haired with steely gaze and wispy guerrillero beard. Jacket zipped to the chin. Collar up and hair uncombed. Jaw set in anger. Beret at a perfect, rakish tilt. There's tension even in his pose: his shoulders turning one way, his face another. And those eyes, mournful but defiant, staring up and to the right as if at some distant vision of the future, or a giant, slow-approaching foe. Journalist Michael Casey, in his 2009 book Che's Afterlife: The Legacy of an Image, notes how the universal image can be found "in all corners of the world" and theorizes that it arrived as a symbol of rebellion during an era when the world was aching for change. In defining Korda's photograph as a "brand" and "quintessential post-modern icon", Casey notes that somehow the photograph encapsulates "hope and beauty", which causes people around the globe to "invest their dreams in it". While David Kunzle, author of the book Che Guevara: Icon, Myth, and Message, has opined that "The beret functions subliminally as a flattened halo." Trisha Ziff, the curator of Che! Revolution and Commerce describes Guerrillero Heroico as a "statuesque image taken from below", which "derives from a visual language of mythologized heroes harking back to an era of socialist realism" while referencing "a classical Christ-like demeanor". Jon Lee Anderson, author of Che Guevara: A Revolutionary Life, in the photograph Che appears "as the ultimate revolutionary icon" with "his eyes staring boldly into the future" and "his expression a virile embodiment of outrage at social injustice".The stylized image of Che Guevara, adapted from Korda's photograph, is commonly accompanied by several different symbols that add context to its inherent suggested meaning. The most common of these are the red star, hammer and sickle, Cuban flag, and the saying in Spanish "Hasta la Victoria Siempre" (translation: "Towards Victory, Always"). The multi-meaning phrase became the sign off for Che Guevara's numerous letters and speeches as a revolutionary, and represent the commitment to both never give up on the eventual triumph of a Marxist world revolution, and the belief that this victory once it occurs, will be eternal. As a result, "Hasta la Victoria Siempre" has become a de facto slogan or catchphrase, used as a motto by those who continue to support and/or admire Che Guevara's life and/or ideals.

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Guerrillero Heroico

Focus on Guerrillero Heroico and explore the Copyright status.

For decades the famous image was unhindered by international copyright agreements, because Cuba was not a signatory to the Berne Convention. Fidel Castro described it as a "bourgeois concept" which meant that artists and advertisers were free to use Korda's work as they pleased. Legally, Cuban Law no. 156 signed on September 28, 1994, to amend part of Law no. 14 of the 1977 Copyright Act (Article 47), states that pictures taken in Cuba fall into the public domain worldwide, 25 years after their first use. As for the United States, since the image was first published in Cuba without compliance with U.S. copyright formalities and used in Cuba before February 20, 1972 (more than 25 years before Cuba signed the Berne Convention in 1997) it is also generally, although not universally, considered to be in the public domain. Despite conflicting claims about whether or not the image could have copyright established, Korda's children have sought to control commercial use of the image from defamation. Korda's daughter Diana Diaz pursued a 2003 lawsuit in France against a Paris-based press rights group Reporters Without Borders, for using the Che photograph in a poster campaign decrying Cuba as "the world's largest jail", aimed at dissuading French tourists from vacationing in Cuba after the jailing of 29 dissident journalists. In suing the group for 1.14 million euros, Diaz's lawyer, Randy Yaloz remarked that "we are going after everyone who betrays the moral rights of my client". Moral rights are a separate component of copyright law that are not recognized in the U.S., but are recognized in some other countries, notably in France where Diaz filed the lawsuit. Moral rights aim to protect the integrity of a work from defamation, distortion, slander, or offensive mutilation, even if the originator no longer owns the copyright. However, Reporters Without Borders stopped using the image before any legal judgment was rendered.Ariana Hernández-Reguant addressed the image's copyright status in 2004 in her article Copyrighting Che: Art and Authorship under Cuban Late Socialism. She expressed a skeptical view towards Korda's heirs being able to establish ownership over the image, noting in reference to the lawsuits involving the image, "There was never any official ruling on whether the depiction constituted a violation of copyright." The author goes on to state that: "Korda took the picture while working for a state-run newspaper, his actual property rights would be questionable under both Cuban and international law."In 2007, law student Sarah Levy also addressed the potential legal status of the image in Cuba. It was her ultimate contention that "in Cuba the copyright protection in Korda's Guevara photograph would have already expired, and despite the claims of ownership from Korda's heirs, the State would now hold any rights associated with the photograph." In regards to the more commonly disseminated stylized version of the photograph, lawyers say it will be an uphill struggle to deter non-photographic use of such a widely reproduced image, other than in countries like Italy where laws protect image rights.Guevara's heirs also believe they have legal justification to prevent the image's "exploitation" or slander. Guevara's Cuban widow Aleida March stated in 2005 that "We have a plan to deal with the misuse. We can't attack everyone with lances like Don Quixote, but we can try to maintain the ethics of Guevara's legacy." In reference to this pronouncement, Guevara's daughter Aleida Guevara told Reuters, "It will be costly and difficult because each country has different laws, but a limit has to be drawn."

