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1351_T

The Blue Guitar

Focusing on the Exhibitions of The Blue Guitar, explain the 1991 about the Exhibitions including the complete suite.

1991 Art for the Nation: Gifts in Honor of the 50th Anniversary of the National Gallery of Art, National Gallery of Art, Washington, D.C. (1991).

1351_NT

The Blue Guitar

Focusing on the Exhibitions of this artwork, explain the 1991 about the Exhibitions including the complete suite.

1991 Art for the Nation: Gifts in Honor of the 50th Anniversary of the National Gallery of Art, National Gallery of Art, Washington, D.C. (1991).

1352_T

The Blue Guitar

Focusing on the Exhibitions of The Blue Guitar, discuss the 1992 about the Exhibitions including prints from the suite.

1992 Singular and Plural: Recent Accessions, Post-War Drawings and Prints, MFAH. (6 June — 8 August, 1992).

1352_NT

The Blue Guitar

Focusing on the Exhibitions of this artwork, discuss the 1992 about the Exhibitions including prints from the suite.

1992 Singular and Plural: Recent Accessions, Post-War Drawings and Prints, MFAH. (6 June — 8 August, 1992).

1353_T

The Blue Guitar

Regarding The Blue Guitar, how does the Exhibitions's Exhibitions including prints from the suite incorporate the 1999?

1999 De Picasso a Bacon: arte contemporáneo en las colecciones del Museo de Bellas Artes de Bilbao. (1999).

1353_NT

The Blue Guitar

Regarding this artwork, how does the Exhibitions's Exhibitions including prints from the suite incorporate the 1999?

1999 De Picasso a Bacon: arte contemporáneo en las colecciones del Museo de Bellas Artes de Bilbao. (1999).

1354_T

The Blue Guitar

Describe the characteristics of the Earlier sugar-lift aquatints in The Blue Guitar's Related artworks.

The Student: Homage to Picasso (1973) Artist and Model (1973−74) Geography Book (Félicité's Only View from Abroad) (1974). Softground and hardground etching in red and blue on Arches wove paper. From the series Gustave Flaubert: A Simple Heart (1974), printed by Aldo Crommelynck in Paris with Hockney. Published in London by Petersburg Press. Contrejour in the French style (1974)Showing Maurice the Sugar Lift (1974). Hockney demonstrating the sugar lift aquatint technique to Maurice Payne.

1354_NT

The Blue Guitar

Describe the characteristics of the Earlier sugar-lift aquatints in this artwork's Related artworks.

The Student: Homage to Picasso (1973) Artist and Model (1973−74) Geography Book (Félicité's Only View from Abroad) (1974). Softground and hardground etching in red and blue on Arches wove paper. From the series Gustave Flaubert: A Simple Heart (1974), printed by Aldo Crommelynck in Paris with Hockney. Published in London by Petersburg Press. Contrejour in the French style (1974)Showing Maurice the Sugar Lift (1974). Hockney demonstrating the sugar lift aquatint technique to Maurice Payne.

1355_T

The Blue Guitar

In the context of The Blue Guitar, explore the Paintings of the Related artworks.

Self Portrait with Blue Guitar (1977), oil on canvas, 60 x 72". Museum of Modern Art (Mumok), Ludwig Foundation, Vienna, Austria. Model with Unfinished Self Portrait (1977) oil on canvas, 60 x 60". Private Collection.

1355_NT

The Blue Guitar

In the context of this artwork, explore the Paintings of the Related artworks.

Self Portrait with Blue Guitar (1977), oil on canvas, 60 x 72". Museum of Modern Art (Mumok), Ludwig Foundation, Vienna, Austria. Model with Unfinished Self Portrait (1977) oil on canvas, 60 x 60". Private Collection.

1356_T

The Blue Guitar

Focusing on the Art market of The Blue Guitar, discuss the 2022 about the Limited edition of 200.

2022 The complete boxed suite with title page, colophon and all with full margins, all signed and numbered 167/200 in pencil. Sold for £52,920 at Phillips in London on 13 September 2022, on an estimate of £30,000 – £50,000.

1356_NT

The Blue Guitar

Focusing on the Art market of this artwork, discuss the 2022 about the Limited edition of 200.

2022 The complete boxed suite with title page, colophon and all with full margins, all signed and numbered 167/200 in pencil. Sold for £52,920 at Phillips in London on 13 September 2022, on an estimate of £30,000 – £50,000.

1357_T

The Blue Guitar

Regarding The Blue Guitar, how does the Art market's Limited edition of 200 incorporate the 2019?

2019 The complete boxed suite with title page, colophon and all with full margins, all signed and numbered 187/200 in pencil. Sold for £37,500 at Sotheby's in London on 17 September 2019, on an estimate of £30,000 – £50,000.

1357_NT

The Blue Guitar

Regarding this artwork, how does the Art market's Limited edition of 200 incorporate the 2019?

2019 The complete boxed suite with title page, colophon and all with full margins, all signed and numbered 187/200 in pencil. Sold for £37,500 at Sotheby's in London on 17 September 2019, on an estimate of £30,000 – £50,000.

1358_T

The Blue Guitar

Focusing on the Art market of The Blue Guitar, analyze the 2012 about the Limited edition of 200.

