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1301_T

Magistrate of Brussels

Focus on Magistrate of Brussels and discuss the abstract.

Magistrate of Brussels is an unfinished oil painting or oil sketch by Anthony van Dyck, rediscovered in 2013 after being shown on episodes of the BBC television programme Antiques Roadshow. The work was purchased for £400 from a Nantwich, Cheshire, antiques shop some years previously by Father Jamie MacLeod and hung in the Whaley Hall Ecumenical Retreat House, which he runs, at Whaley Bridge. At one point, it fell from the wall there, smashing a CD player, but sustained no significant damage. The frame was labelled "Sir A van Dyck", but the picture was thought to be a copy. He took the painting to a recording of Antiques Roadshow at Newstead Abbey, Nottinghamshire, in 2012.MacLeod then took it to a second recording, at the Royal Agricultural University, Cirencester. There, it was recognised as potentially a van Dyck by presenter Fiona Bruce, who had been working with art historian Philip Mould on an episode of another BBC programme (Fake or Fortune?), which recently featured works by van Dyck. Mould shared her suspicions and suggested that the work be treated by an expert restorer, in what he described as "the art equivalent of an [archaeological] excavation". The painting was restored by Simon Gillespie, who used solvent to remove layers of overpainting, in a process that took the equivalent of three weeks of full-time work. The removal of later painting returned what had appeared to be a finished portrait into a sketch with unfinished details. The ruff in particular was shown only in outline. The work was then confirmed as van Dyck's by Christopher Brown, a noted authority on the painter. Mould thought that the painting was probably a preparatory sketch for Van Dyck's 1634 work Magistrates of Brussels, which was destroyed in the Bombardment of Brussels in 1695. Its composition is known from a grisaille sketch, in the Ecole Nationale Superieure des Beaux-Arts in Paris, which van Dyck prepared to show how he planned to lay out the piece. Another three sketches of magistrates' heads for the same work, with the same red background as MacLeod's painting, are known to exist: two in the Ashmolean Museum at Oxford, and a third which was sold to an unknown buyer. A further work, in the Royal Collection, may also be from the same series. Mould pointed out that the pose of the MacLeod portrait matched that of the rightmost individual in the grisaille sketch.Mould valued the sketch at between £300,000 and £400,000, making it the most valuable painting identified in the 36-year history of the programme. MacLeod announced his intention to sell it and to use the money to buy church bells, in commemoration of the centenary of the start of the First World War. In May 2014, it was announced that the work would be auctioned at Christie's on 8 July. Still, it failed to sell on that occasion. It was later sold to a private collector. In 2015, the painting was on loan to the Rubenshuis, and in 2016 it was exhibited at the Frick Collection in New York. As of September 2018, it remained a part of the Rubenshuis exhibition.

1301_NT

Magistrate of Brussels

Focus on this artwork and discuss the abstract.

Magistrate of Brussels is an unfinished oil painting or oil sketch by Anthony van Dyck, rediscovered in 2013 after being shown on episodes of the BBC television programme Antiques Roadshow. The work was purchased for £400 from a Nantwich, Cheshire, antiques shop some years previously by Father Jamie MacLeod and hung in the Whaley Hall Ecumenical Retreat House, which he runs, at Whaley Bridge. At one point, it fell from the wall there, smashing a CD player, but sustained no significant damage. The frame was labelled "Sir A van Dyck", but the picture was thought to be a copy. He took the painting to a recording of Antiques Roadshow at Newstead Abbey, Nottinghamshire, in 2012.MacLeod then took it to a second recording, at the Royal Agricultural University, Cirencester. There, it was recognised as potentially a van Dyck by presenter Fiona Bruce, who had been working with art historian Philip Mould on an episode of another BBC programme (Fake or Fortune?), which recently featured works by van Dyck. Mould shared her suspicions and suggested that the work be treated by an expert restorer, in what he described as "the art equivalent of an [archaeological] excavation". The painting was restored by Simon Gillespie, who used solvent to remove layers of overpainting, in a process that took the equivalent of three weeks of full-time work. The removal of later painting returned what had appeared to be a finished portrait into a sketch with unfinished details. The ruff in particular was shown only in outline. The work was then confirmed as van Dyck's by Christopher Brown, a noted authority on the painter. Mould thought that the painting was probably a preparatory sketch for Van Dyck's 1634 work Magistrates of Brussels, which was destroyed in the Bombardment of Brussels in 1695. Its composition is known from a grisaille sketch, in the Ecole Nationale Superieure des Beaux-Arts in Paris, which van Dyck prepared to show how he planned to lay out the piece. Another three sketches of magistrates' heads for the same work, with the same red background as MacLeod's painting, are known to exist: two in the Ashmolean Museum at Oxford, and a third which was sold to an unknown buyer. A further work, in the Royal Collection, may also be from the same series. Mould pointed out that the pose of the MacLeod portrait matched that of the rightmost individual in the grisaille sketch.Mould valued the sketch at between £300,000 and £400,000, making it the most valuable painting identified in the 36-year history of the programme. MacLeod announced his intention to sell it and to use the money to buy church bells, in commemoration of the centenary of the start of the First World War. In May 2014, it was announced that the work would be auctioned at Christie's on 8 July. Still, it failed to sell on that occasion. It was later sold to a private collector. In 2015, the painting was on loan to the Rubenshuis, and in 2016 it was exhibited at the Frick Collection in New York. As of September 2018, it remained a part of the Rubenshuis exhibition.

1302_T

Halbzeit

How does Halbzeit elucidate its abstract?

Halbzeit is a painting by the Luxembourgish artist Michel Majerus. Created in 2002, it was one of the last paintings by the artist before he died in an aviation accident, and is part of the collection of the Grand Duke Jean Museum of Modern Art (Mudam) in Luxembourg City (acquired in 2002). It is painted with acrylic paint on canvas and is 220 cm high and 200 cm wide.

1302_NT

Halbzeit

How does this artwork elucidate its abstract?

Halbzeit is a painting by the Luxembourgish artist Michel Majerus. Created in 2002, it was one of the last paintings by the artist before he died in an aviation accident, and is part of the collection of the Grand Duke Jean Museum of Modern Art (Mudam) in Luxembourg City (acquired in 2002). It is painted with acrylic paint on canvas and is 220 cm high and 200 cm wide.

1303_T

Halbzeit

Focus on Halbzeit and analyze the Description.

The large canvas looks as if it was painted very quickly, in a gestural manner, with all-over violet streaks of paint on top of a previous work. Majerus seems to have scratched into the wet layer of purple paint in a semi-random way. The bottom right quarter of the canvas depicts two words that look like logos of consumer products found in a supermarket: thirst and juice. A blue starburst is placed between both words.

1303_NT

Halbzeit

Focus on this artwork and analyze the Description.

The large canvas looks as if it was painted very quickly, in a gestural manner, with all-over violet streaks of paint on top of a previous work. Majerus seems to have scratched into the wet layer of purple paint in a semi-random way. The bottom right quarter of the canvas depicts two words that look like logos of consumer products found in a supermarket: thirst and juice. A blue starburst is placed between both words.

1304_T

Halbzeit

In Halbzeit, how is the Interpretation discussed?

In a lot of his work, Michel Majerus used elements from mass culture and popular culture, from video games and pop music to corporate language. In Halbzeit, the two depicted words or logos, thirst - juice, sound like a commercial slogan or advertisement, which immediately connects a consumer's desire ('thirst') with a product ('juice').The title of the painting can be translated to the English term half-time, referring to the interval of time between two halves of a sports match. According to the Mudam, Michel Majerus and this work, Halbzeit, talk about the concept of time and more specifically the present era, where time is sold, commercialized and divided. The half-time in this work is the moment where an advertisement reaches its target: the consumer.

1304_NT

Halbzeit

In this artwork, how is the Interpretation discussed?

In a lot of his work, Michel Majerus used elements from mass culture and popular culture, from video games and pop music to corporate language. In Halbzeit, the two depicted words or logos, thirst - juice, sound like a commercial slogan or advertisement, which immediately connects a consumer's desire ('thirst') with a product ('juice').The title of the painting can be translated to the English term half-time, referring to the interval of time between two halves of a sports match. According to the Mudam, Michel Majerus and this work, Halbzeit, talk about the concept of time and more specifically the present era, where time is sold, commercialized and divided. The half-time in this work is the moment where an advertisement reaches its target: the consumer.

1305_T

The Waltz (Claudel)

Focus on The Waltz (Claudel) and explore the abstract.

The Waltz (French: La valse) or The Waltzers (French: Les valseurs) is a sculpture by French artist Camille Claudel. It depicts two figures, a man and a woman, locked in an amorous embrace as they dance a waltz. The work was inspired by Claudel's burgeoning love affair with her mentor and employer Auguste Rodin. Various versions were made from 1889 to 1905, initially modelled in plaster, and later cast in bronze. Examples are held by the Musée Rodin and the Musée Camille Claudel.

1305_NT

The Waltz (Claudel)

Focus on this artwork and explore the abstract.

The Waltz (French: La valse) or The Waltzers (French: Les valseurs) is a sculpture by French artist Camille Claudel. It depicts two figures, a man and a woman, locked in an amorous embrace as they dance a waltz. The work was inspired by Claudel's burgeoning love affair with her mentor and employer Auguste Rodin. Various versions were made from 1889 to 1905, initially modelled in plaster, and later cast in bronze. Examples are held by the Musée Rodin and the Musée Camille Claudel.