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Guerrillero Heroico

Focus on this artwork and explore the Copyright status.

For decades the famous image was unhindered by international copyright agreements, because Cuba was not a signatory to the Berne Convention. Fidel Castro described it as a "bourgeois concept" which meant that artists and advertisers were free to use Korda's work as they pleased. Legally, Cuban Law no. 156 signed on September 28, 1994, to amend part of Law no. 14 of the 1977 Copyright Act (Article 47), states that pictures taken in Cuba fall into the public domain worldwide, 25 years after their first use. As for the United States, since the image was first published in Cuba without compliance with U.S. copyright formalities and used in Cuba before February 20, 1972 (more than 25 years before Cuba signed the Berne Convention in 1997) it is also generally, although not universally, considered to be in the public domain. Despite conflicting claims about whether or not the image could have copyright established, Korda's children have sought to control commercial use of the image from defamation. Korda's daughter Diana Diaz pursued a 2003 lawsuit in France against a Paris-based press rights group Reporters Without Borders, for using the Che photograph in a poster campaign decrying Cuba as "the world's largest jail", aimed at dissuading French tourists from vacationing in Cuba after the jailing of 29 dissident journalists. In suing the group for 1.14 million euros, Diaz's lawyer, Randy Yaloz remarked that "we are going after everyone who betrays the moral rights of my client". Moral rights are a separate component of copyright law that are not recognized in the U.S., but are recognized in some other countries, notably in France where Diaz filed the lawsuit. Moral rights aim to protect the integrity of a work from defamation, distortion, slander, or offensive mutilation, even if the originator no longer owns the copyright. However, Reporters Without Borders stopped using the image before any legal judgment was rendered.Ariana Hernández-Reguant addressed the image's copyright status in 2004 in her article Copyrighting Che: Art and Authorship under Cuban Late Socialism. She expressed a skeptical view towards Korda's heirs being able to establish ownership over the image, noting in reference to the lawsuits involving the image, "There was never any official ruling on whether the depiction constituted a violation of copyright." The author goes on to state that: "Korda took the picture while working for a state-run newspaper, his actual property rights would be questionable under both Cuban and international law."In 2007, law student Sarah Levy also addressed the potential legal status of the image in Cuba. It was her ultimate contention that "in Cuba the copyright protection in Korda's Guevara photograph would have already expired, and despite the claims of ownership from Korda's heirs, the State would now hold any rights associated with the photograph." In regards to the more commonly disseminated stylized version of the photograph, lawyers say it will be an uphill struggle to deter non-photographic use of such a widely reproduced image, other than in countries like Italy where laws protect image rights.Guevara's heirs also believe they have legal justification to prevent the image's "exploitation" or slander. Guevara's Cuban widow Aleida March stated in 2005 that "We have a plan to deal with the misuse. We can't attack everyone with lances like Don Quixote, but we can try to maintain the ethics of Guevara's legacy." In reference to this pronouncement, Guevara's daughter Aleida Guevara told Reuters, "It will be costly and difficult because each country has different laws, but a limit has to be drawn."

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Guerrillero Heroico

Explore the Books about the Further reading and viewing of this artwork, Guerrillero Heroico.