1306_T

The Waltz (Claudel)

Focus on The Waltz (Claudel) and explain the Background.

Claudel was studying with Alfred Boucher in Paris when she was first introduced to Rodin in 1883, when she was aged 19. She joined his studio around 1884, where she assisted him with ongoing works such as his Gates of Hell and Burghers of Calais. She also worked on her own sculptures under Rodin's guidance. They quickly fell into a passionate romantic relationship. Claudel became increasingly frustrated with Rodin's unwillingness to break away from his long-term mistress, Rose Beuret, and their love affair ended in 1892. Claudel and Rodin continued to work together until 1898, but their relationship deteriorated irretrievably after Rodin saw her transparently autobiographical sculpture The Mature Age, which depicts a young woman pleading with her older lover to leave his female companion.

1306_NT

The Waltz (Claudel)

Focus on this artwork and explain the Background.

Claudel was studying with Alfred Boucher in Paris when she was first introduced to Rodin in 1883, when she was aged 19. She joined his studio around 1884, where she assisted him with ongoing works such as his Gates of Hell and Burghers of Calais. She also worked on her own sculptures under Rodin's guidance. They quickly fell into a passionate romantic relationship. Claudel became increasingly frustrated with Rodin's unwillingness to break away from his long-term mistress, Rose Beuret, and their love affair ended in 1892. Claudel and Rodin continued to work together until 1898, but their relationship deteriorated irretrievably after Rodin saw her transparently autobiographical sculpture The Mature Age, which depicts a young woman pleading with her older lover to leave his female companion.

1307_T

The Waltz (Claudel)

Explore the Casts of this artwork, The Waltz (Claudel).

The original plaster version was bought by the founder Siot-Decauville and in 1893 produced in a single bronze cast the first version of The Waltz sometimes known as La valse avec voiles. Claudel worked on modified versions of The Waltz from 1895 to 1898, removing the drapery around the dancers' heads to make their faces visible. Claudel made several versions of this modified sculpture, with slightly differing poses, and presented sculptures to several of her friends and acquaintances, including Claude Debussy, Robert Godet and Frits Thaulow. The founder and art dealer Eugène Blot bought the rights to reproduce the sculpture from Siot-Decauville around 1902, and also bought the unique bronze cast of the first version. Blot sold this cast, and it was held in a private collection in Sweden until 1950, and then in another collection until sold at Sotheby's in June 2013, for £5,122,500. Blot also made bronze casts of the second version in 1905; he envisioned an edition of 50, but only 25 were made. In addition to the bronzes, other examples exist, including a green-glazed stoneware version, one of four versions exhibited together at the Musée Camille Claudel at Nogent-sur-Seine near Paris.

1307_NT

The Waltz (Claudel)

Explore the Casts of this artwork.

The original plaster version was bought by the founder Siot-Decauville and in 1893 produced in a single bronze cast the first version of The Waltz sometimes known as La valse avec voiles. Claudel worked on modified versions of The Waltz from 1895 to 1898, removing the drapery around the dancers' heads to make their faces visible. Claudel made several versions of this modified sculpture, with slightly differing poses, and presented sculptures to several of her friends and acquaintances, including Claude Debussy, Robert Godet and Frits Thaulow. The founder and art dealer Eugène Blot bought the rights to reproduce the sculpture from Siot-Decauville around 1902, and also bought the unique bronze cast of the first version. Blot sold this cast, and it was held in a private collection in Sweden until 1950, and then in another collection until sold at Sotheby's in June 2013, for £5,122,500. Blot also made bronze casts of the second version in 1905; he envisioned an edition of 50, but only 25 were made. In addition to the bronzes, other examples exist, including a green-glazed stoneware version, one of four versions exhibited together at the Musée Camille Claudel at Nogent-sur-Seine near Paris.

1308_T

The Waltz (Claudel)

Focus on The Waltz (Claudel) and discuss the Sales.

Several examples have been sold at auction in recent years, with prices increasing considerably.There were two sales of bronze casts of the second version at Christie's in New York in 2000, with one sale at $204,000 and the other at $281,000 A cast of the second version sold at Christie's in London in 2011 for £724,450, one at Sotheby's in New York in May 2013 for $1.865 million, and one in Paris in 2014 for €829,500 The only known cast of the first version was sold at Sotheby's in London in June 2013, for £5,122,500 A small cast, described as a petit modèle of the second version, was sold at Sotheby's in New York in November 2013 for $869,000 A cast, described as a grand modèle of the second version, was sold in London on 20 June 2018, with a pre-sale estimate of £700,000 to £900,000

1308_NT

The Waltz (Claudel)

Focus on this artwork and discuss the Sales.

Several examples have been sold at auction in recent years, with prices increasing considerably.There were two sales of bronze casts of the second version at Christie's in New York in 2000, with one sale at $204,000 and the other at $281,000 A cast of the second version sold at Christie's in London in 2011 for £724,450, one at Sotheby's in New York in May 2013 for $1.865 million, and one in Paris in 2014 for €829,500 The only known cast of the first version was sold at Sotheby's in London in June 2013, for £5,122,500 A small cast, described as a petit modèle of the second version, was sold at Sotheby's in New York in November 2013 for $869,000 A cast, described as a grand modèle of the second version, was sold in London on 20 June 2018, with a pre-sale estimate of £700,000 to £900,000

1309_T

Erased de Kooning Drawing

How does Erased de Kooning Drawing elucidate its abstract?

Erased de Kooning Drawing (1953) is an early work of American artist Robert Rauschenberg. This conceptual work presents an almost blank piece of paper in a gilded frame. It was created in 1953 when Rauschenberg erased a drawing he obtained from the abstract expressionist and American artist Willem de Kooning. Rauschenberg's friend and fellow artist, Jasper Johns, later framed it in a gilded frame and added a written caption to mimic the framing style of the Royal Academy and monogramming found on Renaissance drawings and prints. The caption reads: "Erased de Kooning Drawing, Robert Rauschenberg, 1953" (see picture). It has been in the collection of the San Francisco Museum of Modern Art (SFMOMA) since 1998. SFMOMA describes the work as a "drawing [with] traces of drawing media on paper with a label and gilded frame." Some consider Erased de Kooning Drawing a Neo-Dadaist conceptual artwork. Others argue that the action of erasing highlights his relationship to a group of artists known as "The American Action Painters", as codified by American critic Harold Rosenberg.

1309_NT

Erased de Kooning Drawing

How does this artwork elucidate its abstract?

Erased de Kooning Drawing (1953) is an early work of American artist Robert Rauschenberg. This conceptual work presents an almost blank piece of paper in a gilded frame. It was created in 1953 when Rauschenberg erased a drawing he obtained from the abstract expressionist and American artist Willem de Kooning. Rauschenberg's friend and fellow artist, Jasper Johns, later framed it in a gilded frame and added a written caption to mimic the framing style of the Royal Academy and monogramming found on Renaissance drawings and prints. The caption reads: "Erased de Kooning Drawing, Robert Rauschenberg, 1953" (see picture). It has been in the collection of the San Francisco Museum of Modern Art (SFMOMA) since 1998. SFMOMA describes the work as a "drawing [with] traces of drawing media on paper with a label and gilded frame." Some consider Erased de Kooning Drawing a Neo-Dadaist conceptual artwork. Others argue that the action of erasing highlights his relationship to a group of artists known as "The American Action Painters", as codified by American critic Harold Rosenberg.

1310_T

Erased de Kooning Drawing

Focus on Erased de Kooning Drawing and analyze the Existing copies.

No photographs exist of the de Kooning work before its erasure, but in 2010 digital images were made by SFMOMA, as a part of the Rauschenberg Research Project, that enhanced the remaining traces of the underlying drawing. De Kooning's original drawing features several figures facing in different directions, including at least one female, probably made with pencil and charcoal. It is important to note, however, that some marks may have been erased by de Kooning himself as part of the initial creation of the work. The work, including its frame, measures 25.25 by 21.75 by 0.5 inches (64.1 cm × 55.2 cm × 1.3 cm). Some critics recognized the conceptual drive within Erased de Kooning Drawing, while others called the erasure an act of vandalism. De Kooning, however, gave Rauschenberg the drawing with full knowledge of the artist's intent. Without de Kooning's consent, this action could be more readily seen as vandalism. It was purchased by the SFMOMA in 1998 using a gift from Phyllis Wattis.

1310_NT

Erased de Kooning Drawing

Focus on this artwork and analyze the Existing copies.

No photographs exist of the de Kooning work before its erasure, but in 2010 digital images were made by SFMOMA, as a part of the Rauschenberg Research Project, that enhanced the remaining traces of the underlying drawing. De Kooning's original drawing features several figures facing in different directions, including at least one female, probably made with pencil and charcoal. It is important to note, however, that some marks may have been erased by de Kooning himself as part of the initial creation of the work. The work, including its frame, measures 25.25 by 21.75 by 0.5 inches (64.1 cm × 55.2 cm × 1.3 cm). Some critics recognized the conceptual drive within Erased de Kooning Drawing, while others called the erasure an act of vandalism. De Kooning, however, gave Rauschenberg the drawing with full knowledge of the artist's intent. Without de Kooning's consent, this action could be more readily seen as vandalism. It was purchased by the SFMOMA in 1998 using a gift from Phyllis Wattis.