Alberto Korda: A Revolutionary Lens, by Diana Diaz & Mark Sanders, Steidl, 2007, ISBN 3-86521-458-4 Che's Afterlife: The Legacy of an Image, by Michael Casey, Vintage Books USA, 2009, ISBN 0-307-27930-8 Che Guevara: Revolutionary and Icon, by Trisha Ziff, Abrams Image, 2006, ISBN 0-8109-5718-3 Che: Images of a Revolutionary, by Oscar Sola, Pluto Press, 2000, ISBN 0-7453-1700-6 Che: The Photobiography of Che Guevara, Thunder's Mouth Press, 1998, ISBN 1-56025-187-5 Cuba by Korda, by Christophe Loviny & Alberto Korda, Ocean Press (AU), 2006, ISBN 1-920888-64-0 Self Portrait Che Guevara, by Ernesto Guevara & Victor Casaus, Ocean Press (AU), 2004, ISBN 1-876175-82-6

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Guerrillero Heroico

Explore the Books about the Further reading and viewing of this artwork.

Alberto Korda: A Revolutionary Lens, by Diana Diaz & Mark Sanders, Steidl, 2007, ISBN 3-86521-458-4 Che's Afterlife: The Legacy of an Image, by Michael Casey, Vintage Books USA, 2009, ISBN 0-307-27930-8 Che Guevara: Revolutionary and Icon, by Trisha Ziff, Abrams Image, 2006, ISBN 0-8109-5718-3 Che: Images of a Revolutionary, by Oscar Sola, Pluto Press, 2000, ISBN 0-7453-1700-6 Che: The Photobiography of Che Guevara, Thunder's Mouth Press, 1998, ISBN 1-56025-187-5 Cuba by Korda, by Christophe Loviny & Alberto Korda, Ocean Press (AU), 2006, ISBN 1-920888-64-0 Self Portrait Che Guevara, by Ernesto Guevara & Victor Casaus, Ocean Press (AU), 2004, ISBN 1-876175-82-6

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Guerrillero Heroico

In the context of Guerrillero Heroico, discuss the Films of the Further reading and viewing.

Che Guevara: Kordavision, 2008 (87 min). Directed by Hector Cruz Sandoval. Chevolution, 2008, Produced by Trisha Ziff & Directed by Luis Lopez, Red Envelope Entertainment. Personal Che, 2008, Directed by Adriana Mariño and Douglas Duarte.

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Guerrillero Heroico

In the context of this artwork, discuss the Films of the Further reading and viewing.

Che Guevara: Kordavision, 2008 (87 min). Directed by Hector Cruz Sandoval. Chevolution, 2008, Produced by Trisha Ziff & Directed by Luis Lopez, Red Envelope Entertainment. Personal Che, 2008, Directed by Adriana Mariño and Douglas Duarte.

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The Beggars

How does The Beggars elucidate its abstract?

The Beggars or The Cripples is an oil-on-panel by the Netherlandish Renaissance artist Pieter Bruegel the Elder, painted in 1568. It is now in the Louvre in Paris.

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The Beggars

How does this artwork elucidate its abstract?

The Beggars or The Cripples is an oil-on-panel by the Netherlandish Renaissance artist Pieter Bruegel the Elder, painted in 1568. It is now in the Louvre in Paris.

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The Beggars

Focus on The Beggars and analyze the History.

This work is the only painting by Bruegel in the Louvre, received as a gift in 1892. Attempts have been made to interpret the picture of five cripples and a beggar-woman as an allusion to a historical event: the badger's tails, or foxes' tails, on their clothes might refer to the Gueux, a rebel party formed against the government of Philip II of Spain and Granvelle; but these also occur in Bruegel's The Fight Between Carnival and Lent in Vienna, dated 1559. Still, the beggars are not quite ordinary beggars, as they wear carnival headgear representing various classes of society: a cardboard crown (the king), a paper shako (the soldier), a beret (the bourgeois), a cap (the peasant), and a mitre (the bishop). The work clearly has some satirical meaning, which has so far eluded interpretation. Perhaps physical imperfections are meant to symbolise moral decrepitude, which can affect all men irrespective of class.On the back of the painting are two inscriptions which seem to date from the 16th century. One is in Flemish, and in a very fragmentary state; the other is in Latin and records the admiration some humanist felt for Bruegel, whose art surpasses Nature itself.The painting dates from the end of Bruegel's career, when he showed a keener interest in the natural world. Tiny though it is, the landscape seen through the opening is bathed in a delicate light which simmers like dew on the foliage.