1311_T

Erased de Kooning Drawing

In Erased de Kooning Drawing, how is the Relationship to De Kooning and abstract expressionism discussed?

Despite partaking in two different art movements, Rauschenberg had known many of the Abstract Expressionists from his frequent visits to the Cedar Tavern in Greenwich Village. Rauschenberg decided to approach William De Kooning and ask him for a drawing which he could erase. Rauschenberg was prepared for De Kooning to refuse the request, which would have made the work a performance piece. After Rauschenberg explained the concept for the piece, De Kooning decided to grant his request and provided him with a drawing that De Kooning would "miss". In later years, Rauschenberg would continue to make pieces that explored his relationship to the Abstract Expressionist, action painting and De Kooning himself. His piece Automobile Tire Print, which involved applying ink to the bottom of tires and driving along a 21 foot piece of paper, is typically seen as an homage to De Kooning and his love of brush work and driving. Rauschenberg's pieces Factum I & Factum II explore the expressive mark making typically used by De Kooning and his colleagues. Factum I consists of mixed media and seemingly "random" marks and paint drips. Factum II is a calculated and painstaking recreation of Factum I. This could be read as Rauschenberg calling into question the authenticity of the Abstract Expressionists and their work.

1311_NT

Erased de Kooning Drawing

In this artwork, how is the Relationship to De Kooning and abstract expressionism discussed?

Despite partaking in two different art movements, Rauschenberg had known many of the Abstract Expressionists from his frequent visits to the Cedar Tavern in Greenwich Village. Rauschenberg decided to approach William De Kooning and ask him for a drawing which he could erase. Rauschenberg was prepared for De Kooning to refuse the request, which would have made the work a performance piece. After Rauschenberg explained the concept for the piece, De Kooning decided to grant his request and provided him with a drawing that De Kooning would "miss". In later years, Rauschenberg would continue to make pieces that explored his relationship to the Abstract Expressionist, action painting and De Kooning himself. His piece Automobile Tire Print, which involved applying ink to the bottom of tires and driving along a 21 foot piece of paper, is typically seen as an homage to De Kooning and his love of brush work and driving. Rauschenberg's pieces Factum I & Factum II explore the expressive mark making typically used by De Kooning and his colleagues. Factum I consists of mixed media and seemingly "random" marks and paint drips. Factum II is a calculated and painstaking recreation of Factum I. This could be read as Rauschenberg calling into question the authenticity of the Abstract Expressionists and their work.

1312_T

Nevsky Prospekt (painting)

Focus on Nevsky Prospekt (painting) and explore the History.

This painting continued a lyrical series of works devoted to Leningrad, which Savinov began thirty years earlier. Savinov was attracted to the problems of showing people and objects in their environment. Nevsky Prospect has always been a sensitive barometer of the state of society. This painting truthfully and somewhat ironically show the atmosphere of anticipation and a lively crowd, which are specific not only for this part of the Nevsky Prospect before exit the Palace Square, but also for the mid-1980s in general.In 1991 Nevsky Prospekt was shown in Savonov's solo exhibition at the Leningrad Union of Artists. In 1997 the painting was displayed at the art exhibition "Memory of Teacher", dedicated to creativity of the Leningrad artists, who studied in the Alexander Osmerkin art studio in the Repin Institute of Arts.It was reproduced and described among 350 art works by Leningrad artists in the 2007 book Unknown Socialist Realism: The Leningrad School, published in Russian and English.

1312_NT

Nevsky Prospekt (painting)

Focus on this artwork and explore the History.

This painting continued a lyrical series of works devoted to Leningrad, which Savinov began thirty years earlier. Savinov was attracted to the problems of showing people and objects in their environment. Nevsky Prospect has always been a sensitive barometer of the state of society. This painting truthfully and somewhat ironically show the atmosphere of anticipation and a lively crowd, which are specific not only for this part of the Nevsky Prospect before exit the Palace Square, but also for the mid-1980s in general.In 1991 Nevsky Prospekt was shown in Savonov's solo exhibition at the Leningrad Union of Artists. In 1997 the painting was displayed at the art exhibition "Memory of Teacher", dedicated to creativity of the Leningrad artists, who studied in the Alexander Osmerkin art studio in the Repin Institute of Arts.It was reproduced and described among 350 art works by Leningrad artists in the 2007 book Unknown Socialist Realism: The Leningrad School, published in Russian and English.

1313_T

Diotallevi Madonna

Focus on Diotallevi Madonna and explain the abstract.

The 'Diotallevi Madonna is an oil on panel painting by Raphael, created c. 1504. It is held in the Bode Museum, in Berlin, where it entered in 1841-1842 from Marquess Diotallevi's collection in Rimini. Previously attributed to Raphael's teacher Perugino, almost all art historians now attribute it to Raphael, with the exception of Adolfo Venturi who attributes it and parts of Perugino's Madonna della Consolazione to an anonymous, "Master of the Diotallevi Madonna".The physiognomy and composition still draw heavily on Perugino. Roberto Longhi noted the more archaic painting of the Madonna compared to the work on the Christ Child and John the Baptist, leading him to theorise that it had been worked on around 1500–1502, abandoned and then completed in Florence around 1504–1505.

1313_NT

Diotallevi Madonna

Focus on this artwork and explain the abstract.

The 'Diotallevi Madonna is an oil on panel painting by Raphael, created c. 1504. It is held in the Bode Museum, in Berlin, where it entered in 1841-1842 from Marquess Diotallevi's collection in Rimini. Previously attributed to Raphael's teacher Perugino, almost all art historians now attribute it to Raphael, with the exception of Adolfo Venturi who attributes it and parts of Perugino's Madonna della Consolazione to an anonymous, "Master of the Diotallevi Madonna".The physiognomy and composition still draw heavily on Perugino. Roberto Longhi noted the more archaic painting of the Madonna compared to the work on the Christ Child and John the Baptist, leading him to theorise that it had been worked on around 1500–1502, abandoned and then completed in Florence around 1504–1505.

1314_T

Grön eld

Explore the abstract of this artwork, Grön eld.

Grön eld (Fire in Green) is a glass sculpture by Vicke Lindstrand at Järnvägstorget, which is located in front of Umeå Central Station, in Umeå, Sweden. It was, at nine meters, the tallest glass sculpture in the world at the time of its inauguration in 1970.

1314_NT

Grön eld

Explore the abstract of this artwork.

Grön eld (Fire in Green) is a glass sculpture by Vicke Lindstrand at Järnvägstorget, which is located in front of Umeå Central Station, in Umeå, Sweden. It was, at nine meters, the tallest glass sculpture in the world at the time of its inauguration in 1970.

1315_T

Grön eld

Focus on Grön eld and discuss the History.

Sven Wallander, the head of HSB, commissioned the sculpture after he had seen the glass sculpture Prisma by Vicke Lindstrand in Norrköping. HSB donated Grön eld to Umeå Municipality, which paid for the foundation.Lennart Johansson, who assembled the sculpture in 1970, told the press in December 2013 that he had hidden an image of Mao Zedong in one of the glass flames of the sculpture.

1315_NT

Grön eld

Focus on this artwork and discuss the History.

Sven Wallander, the head of HSB, commissioned the sculpture after he had seen the glass sculpture Prisma by Vicke Lindstrand in Norrköping. HSB donated Grön eld to Umeå Municipality, which paid for the foundation.Lennart Johansson, who assembled the sculpture in 1970, told the press in December 2013 that he had hidden an image of Mao Zedong in one of the glass flames of the sculpture.

1316_T

Grön eld

How does Grön eld elucidate its The sculpture?

Grön eld consists of three twisted glass pillars that grow thinner at the top. The glass pillars are constructed of three thousand, nine millimeter thin, plates of glass made by Emmaboda glasverk in Sweden. The glass pieces are glued together with epoxy glue in order to cope with the harsh climate. The nine meter high sculpture weighs 45 tons and is standing on a heavy concrete pedestal with a piled foundation.

1316_NT

Grön eld

How does this artwork elucidate its The sculpture?

Grön eld consists of three twisted glass pillars that grow thinner at the top. The glass pillars are constructed of three thousand, nine millimeter thin, plates of glass made by Emmaboda glasverk in Sweden. The glass pieces are glued together with epoxy glue in order to cope with the harsh climate. The nine meter high sculpture weighs 45 tons and is standing on a heavy concrete pedestal with a piled foundation.

1317_T

Statue of John A. Macdonald (Wade)

Focus on Statue of John A. Macdonald (Wade) and analyze the abstract.

A statue of John A. Macdonald by George Edward Wade was installed in Kingston, Ontario, until 2021.

1317_NT

Statue of John A. Macdonald (Wade)

Focus on this artwork and analyze the abstract.

A statue of John A. Macdonald by George Edward Wade was installed in Kingston, Ontario, until 2021.

1318_T

Statue of John A. Macdonald (Wade)

In Statue of John A. Macdonald (Wade), how is the Relocation discussed?

In 2021 the statue was removed from its original spot at City Park with plans to move it to Cataraqui Cemetery, where Macdonald is buried. In August 2022, the cemetery board voted not to erect the statue. As of August 2023, there were still no plans for the statue.

1318_NT

Statue of John A. Macdonald (Wade)

In this artwork, how is the Relocation discussed?

In 2021 the statue was removed from its original spot at City Park with plans to move it to Cataraqui Cemetery, where Macdonald is buried. In August 2022, the cemetery board voted not to erect the statue. As of August 2023, there were still no plans for the statue.

1319_T

Malchiostro Annunciation

Focus on Malchiostro Annunciation and explore the abstract.

Malchiostro Annunciation is a painting by the Italian Renaissance artist Titian, completed around 1520, and housed in the Cathedral of Treviso, northern Italy. The Malchiostro Chapel, located to the right of the high altar of the Cathedral of Treviso, near the sacristy, was commissioned by Broccardo Malchiostro, secretary of the bishop and humanist Bernardo de' Rossi. Designed by Tullio of Antonio Lombardo, it was completed in 1519 and frescoed by Il Pordenone until 1520. The decoration was completed in around 1523, and this Annunciation was executed by Titian around that period, perhaps with the help of Paris Bordone. The face of the donor was possibly repainted after 1526. Lorenzo Lotto was inspired by this work for his Recanati Annunciation. The painting depicts the Annunciation in a church with a chessboard pavement. Titian, instead of painting the angel on the left and Mary on the right as usual, moved the Madonna into the foreground with the angel behind, pushed towards Mary by the divine light behind him. At the center, kneeling, is the donor, put in a rather far position from the viewer.

1319_NT

Malchiostro Annunciation

Focus on this artwork and explore the abstract.

Malchiostro Annunciation is a painting by the Italian Renaissance artist Titian, completed around 1520, and housed in the Cathedral of Treviso, northern Italy. The Malchiostro Chapel, located to the right of the high altar of the Cathedral of Treviso, near the sacristy, was commissioned by Broccardo Malchiostro, secretary of the bishop and humanist Bernardo de' Rossi. Designed by Tullio of Antonio Lombardo, it was completed in 1519 and frescoed by Il Pordenone until 1520. The decoration was completed in around 1523, and this Annunciation was executed by Titian around that period, perhaps with the help of Paris Bordone. The face of the donor was possibly repainted after 1526. Lorenzo Lotto was inspired by this work for his Recanati Annunciation. The painting depicts the Annunciation in a church with a chessboard pavement. Titian, instead of painting the angel on the left and Mary on the right as usual, moved the Madonna into the foreground with the angel behind, pushed towards Mary by the divine light behind him. At the center, kneeling, is the donor, put in a rather far position from the viewer.

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Adam Mickiewicz Monument, Gorzów Wielkopolski

Focus on Adam Mickiewicz Monument, Gorzów Wielkopolski and explain the abstract.

The Adam Mickiewicz monument in Gorzów Wielkopolski is a notable Gorzów Wielkopolski statue, located near a cross of Lwów Eaglets Street and Władysław Sikorski Street. The monument was designed by Józef Gosławski.

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Adam Mickiewicz Monument, Gorzów Wielkopolski

Focus on this artwork and explain the abstract.

The Adam Mickiewicz monument in Gorzów Wielkopolski is a notable Gorzów Wielkopolski statue, located near a cross of Lwów Eaglets Street and Władysław Sikorski Street. The monument was designed by Józef Gosławski.

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Adam Mickiewicz Monument, Gorzów Wielkopolski

Explore the History of this artwork, Adam Mickiewicz Monument, Gorzów Wielkopolski.

The first monument erected by Poles in Gorzów Wielkopolski was to be the Freedom Monument. At the end of 1945, the starosty laid the foundation stone and the erection act. Then the work was stopped. Ten years later, the manager of the Juliusz Osterwa Theatre, Leon Haegenbarth, proposed to commemorate Adam Mickiewicz, whose centenary of death was just being celebrated. The idea was supported by the Municipal National Council and the Social Building Committee was established. It was chaired by Dr. Edward Stapf. The committee announced a fundraising in schools and workplaces. A tax of five pence in the price of tram tickets was also introduced in Gorzów for this purpose. The project was prepared by the Poznań-based sculptor Józef Gosławski, author of the Fryderyk Chopin monument in Żelazowa Wola, among others. As the bronze turned out to be too expensive, the figure of the bard was made of cast iron. The cast was produced by the Mechanical Plants "Gorzów" (Polish: Zakłady Mechaniczne "Gorzów"). Funds for monument came from contributions of local society. In Gosławski's design, Mickiewicz held a pen in his left hand and a book in his right hand. Members of the Social Construction Committee decided that the pen should be removed and the left hand should point to the book. As a result, it is 20 cm longer than the right hand. The ceremonial unveiling of the monument took place on 15 December 1957. The Mickiewicz monument has permanently inscribed itself in the panorama of Gorzów Wielkopolski, but for the following decades it did not evoke much emotion. It was remembered in 2008 on the occasion of the European Football Championship, to which the Polish team was promoted for the first time in history. It was then included in the social campaign "In Poland even monuments cheer for ours". Mickiewicz was then dressed in a white and red T-shirt of the Poland national team. Once again, the monument became famous when, due to the Sikorski Street reconstruction project, the City Council had to give its consent to move it by 12 meters. So that it would not stand in the middle of the roundabout planned for its place. During the stormy debates, the issue that Mickiewicz's sculpture has one hand 20 cm longer and should be shortened on that occasion came back. Controversy was also aroused by the fact that the displaced monument may stand backwards to the nearby Józef Piłsudski monument on Kasztanka. Ultimately, it was decided that Mickiewicz's sculpture would not be reworked and would take an exposed place, without colliding with Piłsudski's monument. The whole operation is still in the sphere of plans.

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Adam Mickiewicz Monument, Gorzów Wielkopolski

Explore the History of this artwork.

The first monument erected by Poles in Gorzów Wielkopolski was to be the Freedom Monument. At the end of 1945, the starosty laid the foundation stone and the erection act. Then the work was stopped. Ten years later, the manager of the Juliusz Osterwa Theatre, Leon Haegenbarth, proposed to commemorate Adam Mickiewicz, whose centenary of death was just being celebrated. The idea was supported by the Municipal National Council and the Social Building Committee was established. It was chaired by Dr. Edward Stapf. The committee announced a fundraising in schools and workplaces. A tax of five pence in the price of tram tickets was also introduced in Gorzów for this purpose. The project was prepared by the Poznań-based sculptor Józef Gosławski, author of the Fryderyk Chopin monument in Żelazowa Wola, among others. As the bronze turned out to be too expensive, the figure of the bard was made of cast iron. The cast was produced by the Mechanical Plants "Gorzów" (Polish: Zakłady Mechaniczne "Gorzów"). Funds for monument came from contributions of local society. In Gosławski's design, Mickiewicz held a pen in his left hand and a book in his right hand. Members of the Social Construction Committee decided that the pen should be removed and the left hand should point to the book. As a result, it is 20 cm longer than the right hand. The ceremonial unveiling of the monument took place on 15 December 1957. The Mickiewicz monument has permanently inscribed itself in the panorama of Gorzów Wielkopolski, but for the following decades it did not evoke much emotion. It was remembered in 2008 on the occasion of the European Football Championship, to which the Polish team was promoted for the first time in history. It was then included in the social campaign "In Poland even monuments cheer for ours". Mickiewicz was then dressed in a white and red T-shirt of the Poland national team. Once again, the monument became famous when, due to the Sikorski Street reconstruction project, the City Council had to give its consent to move it by 12 meters. So that it would not stand in the middle of the roundabout planned for its place. During the stormy debates, the issue that Mickiewicz's sculpture has one hand 20 cm longer and should be shortened on that occasion came back. Controversy was also aroused by the fact that the displaced monument may stand backwards to the nearby Józef Piłsudski monument on Kasztanka. Ultimately, it was decided that Mickiewicz's sculpture would not be reworked and would take an exposed place, without colliding with Piłsudski's monument. The whole operation is still in the sphere of plans.

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Adam Mickiewicz Monument, Gorzów Wielkopolski

Focus on Adam Mickiewicz Monument, Gorzów Wielkopolski and discuss the Contemporary importance.

The Adam Mickiewicz monument was the first Polish monument erected in Gorzów Wielkopolski. At the same time, the first monument of the poet in the Zielona Góra Province and the second in the Western Territories. Despite its precursor, its role as a place of remembrance was for a long time unknown and only of local significance. The ceremonies were usually organized at the site occasionally, in connection with the anniversaries of the poet's birth or death. The monument remained present in tourist guides, but it is difficult to speak of its special distinction as an attraction for visitors. It was only the need to move and the discussion of this project by the local authorities and in the regional media that animated public interest in the monument. And school students from the Secondary School in Gorzów started to organize happenings at Mickiewicz Street to symbolize, among other things, the moving of the monument.

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Adam Mickiewicz Monument, Gorzów Wielkopolski

Focus on this artwork and discuss the Contemporary importance.

The Adam Mickiewicz monument was the first Polish monument erected in Gorzów Wielkopolski. At the same time, the first monument of the poet in the Zielona Góra Province and the second in the Western Territories. Despite its precursor, its role as a place of remembrance was for a long time unknown and only of local significance. The ceremonies were usually organized at the site occasionally, in connection with the anniversaries of the poet's birth or death. The monument remained present in tourist guides, but it is difficult to speak of its special distinction as an attraction for visitors. It was only the need to move and the discussion of this project by the local authorities and in the regional media that animated public interest in the monument. And school students from the Secondary School in Gorzów started to organize happenings at Mickiewicz Street to symbolize, among other things, the moving of the monument.