1290_NT

The Beggars

Focus on this artwork and analyze the History.

This work is the only painting by Bruegel in the Louvre, received as a gift in 1892. Attempts have been made to interpret the picture of five cripples and a beggar-woman as an allusion to a historical event: the badger's tails, or foxes' tails, on their clothes might refer to the Gueux, a rebel party formed against the government of Philip II of Spain and Granvelle; but these also occur in Bruegel's The Fight Between Carnival and Lent in Vienna, dated 1559. Still, the beggars are not quite ordinary beggars, as they wear carnival headgear representing various classes of society: a cardboard crown (the king), a paper shako (the soldier), a beret (the bourgeois), a cap (the peasant), and a mitre (the bishop). The work clearly has some satirical meaning, which has so far eluded interpretation. Perhaps physical imperfections are meant to symbolise moral decrepitude, which can affect all men irrespective of class.On the back of the painting are two inscriptions which seem to date from the 16th century. One is in Flemish, and in a very fragmentary state; the other is in Latin and records the admiration some humanist felt for Bruegel, whose art surpasses Nature itself.The painting dates from the end of Bruegel's career, when he showed a keener interest in the natural world. Tiny though it is, the landscape seen through the opening is bathed in a delicate light which simmers like dew on the foliage.

1291_T

The Beggars

Focus on The Beggars and explore the Analysis.

Modern eyes may be inclined to conclude that Brugel intended to invoke sympathy for the plight of the disabled figures, but from a historical perspective this is unlikely. Europeans of Bruegel's time gave little regard to beggars, and the painting provides hints that Bruegel shared this denigration: the figures are outside the town walls and are posed in such ways as to provoke contempt and amusement. The foxtail on some of the figures was a symbol at the time of ridicule in political caricature and real life. The woman behind them bears an empty bowl and may appear to be ignoring the beggars.

1291_NT

The Beggars

Focus on this artwork and explore the Analysis.

Modern eyes may be inclined to conclude that Brugel intended to invoke sympathy for the plight of the disabled figures, but from a historical perspective this is unlikely. Europeans of Bruegel's time gave little regard to beggars, and the painting provides hints that Bruegel shared this denigration: the figures are outside the town walls and are posed in such ways as to provoke contempt and amusement. The foxtail on some of the figures was a symbol at the time of ridicule in political caricature and real life. The woman behind them bears an empty bowl and may appear to be ignoring the beggars.

1292_T

Crucifixion (Antonello da Messina)

Focus on Crucifixion (Antonello da Messina) and explain the The Sibiu Crucifixion.

An early work appearing to be influenced by the Flemish school, the Sibiu Crucifixion was formerly attributed to an unknown 14th century German painter. A symbolic view of Messina is depicted in the background, probably an allusion to Jerusalem as requested by the unknown client, in a typical fashion of the time.

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Crucifixion (Antonello da Messina)

Focus on this artwork and explain the The Sibiu Crucifixion.

An early work appearing to be influenced by the Flemish school, the Sibiu Crucifixion was formerly attributed to an unknown 14th century German painter. A symbolic view of Messina is depicted in the background, probably an allusion to Jerusalem as requested by the unknown client, in a typical fashion of the time.

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Crucifixion (Antonello da Messina)

Explore the The Antwerp Crucifixion of this artwork, Crucifixion (Antonello da Messina).

The Antwerp Crucifixion represents Christ crucified between two evil-doers, with Mary and John the Evangelist seated on the ground. The work shows a landscape typical of the Flemish school in the lower part; the well devised spatial disposition of the crosses in the upper half demonstrates a full knowledge of the innovative method of perspective known to Italian art of the period. The Italian scholar Roberto Longhi asserted that the upper part was added several years later. At the bottom left the painter wrote his name on a scroll and the date: 1475.