1323_T

Statue of Eusebio Kino

How does Statue of Eusebio Kino elucidate its abstract?

Eusebio Kino is a bronze sculpture depicting the Italian Jesuit, missionary, geographer, explorer, cartographer and astronomer of the same name by Suzanne Silvercruys, installed in the United States Capitol Visitor Center's Emancipation Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Arizona in 1965.

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Statue of Eusebio Kino

How does this artwork elucidate its abstract?

Eusebio Kino is a bronze sculpture depicting the Italian Jesuit, missionary, geographer, explorer, cartographer and astronomer of the same name by Suzanne Silvercruys, installed in the United States Capitol Visitor Center's Emancipation Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Arizona in 1965.

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USS Lancaster Eagle

Focus on USS Lancaster Eagle and analyze the History.

This eagle figurehead was carved for USS Lancaster (originally built in 1858) while the ship was at the Portsmouth Naval Shipyard located in Kittery, Maine for repairs. There had previously been no figurehead on the ship and an eagle was chosen because of its representation of the United States and the qualities it symbolizes, which are courage, liberty and immortality. Bellamy was chosen to carve the figurehead because of his skill and the fact that his work was highly prized, and for this task he received two dollars and thirty-two cents a day for payment. The piece took over a week to install underneath the bowsprit of the ship, which was still on the slipway at the time. The eagle was dismantled and brought to the ship, where it was then bolted together and mounted underneath the bowsprit using special scaffolding under the direction of Bellamy. Once this and the repairs of the ship were complete, Lancaster sailed off on 12 September 1881, without any type of dedication or launching ceremony.In December 1920, Admiral Samuel Robison, Commander of the Boston Navy Yard, inquired about the eagle and its condition in hopes of acquiring it for a Boston Naval Museum that was being proposed, but was never created. No action was taken until 9 December 1921, when the figurehead was ordered to be shipped to the Boston Navy Yard where it was set up in the chain park, inaccessible to the public. There the figurehead received very little care, allowing the elements to take a toll on the piece until it became a liability to the Navy. Because of the estimated cost to restore the figurehead, over $7000, the decision was made to sell it to the highest bidder, and on 4 April 1925, it was purchased for $262.89 by the Atlantic Marine Exchange of Boston. To avoid traffic issues, the eagle was shipped by way of a barge to the shop, which was located on the waterfront.At the shop, the eagle was displayed with a sign describing its origin, but nothing about Bellamy as designer and carver. It was also given a price tag of $2500. Earle Smith, an antique dealer acting as a representative for The Mariners' Museum, came to the shop 2 January 1934 to inquire about the eagle and managed to purchase it for $2200, not including shipping. To be shipped to Newport News, where it arrived in February 1934, the wings of the eagle had to be removed and all pieces were placed on a flatbed truck. Once at the museum, the eagle was fastened to the outside of the building using guy wires until 1936, when the main gallery was completed and the eagle could be moved inside. At some point in the early twentieth century, the eagle had been painted brown and white to mimic the natural colors of a bald eagle, and this was how the piece looked when it arrived at The Mariners' Museum in 1934. In 1960, museum workers scraped off all of the brown and white paint, getting down to the bare wood. A base coat was then applied, after which the eagle was gold leafed to return it to its original look.The Lancaster Eagle is the only known existing figurehead carved by Bellamy and is often considered to be his greatest masterpiece.

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USS Lancaster Eagle

Focus on this artwork and analyze the History.

This eagle figurehead was carved for USS Lancaster (originally built in 1858) while the ship was at the Portsmouth Naval Shipyard located in Kittery, Maine for repairs. There had previously been no figurehead on the ship and an eagle was chosen because of its representation of the United States and the qualities it symbolizes, which are courage, liberty and immortality. Bellamy was chosen to carve the figurehead because of his skill and the fact that his work was highly prized, and for this task he received two dollars and thirty-two cents a day for payment. The piece took over a week to install underneath the bowsprit of the ship, which was still on the slipway at the time. The eagle was dismantled and brought to the ship, where it was then bolted together and mounted underneath the bowsprit using special scaffolding under the direction of Bellamy. Once this and the repairs of the ship were complete, Lancaster sailed off on 12 September 1881, without any type of dedication or launching ceremony.In December 1920, Admiral Samuel Robison, Commander of the Boston Navy Yard, inquired about the eagle and its condition in hopes of acquiring it for a Boston Naval Museum that was being proposed, but was never created. No action was taken until 9 December 1921, when the figurehead was ordered to be shipped to the Boston Navy Yard where it was set up in the chain park, inaccessible to the public. There the figurehead received very little care, allowing the elements to take a toll on the piece until it became a liability to the Navy. Because of the estimated cost to restore the figurehead, over $7000, the decision was made to sell it to the highest bidder, and on 4 April 1925, it was purchased for $262.89 by the Atlantic Marine Exchange of Boston. To avoid traffic issues, the eagle was shipped by way of a barge to the shop, which was located on the waterfront.At the shop, the eagle was displayed with a sign describing its origin, but nothing about Bellamy as designer and carver. It was also given a price tag of $2500. Earle Smith, an antique dealer acting as a representative for The Mariners' Museum, came to the shop 2 January 1934 to inquire about the eagle and managed to purchase it for $2200, not including shipping. To be shipped to Newport News, where it arrived in February 1934, the wings of the eagle had to be removed and all pieces were placed on a flatbed truck. Once at the museum, the eagle was fastened to the outside of the building using guy wires until 1936, when the main gallery was completed and the eagle could be moved inside. At some point in the early twentieth century, the eagle had been painted brown and white to mimic the natural colors of a bald eagle, and this was how the piece looked when it arrived at The Mariners' Museum in 1934. In 1960, museum workers scraped off all of the brown and white paint, getting down to the bare wood. A base coat was then applied, after which the eagle was gold leafed to return it to its original look.The Lancaster Eagle is the only known existing figurehead carved by Bellamy and is often considered to be his greatest masterpiece.

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USS Lancaster Eagle

In USS Lancaster Eagle, how is the The "Bellamy Eagle" discussed?

Bellamy was known to carve other types of objects, but because he made eagles his specialty and they became so highly prized for their quality, his style has become known as the "Bellamy Eagle." While every eagle carved by Bellamy was unique, they had certain common characteristics. One of these was the beak, which was generally broad and flattened along the top and front with the top meeting or hanging over the bottom, giving it the look of a rectangular hook. The eyes were another tell-tale sign of an eagle carved by Bellamy as the eye sockets were generally heavily incised. A third common characteristic is the deep hollow beneath the wings that gave the eagles the illusion of lift and power in association with flight, which is visible in the Lancaster Eagle.

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USS Lancaster Eagle

In this artwork, how is the The "Bellamy Eagle" discussed?

Bellamy was known to carve other types of objects, but because he made eagles his specialty and they became so highly prized for their quality, his style has become known as the "Bellamy Eagle." While every eagle carved by Bellamy was unique, they had certain common characteristics. One of these was the beak, which was generally broad and flattened along the top and front with the top meeting or hanging over the bottom, giving it the look of a rectangular hook. The eyes were another tell-tale sign of an eagle carved by Bellamy as the eye sockets were generally heavily incised. A third common characteristic is the deep hollow beneath the wings that gave the eagles the illusion of lift and power in association with flight, which is visible in the Lancaster Eagle.

1326_T

Virgin from Ger

Focus on Virgin from Ger and explore the abstract.

The Virgin from Ger is a 12th century sculpture exhibited at the National Art Museum of Catalonia in Barcelona.

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Virgin from Ger

Focus on this artwork and explore the abstract.

The Virgin from Ger is a 12th century sculpture exhibited at the National Art Museum of Catalonia in Barcelona.

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Virgin from Ger

Focus on Virgin from Ger and explain the Description.

Carved images in wood were one of the basic elements of a Romanesque church and were located mainly around the altar. They were placed in prominent positions, but could also be used as reliquaries and sometimes took part in certain liturgical events such as processions. The Virgin from Ger is one of the most important examples of wood carving from the twelfth century in Catalonia, on account of the type it represents as well as its brilliant technique. To these features must be added its good state of general preservation. Iconographically, it corresponds to the concept of Mary as the Sedes Sapientiae—that is, the seat of wisdom—and symbolises the Church. This is why the figure of the Child appears front-on and rigid, without any sign relating Him to Mary. It is worth pointing out the softness of Mary’s facial features and of the folds of the clothing. From early twentieth-century photographs we know that this image was retouched and adapted for a new concept of the subject. The Child was moved and placed on Mary’s left knee. This fact is of great interest as it reminds us that some of these works were used outside the period when they were first created and were adapted to the new demands of religious worship and thought.

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Virgin from Ger

Focus on this artwork and explain the Description.

Carved images in wood were one of the basic elements of a Romanesque church and were located mainly around the altar. They were placed in prominent positions, but could also be used as reliquaries and sometimes took part in certain liturgical events such as processions. The Virgin from Ger is one of the most important examples of wood carving from the twelfth century in Catalonia, on account of the type it represents as well as its brilliant technique. To these features must be added its good state of general preservation. Iconographically, it corresponds to the concept of Mary as the Sedes Sapientiae—that is, the seat of wisdom—and symbolises the Church. This is why the figure of the Child appears front-on and rigid, without any sign relating Him to Mary. It is worth pointing out the softness of Mary’s facial features and of the folds of the clothing. From early twentieth-century photographs we know that this image was retouched and adapted for a new concept of the subject. The Child was moved and placed on Mary’s left knee. This fact is of great interest as it reminds us that some of these works were used outside the period when they were first created and were adapted to the new demands of religious worship and thought.

1328_T

Testament and Death of Moses

Explore the abstract of this artwork, Testament and Death of Moses.

The Testament and Death of Moses is a fresco attributed to the Italian Renaissance painters Luca Signorelli and Bartolomeo della Gatta, executed in around 1482 and located in the Sistine Chapel, Rome.

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Testament and Death of Moses

Explore the abstract of this artwork.

The Testament and Death of Moses is a fresco attributed to the Italian Renaissance painters Luca Signorelli and Bartolomeo della Gatta, executed in around 1482 and located in the Sistine Chapel, Rome.

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Testament and Death of Moses

Focus on Testament and Death of Moses and discuss the History.

On 27 October 1480 a group of Florentine painters left for Rome, where he had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as the Spring of 1481, along with Pietro Perugino, who was already there. Neither Bartolomeo della Gatta nor Luca Signorelli (who was thirty at the time) appear in the official contracts signed between the Papal court and the painters, but they were most likely among the assistants of Perugino, who was the general superintendent of the works. Signorelli is mentioned in the Sistine Chapel after his master left in 1482, as the author of the Disputation over Moses' Body on the entrance wall (repainted by Matteo da Lecce in 1574 due to its poor state).It has been supposed that Perugino provided at least the layout of the fresco, while its realization, basing on a comment by Giorgio Vasari, had been assigned traditionally to Signorelli. Studies by art historians such as Mario Salmi, reduced Signorelli's presence in the work, and attributed most of the painting to Bartolomeo della Gatta, a painter influenced by the purity of Piero della Francesca and the early Perugino. The theme of the decoration was a parallel between the Stories of Moses and those of Christ, as a sign of continuity between the Old and the New Testament. A continuity also between the divine law of the Tables and the message of Jesus, who, in turn, chose Peter (the first alleged bishop of Rome) as his successor: this would finally result in a legitimation of the latter's successors, the popes of Rome.

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Testament and Death of Moses

Focus on this artwork and discuss the History.

On 27 October 1480 a group of Florentine painters left for Rome, where he had been called as part of the reconciliation project between Lorenzo de' Medici, the de facto ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as the Spring of 1481, along with Pietro Perugino, who was already there. Neither Bartolomeo della Gatta nor Luca Signorelli (who was thirty at the time) appear in the official contracts signed between the Papal court and the painters, but they were most likely among the assistants of Perugino, who was the general superintendent of the works. Signorelli is mentioned in the Sistine Chapel after his master left in 1482, as the author of the Disputation over Moses' Body on the entrance wall (repainted by Matteo da Lecce in 1574 due to its poor state).It has been supposed that Perugino provided at least the layout of the fresco, while its realization, basing on a comment by Giorgio Vasari, had been assigned traditionally to Signorelli. Studies by art historians such as Mario Salmi, reduced Signorelli's presence in the work, and attributed most of the painting to Bartolomeo della Gatta, a painter influenced by the purity of Piero della Francesca and the early Perugino. The theme of the decoration was a parallel between the Stories of Moses and those of Christ, as a sign of continuity between the Old and the New Testament. A continuity also between the divine law of the Tables and the message of Jesus, who, in turn, chose Peter (the first alleged bishop of Rome) as his successor: this would finally result in a legitimation of the latter's successors, the popes of Rome.

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Testament and Death of Moses

How does Testament and Death of Moses elucidate its Description?

The fresco portrays the last episode in Moses' life, in two sectors: a foreground one including two scenes, and a background one, with three further scenes and, on the right, a landscape. Moses is always recognizable through his yellow garments and the green cloak, as in the rest of the cycle. The artist made an extensive use of gold painting. On the background Moses, on the Mount Nebo, receives by an angel the command baton, which gives him the authority to lead the Israelites towards the Promised Land. Below, Moses descends from the mountain with the baton in his hand, similarly to Cosimo Rosselli's Descent from Mount Sinai nearby. In the foreground, on the right, is a 120-year-old Moses speaking at the crowd while holding the baton and a Holy Book: rays of light stem from his head. At his feet is the Ark of the Covenant, opened to show the Twelve Tables and the vase of the Manna. In the center, the procession includes a woman holding a child on her shoulders, wearing silk, an elegant youth portrayed from behind and a naked man sitting. The latter two characters are attributed to Luca Signorelli, as well as the man with a stick next the throne of Moses. On the left is the appointment of Joshua as Moses' successor; the former kneels to receive the command baton, while the prophet has his cloak opened, showing a red-lined interior. Finally, on the left background, is the corpse of Moses on a shroud, surrounded by the dismayed Israelites.

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Testament and Death of Moses

How does this artwork elucidate its Description?

The fresco portrays the last episode in Moses' life, in two sectors: a foreground one including two scenes, and a background one, with three further scenes and, on the right, a landscape. Moses is always recognizable through his yellow garments and the green cloak, as in the rest of the cycle. The artist made an extensive use of gold painting. On the background Moses, on the Mount Nebo, receives by an angel the command baton, which gives him the authority to lead the Israelites towards the Promised Land. Below, Moses descends from the mountain with the baton in his hand, similarly to Cosimo Rosselli's Descent from Mount Sinai nearby. In the foreground, on the right, is a 120-year-old Moses speaking at the crowd while holding the baton and a Holy Book: rays of light stem from his head. At his feet is the Ark of the Covenant, opened to show the Twelve Tables and the vase of the Manna. In the center, the procession includes a woman holding a child on her shoulders, wearing silk, an elegant youth portrayed from behind and a naked man sitting. The latter two characters are attributed to Luca Signorelli, as well as the man with a stick next the throne of Moses. On the left is the appointment of Joshua as Moses' successor; the former kneels to receive the command baton, while the prophet has his cloak opened, showing a red-lined interior. Finally, on the left background, is the corpse of Moses on a shroud, surrounded by the dismayed Israelites.

1331_T

Gothic altarpiece of Santes Creus

Focus on Gothic altarpiece of Santes Creus and analyze the abstract.

The Gothic altarpiece of Santes Creus is an altarpiece painted by Guerau Gener and Lluís Borrassà between 1407 and 1411. It is one of the key works of the International Gothic altarpieces in Catalonia, created for the Santes Creus Monastery. The MNAC museum retains the Nativity, crowned by the figure of St. John the Evangelist, and the Resurrection of Christ, while the rest of the tables are kept in one of the chapels of the cathedral of Tarragona. The altarpiece was commissioned to Pere Serra but apparently died without starting it. Guerau Gener, a connoisseur of València international Gothic, replaced him, but his untimely death made Lluís Borrassà, one of the major figures in the painting of the first international Catalan Gothic, to complete the project.

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Gothic altarpiece of Santes Creus

Focus on this artwork and analyze the abstract.

The Gothic altarpiece of Santes Creus is an altarpiece painted by Guerau Gener and Lluís Borrassà between 1407 and 1411. It is one of the key works of the International Gothic altarpieces in Catalonia, created for the Santes Creus Monastery. The MNAC museum retains the Nativity, crowned by the figure of St. John the Evangelist, and the Resurrection of Christ, while the rest of the tables are kept in one of the chapels of the cathedral of Tarragona. The altarpiece was commissioned to Pere Serra but apparently died without starting it. Guerau Gener, a connoisseur of València international Gothic, replaced him, but his untimely death made Lluís Borrassà, one of the major figures in the painting of the first international Catalan Gothic, to complete the project.

1332_T

The Blue Guitar

In The Blue Guitar, how is the abstract discussed?

The Blue Guitar is a suite of twenty etchings with aquatint by David Hockney, drawn in 1976–77 and published in 1977 in London and New York by Petersburg Press. The frontispiece to the portfolio mentions Hockney's dual inspirations:"The Blue Guitar Etchings by David Hockney who was inspired by Wallace Stevens who was inspired by Pablo Picasso"

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The Blue Guitar

In this artwork, how is the abstract discussed?

The Blue Guitar is a suite of twenty etchings with aquatint by David Hockney, drawn in 1976–77 and published in 1977 in London and New York by Petersburg Press. The frontispiece to the portfolio mentions Hockney's dual inspirations:"The Blue Guitar Etchings by David Hockney who was inspired by Wallace Stevens who was inspired by Pablo Picasso"

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The Blue Guitar

Focus on The Blue Guitar and explore the Context.

In 1976 Henry Geldzahler introduced Hockney to Wallace Stevens' 1937 poem, The Man with the Blue Guitar, which used Picasso's Blue period painting The Old Guitarist (1903–04) as its central theme. Hockney produced a number of drawings in response to the poem, which highlights the problem of the imagination's role in interpreting reality, and produced a set of coloured etchings using the method devised by Aldo Crommelynck for Picasso to make colour prints. Hockney said his illustrations "like the poem, they are about transformations within art as well as the relation between reality and the imagination, so these are pictures within pictures and different styles of representation juxtaposed and reflected and dissolved within the same frame. Wallace Stevens (1879–1955) began writing poetry in his 40s, and, while never a popular poet, is counted one of North America's most influential poets of the 20th century." "I read Wallace Steven's poem in the summer of 1976. The etchings themselves were not conceived as literal illustrations of the poem but as an interpretation of its themes in visual terms. Like the poem, they are about transformations within art as well as the relation between reality and the imagination, so these are pictures and different styles of representation juxtaposed and reflected and dissolved within the same frame." — David Hockney (Artist's statement on dust-jacket of the accompanying catalogue documenting the publication of The Blue Guitar suite of etchings).