1293_NT

Crucifixion (Antonello da Messina)

Explore the The Antwerp Crucifixion of this artwork.

The Antwerp Crucifixion represents Christ crucified between two evil-doers, with Mary and John the Evangelist seated on the ground. The work shows a landscape typical of the Flemish school in the lower part; the well devised spatial disposition of the crosses in the upper half demonstrates a full knowledge of the innovative method of perspective known to Italian art of the period. The Italian scholar Roberto Longhi asserted that the upper part was added several years later. At the bottom left the painter wrote his name on a scroll and the date: 1475.

1294_T

Crucifixion (Antonello da Messina)

Focus on Crucifixion (Antonello da Messina) and discuss the The London Crucifixion.

Belonging to a later phase, the London Crucifixion is one of the few paintings signed and dated by Antonello: "1475/antonellus messaneus/me pinxit". The geometrical composition is divided in two parts by the cross and the lake in the background, with the Virgin on the left and St. John on the right.

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Crucifixion (Antonello da Messina)

Focus on this artwork and discuss the The London Crucifixion.

Belonging to a later phase, the London Crucifixion is one of the few paintings signed and dated by Antonello: "1475/antonellus messaneus/me pinxit". The geometrical composition is divided in two parts by the cross and the lake in the background, with the Virgin on the left and St. John on the right.

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Statue of Edward Everett Hale

How does Statue of Edward Everett Hale elucidate its abstract?

A statue of author, historian, and minister Edward Everett Hale by Bela Pratt is installed in Boston's Public Garden, in the U.S. state of Massachusetts. The bronze sculpture was dedicated on March 3, 1913. It was surveyed as part of the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.

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Statue of Edward Everett Hale

How does this artwork elucidate its abstract?

A statue of author, historian, and minister Edward Everett Hale by Bela Pratt is installed in Boston's Public Garden, in the U.S. state of Massachusetts. The bronze sculpture was dedicated on March 3, 1913. It was surveyed as part of the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.

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Sutton twin towns mural

Focus on Sutton twin towns mural and analyze the abstract.

The Sutton Twin towns mural is a large mural in the form of seven individual paintings situated in Sutton High Street in the town of Sutton in Greater London, England. It is one of six works of public art in Sutton town centre.

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Sutton twin towns mural

Focus on this artwork and analyze the abstract.

The Sutton Twin towns mural is a large mural in the form of seven individual paintings situated in Sutton High Street in the town of Sutton in Greater London, England. It is one of six works of public art in Sutton town centre.

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Sutton twin towns mural

In Sutton twin towns mural, how is the Design and location discussed?

The mural was created in 1993 by two Public artists Gary Drostle and Rob Turner on the 25th anniversary of Sutton's twinning in 1968 with Wilmersdorf in Berlin. Seven individual paintings make up the mural. It is positioned along the north flank of a Victorian commercial building at the southern end of the High Street near the train station at the junction with Sutton Court Road. The paintings are on plywood and inset within seven mock window frames. The paintings depict scenes of the London Borough of Sutton and its four European twin towns: Gagny, a suburb of Paris in France; Gladsaxe, a suburb of Copenhagen in Denmark; Minden in North Rhine-Westphalia in Germany; and Charlottenburg-Wilmersdorf in Berlin in Germany. (There is also a "friendship link" with Tavarnelle, which is 16 miles south of Florence in Italy.)The twin towns mural was commended by the Sutton and Cheam Society in 1994. Drostle and Turner also produced the Sutton heritage mosaic.

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Sutton twin towns mural

In this artwork, how is the Design and location discussed?

The mural was created in 1993 by two Public artists Gary Drostle and Rob Turner on the 25th anniversary of Sutton's twinning in 1968 with Wilmersdorf in Berlin. Seven individual paintings make up the mural. It is positioned along the north flank of a Victorian commercial building at the southern end of the High Street near the train station at the junction with Sutton Court Road. The paintings are on plywood and inset within seven mock window frames. The paintings depict scenes of the London Borough of Sutton and its four European twin towns: Gagny, a suburb of Paris in France; Gladsaxe, a suburb of Copenhagen in Denmark; Minden in North Rhine-Westphalia in Germany; and Charlottenburg-Wilmersdorf in Berlin in Germany. (There is also a "friendship link" with Tavarnelle, which is 16 miles south of Florence in Italy.)The twin towns mural was commended by the Sutton and Cheam Society in 1994. Drostle and Turner also produced the Sutton heritage mosaic.