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The Blue Guitar

Focus on this artwork and explore the Context.

In 1976 Henry Geldzahler introduced Hockney to Wallace Stevens' 1937 poem, The Man with the Blue Guitar, which used Picasso's Blue period painting The Old Guitarist (1903–04) as its central theme. Hockney produced a number of drawings in response to the poem, which highlights the problem of the imagination's role in interpreting reality, and produced a set of coloured etchings using the method devised by Aldo Crommelynck for Picasso to make colour prints. Hockney said his illustrations "like the poem, they are about transformations within art as well as the relation between reality and the imagination, so these are pictures within pictures and different styles of representation juxtaposed and reflected and dissolved within the same frame. Wallace Stevens (1879–1955) began writing poetry in his 40s, and, while never a popular poet, is counted one of North America's most influential poets of the 20th century." "I read Wallace Steven's poem in the summer of 1976. The etchings themselves were not conceived as literal illustrations of the poem but as an interpretation of its themes in visual terms. Like the poem, they are about transformations within art as well as the relation between reality and the imagination, so these are pictures and different styles of representation juxtaposed and reflected and dissolved within the same frame." — David Hockney (Artist's statement on dust-jacket of the accompanying catalogue documenting the publication of The Blue Guitar suite of etchings).

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The Blue Guitar

Focusing on the Timeline of The Blue Guitar, discuss the Death of Picasso about the 1973.

Death of Picasso Pablo Picasso died in Mougins, France on 8 April 1973, age 91.

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The Blue Guitar

Focusing on the Timeline of this artwork, discuss the Death of Picasso about the 1973.

Death of Picasso Pablo Picasso died in Mougins, France on 8 April 1973, age 91.

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The Blue Guitar

Regarding The Blue Guitar, how does the Timeline's 1973 incorporate the Hockney in Paris: A Pilgrimage?

Hockney in Paris: A Pilgrimage Hockney moves to Paris in the autumn of 1973, where Picasso had lived for most of his life."Paris is very pleasant. For the first time in years I can have eight hours a day painting alone with no disturbances. The telephone only seems to ring two or three times and it's usually only friends arranging dinner. I've started a few French lessons but my progress is slow, and after a hard day painting it's a little hard to concentrate, but I intend to slog at it." — David Hockney

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The Blue Guitar

Regarding this artwork, how does the Timeline's 1973 incorporate the Hockney in Paris: A Pilgrimage?

Hockney in Paris: A Pilgrimage Hockney moves to Paris in the autumn of 1973, where Picasso had lived for most of his life."Paris is very pleasant. For the first time in years I can have eight hours a day painting alone with no disturbances. The telephone only seems to ring two or three times and it's usually only friends arranging dinner. I've started a few French lessons but my progress is slow, and after a hard day painting it's a little hard to concentrate, but I intend to slog at it." — David Hockney

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The Blue Guitar

Focusing on the Timeline of The Blue Guitar, analyze the Crommelynck about the 1973.

Crommelynck Hockney befriends Picasso's Master printmaker, Aldo Crommelynck at his studio, Atelier Crommelynck."It was thrilling to meet someone who had such direct contact with Picasso and worked with him such a lot. Aldo Crommelynck taught me marvelous technical things about etching." — David Hockney Hockney creates The Student: Homage to Picasso (1973) with Crommelynck, in the spirit of Picasso's renowned Vollard Suite (1930−37) commissioned by the publisher Propyläen-Verlag (Berlin), to honour Picasso as part of a commemorative portfolio Homage to Picasso (Hommage à Picasso) In the process, Crommelynck teaches his signature technique to Hockney, the Sugar lift aquatint, which enables brush marks to be recreated on the etched plate, a technique Crommelynck had previously kept secret to use exclusively and extensively with Picasso for the two decades prior.

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The Blue Guitar

Focusing on the Timeline of this artwork, analyze the Crommelynck about the 1973.

Crommelynck Hockney befriends Picasso's Master printmaker, Aldo Crommelynck at his studio, Atelier Crommelynck."It was thrilling to meet someone who had such direct contact with Picasso and worked with him such a lot. Aldo Crommelynck taught me marvelous technical things about etching." — David Hockney Hockney creates The Student: Homage to Picasso (1973) with Crommelynck, in the spirit of Picasso's renowned Vollard Suite (1930−37) commissioned by the publisher Propyläen-Verlag (Berlin), to honour Picasso as part of a commemorative portfolio Homage to Picasso (Hommage à Picasso) In the process, Crommelynck teaches his signature technique to Hockney, the Sugar lift aquatint, which enables brush marks to be recreated on the etched plate, a technique Crommelynck had previously kept secret to use exclusively and extensively with Picasso for the two decades prior.

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The Blue Guitar

Describe the characteristics of the 1974 in The Blue Guitar's Timeline.

Hockney then creates a small suite in two colours (red and blue) with Crommelynck combining the two techniques, entitled Gustave Flaubert: A Simple Heart (1974) after the 1877 novella A Simple Heart, (also published as A Simple Soul), by Gustave Flaubert. Here Crommelynck imparted another of his previously secret techniques to Hockney, how to use a single plate for multi-coloured etchings, rather than having to register separate plates for each colour. (Both this technique and the sugar lift were revelations for Hockney and proved essential to the genesis of his later 'Blue Guitar' prints).

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The Blue Guitar

Describe the characteristics of the 1974 in this artwork's Timeline.

Hockney then creates a small suite in two colours (red and blue) with Crommelynck combining the two techniques, entitled Gustave Flaubert: A Simple Heart (1974) after the 1877 novella A Simple Heart, (also published as A Simple Soul), by Gustave Flaubert. Here Crommelynck imparted another of his previously secret techniques to Hockney, how to use a single plate for multi-coloured etchings, rather than having to register separate plates for each colour. (Both this technique and the sugar lift were revelations for Hockney and proved essential to the genesis of his later 'Blue Guitar' prints).

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The Blue Guitar

Focusing on the Timeline of The Blue Guitar, explore the Return to London about the 1974.

Return to London Hockney returns to London and teaches his friend and master printmaker Maurice Payne both of the Crommelynck techniques, resulting in the artwork Showing Maurice the Sugar Lift (1974).Other images created at this time include Artist and Model (1973–74) which contrasts etching techniques Hockney employed before and after Crommelynk's tutorage, and Contrejour in the French style (1974), both published by Petersburg Press, London.

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The Blue Guitar

Focusing on the Timeline of this artwork, explore the Return to London about the 1974.

Return to London Hockney returns to London and teaches his friend and master printmaker Maurice Payne both of the Crommelynck techniques, resulting in the artwork Showing Maurice the Sugar Lift (1974).Other images created at this time include Artist and Model (1973–74) which contrasts etching techniques Hockney employed before and after Crommelynk's tutorage, and Contrejour in the French style (1974), both published by Petersburg Press, London.

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The Blue Guitar

Explore the Summer 1976 about the 1976 of the Timeline in this artwork, The Blue Guitar.

Summer 1976 Hockney's regular summer companion, the curator Henry Geldzahler introduced Hockney to the modernist poet Wallace Stevens' poem, The Man with the Blue Guitar, in the summer of 1976, while holidaying together on Fire Island, NY, along with the writer Christopher Isherwood."When I first read The Man with the Blue Guitar, I wasn't quite sure what it was about, like all poems like that, but I loved the rhythms in it and some of the imagery, just the choice of words is marvellous. Then, when I read it out loud, I loved it even more, because I got the music that it has." — David Hockney

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The Blue Guitar

Explore the Summer 1976 about the 1976 of the Timeline in this artwork.

Summer 1976 Hockney's regular summer companion, the curator Henry Geldzahler introduced Hockney to the modernist poet Wallace Stevens' poem, The Man with the Blue Guitar, in the summer of 1976, while holidaying together on Fire Island, NY, along with the writer Christopher Isherwood."When I first read The Man with the Blue Guitar, I wasn't quite sure what it was about, like all poems like that, but I loved the rhythms in it and some of the imagery, just the choice of words is marvellous. Then, when I read it out loud, I loved it even more, because I got the music that it has." — David Hockney

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The Blue Guitar

Focusing on the Timeline of The Blue Guitar, discuss the Autumn 1976 – March 1977 about the 1976.

Autumn 1976 – March 1977 After a series of ink drawings, Hockney draws the twenty etchings in London, collaborating with friend and master printmaker Maurice Payne at Petersburg Press. Stevens's meditation on Picasso's painting The Old Guitarist (1903–04), leads Hockney to paint additional reflections in his London painting studio, resulting in Model with Unfinished Self Portrait (1977) which shows Gregory Evans lying asleep in front of painting Self Portrait with Blue Guitar (1977), oil on canvas. "My self portrait, which was not finished at the time, was leaning against the wall of my London studio. Gregory posed on a bed in front of it and a great deal of his figure was painted from life. That gave it a kind of power. It looks as though it's a painting of two completely different kinds of space. It seems as if there's a stage behind Gregory with a curtain. The curtain has been pulled back and there I am, about to draw a guitar." — David Hockney

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The Blue Guitar

Focusing on the Timeline of this artwork, discuss the Autumn 1976 – March 1977 about the 1976.