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Sutton twin towns mural

Focus on Sutton twin towns mural and explore the Mural features.

The five main paintings show a number of the main features of their respective areas, along with the heraldic shield of each above the other images. Each painting also features a plant as a visual representation of its subject's environmental awareness. In the case of Sutton this is in a separate smaller painting (above its main one) showing a beech tree, intended as a symbol of prosperity and from which Carshalton Beeches in the borough derives its name.The artists involved pupils from Sutton schools and community groups in the early designs; each group dealt with a different town. Sutton's mural painting shows a range of its most well known landmarks, including Whitehall in Cheam, Carshalton Ponds, Honeywood House and the spire of Trinity Church in Sutton town centre. Gagny's shows the Hôtel De Ville, an ancient manor surrounded by a garden. The mural for Gladsaxe shows Bagsværd Lake, Bagsværd Church and Højgârd. Minden's mural features its cathedral, the Westerorbrücke bridge and the Mittelandkanal Aqueduct.

1298_NT

Sutton twin towns mural

Focus on this artwork and explore the Mural features.

The five main paintings show a number of the main features of their respective areas, along with the heraldic shield of each above the other images. Each painting also features a plant as a visual representation of its subject's environmental awareness. In the case of Sutton this is in a separate smaller painting (above its main one) showing a beech tree, intended as a symbol of prosperity and from which Carshalton Beeches in the borough derives its name.The artists involved pupils from Sutton schools and community groups in the early designs; each group dealt with a different town. Sutton's mural painting shows a range of its most well known landmarks, including Whitehall in Cheam, Carshalton Ponds, Honeywood House and the spire of Trinity Church in Sutton town centre. Gagny's shows the Hôtel De Ville, an ancient manor surrounded by a garden. The mural for Gladsaxe shows Bagsværd Lake, Bagsværd Church and Højgârd. Minden's mural features its cathedral, the Westerorbrücke bridge and the Mittelandkanal Aqueduct.

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Sutton twin towns mural

Focus on Sutton twin towns mural and explain the 2011 information board.

The Sutton Council determined to erect "a new information board... to tell people the story of the murals." In 2011 it was installed by the local council in the street facing the mural outside the Cock and Bull pub. Councillor Graham Tope, explained the purpose of the new sign:These murals are an important part of our borough's history and I think it's fitting that people should be able to learn more about them. The borough's first European ties were established in 1968 ..... twinning continues to be a noteworthy part of the borough's identity.

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Sutton twin towns mural

Focus on this artwork and explain the 2011 information board.

The Sutton Council determined to erect "a new information board... to tell people the story of the murals." In 2011 it was installed by the local council in the street facing the mural outside the Cock and Bull pub. Councillor Graham Tope, explained the purpose of the new sign:These murals are an important part of our borough's history and I think it's fitting that people should be able to learn more about them. The borough's first European ties were established in 1968 ..... twinning continues to be a noteworthy part of the borough's identity.

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Sutton twin towns mural

Explore the Engagement with twin towns of this artwork, Sutton twin towns mural.

In November 2015 the Mayor of Sutton sent condolences to its twin town Gagny, Paris following the terrorist attacks on Paris that month.In September 2016 French folk dance group L’Aubade de Quercy from Gagny joined their UK counterparts, Pennyroyal Clog Dancers and the East Surrey Morris Men, in Trinity Square, Sutton town centre.

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Sutton twin towns mural

Explore the Engagement with twin towns of this artwork.

In November 2015 the Mayor of Sutton sent condolences to its twin town Gagny, Paris following the terrorist attacks on Paris that month.In September 2016 French folk dance group L’Aubade de Quercy from Gagny joined their UK counterparts, Pennyroyal Clog Dancers and the East Surrey Morris Men, in Trinity Square, Sutton town centre.