Autumn 1976 – March 1977 After a series of ink drawings, Hockney draws the twenty etchings in London, collaborating with friend and master printmaker Maurice Payne at Petersburg Press. Stevens's meditation on Picasso's painting The Old Guitarist (1903–04), leads Hockney to paint additional reflections in his London painting studio, resulting in Model with Unfinished Self Portrait (1977) which shows Gregory Evans lying asleep in front of painting Self Portrait with Blue Guitar (1977), oil on canvas. "My self portrait, which was not finished at the time, was leaning against the wall of my London studio. Gregory posed on a bed in front of it and a great deal of his figure was painted from life. That gave it a kind of power. It looks as though it's a painting of two completely different kinds of space. It seems as if there's a stage behind Gregory with a curtain. The curtain has been pulled back and there I am, about to draw a guitar." — David Hockney

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The Blue Guitar

Focusing on the Timeline of The Blue Guitar, analyze the March 1977 – September 1977 about the 1977.

March 1977 – September 1977 Editioning by Richard Spare and Dany Levy in London, who had first choice of the images, with Jennifer Melby and Prawatt Laucharoen editioning in New York. Each image is handprinted from two copper plates and inked by hand from a selection of five colours, red, yellow, blue, green and black.Once editioned, the 40 plates were "cancelled" by punching holes through them, destroying their ability to produce the artis' intended image. A "cancellation proof" was then printed for each image to prove that the plates were no longer able to produce the artist's intended image, and so assure buyers of the rarity of the limited edition. On behalf of the artist, Petersburg Press then donated both the Cancellation Proofs and the forty cancelled plates to the permanent collection of the Museum of Modern Art in New York.

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The Blue Guitar

Focusing on the Timeline of this artwork, analyze the March 1977 – September 1977 about the 1977.

March 1977 – September 1977 Editioning by Richard Spare and Dany Levy in London, who had first choice of the images, with Jennifer Melby and Prawatt Laucharoen editioning in New York. Each image is handprinted from two copper plates and inked by hand from a selection of five colours, red, yellow, blue, green and black.Once editioned, the 40 plates were "cancelled" by punching holes through them, destroying their ability to produce the artis' intended image. A "cancellation proof" was then printed for each image to prove that the plates were no longer able to produce the artist's intended image, and so assure buyers of the rarity of the limited edition. On behalf of the artist, Petersburg Press then donated both the Cancellation Proofs and the forty cancelled plates to the permanent collection of the Museum of Modern Art in New York.

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The Blue Guitar

When looking at the Timeline of The Blue Guitar, how do you discuss its 1977's October 1977?

October 1977 Publication by Petersburg Press Ltd. simultaneously in London (59a Portobello Road, W11) and New York (17 East 74th Street, NY 10021).

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The Blue Guitar

When looking at the Timeline of this artwork, how do you discuss its 1977's October 1977?

October 1977 Publication by Petersburg Press Ltd. simultaneously in London (59a Portobello Road, W11) and New York (17 East 74th Street, NY 10021).

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The Blue Guitar

Focusing on the Timeline of The Blue Guitar, explain the Apr 10 – Jul 10, 1979 about the 1979.

Apr 10 – Jul 10, 1979 The Museum of Modern Art holds a solo exhibition dedicated to the suite in the Sachs Galleries, titled David Hockney: The Blue Guitar. Alongside the twenty prints, two cancelled copper plates and five black and white cancellation proofs are also exhibited.

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The Blue Guitar

Focusing on the Timeline of this artwork, explain the Apr 10 – Jul 10, 1979 about the 1979.

Apr 10 – Jul 10, 1979 The Museum of Modern Art holds a solo exhibition dedicated to the suite in the Sachs Galleries, titled David Hockney: The Blue Guitar. Alongside the twenty prints, two cancelled copper plates and five black and white cancellation proofs are also exhibited.

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The Blue Guitar

Explore the The Suite of this artwork, The Blue Guitar.

The suite consists of twenty-one loose-leaved sheets in a grey leather covered box. The etchings are interleaved with tracing paper guard sheets.

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The Blue Guitar

Explore the The Suite of this artwork.

The suite consists of twenty-one loose-leaved sheets in a grey leather covered box. The etchings are interleaved with tracing paper guard sheets.

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The Blue Guitar

In the context of The Blue Guitar, discuss the Prints of the The Suite.

Published as loose sheets with a table of contents / colophon sheet, all contained within a leather-covered portfolio, embossed with the title 'The Blue Guitar'. Each print is signed and numbered out of 200 in pencil, by the artist (there were also 35 Artist's proofs numbered in Roman numerals).

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The Blue Guitar

In the context of this artwork, discuss the Prints of the The Suite.

Published as loose sheets with a table of contents / colophon sheet, all contained within a leather-covered portfolio, embossed with the title 'The Blue Guitar'. Each print is signed and numbered out of 200 in pencil, by the artist (there were also 35 Artist's proofs numbered in Roman numerals).

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The Blue Guitar

In The Blue Guitar, how is the Colophon of the The Suite elucidated?

"This portfolio contains twenty etchings drawn by David Hockney in London in the Autumn of 1976 and Spring of 1977. These were proofed by Maurice Payne each from two copper plates, 34.5 x 42.5 cm, inked from a selection of five colours: red, yellow, blue, green and black. The paper was mould made at the Inveresk Mill in Somerset and torn to a finished size of 46 cm x 53 cm. The justification pages have been set in Electra Linotype and printed letterpress. The editions were printed by hand in London and New York at the Petersburg Studios, and are presented in a box bound in leather at the workshop of Rudolf Rieser in Cologne. Each of the etchings has been stamped on the reverse with the title and signed by the artist, two hundred numbered 1 to 200 and thirty-five proofs numbered I to XXXV. Published in October 1977 by the Petersburg Press" -- colophon.

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The Blue Guitar

In this artwork, how is the Colophon of the The Suite elucidated?

"This portfolio contains twenty etchings drawn by David Hockney in London in the Autumn of 1976 and Spring of 1977. These were proofed by Maurice Payne each from two copper plates, 34.5 x 42.5 cm, inked from a selection of five colours: red, yellow, blue, green and black. The paper was mould made at the Inveresk Mill in Somerset and torn to a finished size of 46 cm x 53 cm. The justification pages have been set in Electra Linotype and printed letterpress. The editions were printed by hand in London and New York at the Petersburg Studios, and are presented in a box bound in leather at the workshop of Rudolf Rieser in Cologne. Each of the etchings has been stamped on the reverse with the title and signed by the artist, two hundred numbered 1 to 200 and thirty-five proofs numbered I to XXXV. Published in October 1977 by the Petersburg Press" -- colophon.

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The Blue Guitar

In the context of The Blue Guitar, analyze the Table of contents of the The Suite.

On the reverse of the colophon sheet, is a table of contents displaying the Title and Mediums, shown in the table of etchings above.

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The Blue Guitar

In the context of this artwork, analyze the Table of contents of the The Suite.

On the reverse of the colophon sheet, is a table of contents displaying the Title and Mediums, shown in the table of etchings above.

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The Blue Guitar

Describe the characteristics of the Case in The Blue Guitar's The Suite.

Fabricated in Cologne by Rudolf Rieser, the case is bound in grey leather and embossed with the title 'The Blue Guitar'.

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The Blue Guitar

Describe the characteristics of the Case in this artwork's The Suite.

Fabricated in Cologne by Rudolf Rieser, the case is bound in grey leather and embossed with the title 'The Blue Guitar'.

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The Blue Guitar

In the context of The Blue Guitar, explain the Catalogue of the Accompanying publications.

A small-format facsimile edition catalogue, containing reproductions of the etchings, and additionally containing the full text of Wallace Stevens' poem, was published simultaneously with the suite. "This catalogue documents the publication of 'The Blue Guitar', a group of etchings by David Hockney, accompanied here by a poem of Wallace Stevens 'The Man with the Blue Guitar". The portfolio contains twenty etchings drawn by the artist in London in the Autumn of 1976 and Spring of 1977"Hardback. Dimensions 21.5 x 21.5 cm. Typeset in 11pt Electra Linotype, printed in England on Abbey Mills laid paper by The Scolar Press.

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The Blue Guitar

In the context of this artwork, explain the Catalogue of the Accompanying publications.

A small-format facsimile edition catalogue, containing reproductions of the etchings, and additionally containing the full text of Wallace Stevens' poem, was published simultaneously with the suite. "This catalogue documents the publication of 'The Blue Guitar', a group of etchings by David Hockney, accompanied here by a poem of Wallace Stevens 'The Man with the Blue Guitar". The portfolio contains twenty etchings drawn by the artist in London in the Autumn of 1976 and Spring of 1977"Hardback. Dimensions 21.5 x 21.5 cm. Typeset in 11pt Electra Linotype, printed in England on Abbey Mills laid paper by The Scolar Press.

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The Blue Guitar

When looking at the Exhibitions of The Blue Guitar, how do you discuss its Dedicated exhibitions's 1979?

1979 David Hockney: The Blue Guitar, The Museum of Modern Art, New York. (10 April — 3 July 1979).

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The Blue Guitar

When looking at the Exhibitions of this artwork, how do you discuss its Dedicated exhibitions's 1979?

1979 David Hockney: The Blue Guitar, The Museum of Modern Art, New York. (10 April — 3 July 1979).