2012 The complete boxed suite with title page, colophon and all with full margins, all signed and numbered 31/200 in pencil. Sold for £32,450 at Christie's in London on 17 February 2012, on an estimate of £12,000 – £16,000.

1358_NT

The Blue Guitar

Focusing on the Art market of this artwork, analyze the 2012 about the Limited edition of 200.

2012 The complete boxed suite with title page, colophon and all with full margins, all signed and numbered 31/200 in pencil. Sold for £32,450 at Christie's in London on 17 February 2012, on an estimate of £12,000 – £16,000.

1359_T

The Blue Guitar

Focusing on the Art market of The Blue Guitar, explore the 2011 about the Proofs.

2011 The complete suite of twenty etchings, all signed and numbered 'AP XII/XXXV' in pencil, an artist's proof aside from the edition of 200. Sold for £15,000 at Bonhams in London on 29 November 2011.

1359_NT

The Blue Guitar

Focusing on the Art market of this artwork, explore the 2011 about the Proofs.

2011 The complete suite of twenty etchings, all signed and numbered 'AP XII/XXXV' in pencil, an artist's proof aside from the edition of 200. Sold for £15,000 at Bonhams in London on 29 November 2011.

1360_T

The Blue Guitar

Focus on The Blue Guitar and explain the Influence.

'The History of art is a history of appropriations. Hockney has been able to adapt his reading of Picasso's art to his own very different representational problems and has thereby created works that are fresh, innovative, and personal.' — Gert Schiff, Professor of Art History, Critic

1360_NT

The Blue Guitar

Focus on this artwork and explain the Influence.

'The History of art is a history of appropriations. Hockney has been able to adapt his reading of Picasso's art to his own very different representational problems and has thereby created works that are fresh, innovative, and personal.' — Gert Schiff, Professor of Art History, Critic

1361_T

Prophet Jeremiah (Michelangelo)

Explore the abstract of this artwork, Prophet Jeremiah (Michelangelo).

The Prophet Jeremiah is one of the seven Old Testament prophets painted by the Italian High Renaissance master Michelangelo (c. 1510–12) on the Sistine Chapel ceiling. The Sistine Chapel is in Vatican Palace, in the Vatican City. This particular fresco is the first one on the left from the side of the High Altar. The person of Jeremiah is imagined as lost in anguished meditation. Although the painting portrays Jeremiah as lamenting over the Destruction of Jerusalem, critics have interpreted the figure as a self-portrait by Michelangelo, with the artist lamenting over the weight of his sins. Or perhaps Michelangelo is bemoaning his situation being forced by Julius II to paint when he wished to sculpt. Michelangelo spent 4 years on the Sistine ceiling during which time he escaped Rome and the job a few times when he fled to his hometown, Florence. Note that Raphael added the figure of Michelangelo/Heraclitus to his own fresco of the School of Athens and Raphael "copied" Michelangelo's own self-portrait and gave Michelangelo/Heraclitus boots (Michelangelo was known to have worn boots and didn't often remove them) and the bowed head on hand that Michelangelo had given himself. Influential English critic Roger Fry used the figure to illustrate his emotional elements of design, or how formal elements such as mass and space produce emotion: When, for instance, we look at Michelangelo's "Jeremiah," and realise the irresistible momentum his movements would have, we experience powerful sentiments of reverence and awe.

1361_NT

Prophet Jeremiah (Michelangelo)

Explore the abstract of this artwork.

The Prophet Jeremiah is one of the seven Old Testament prophets painted by the Italian High Renaissance master Michelangelo (c. 1510–12) on the Sistine Chapel ceiling. The Sistine Chapel is in Vatican Palace, in the Vatican City. This particular fresco is the first one on the left from the side of the High Altar. The person of Jeremiah is imagined as lost in anguished meditation. Although the painting portrays Jeremiah as lamenting over the Destruction of Jerusalem, critics have interpreted the figure as a self-portrait by Michelangelo, with the artist lamenting over the weight of his sins. Or perhaps Michelangelo is bemoaning his situation being forced by Julius II to paint when he wished to sculpt. Michelangelo spent 4 years on the Sistine ceiling during which time he escaped Rome and the job a few times when he fled to his hometown, Florence. Note that Raphael added the figure of Michelangelo/Heraclitus to his own fresco of the School of Athens and Raphael "copied" Michelangelo's own self-portrait and gave Michelangelo/Heraclitus boots (Michelangelo was known to have worn boots and didn't often remove them) and the bowed head on hand that Michelangelo had given himself. Influential English critic Roger Fry used the figure to illustrate his emotional elements of design, or how formal elements such as mass and space produce emotion: When, for instance, we look at Michelangelo's "Jeremiah," and realise the irresistible momentum his movements would have, we experience powerful sentiments of reverence and awe.

1362_T

Light Up (sculpture)

Focus on Light Up (sculpture) and discuss the abstract.

Light Up, often stylised as Light Up!, is a painted steel plate public art sculpture by American artist Tony Smith and dedicated on May 15, 1974. The sculpture is located in the University of Pittsburgh's Forbes Quadrangle between Posvar Hall, the Barco Law Building, and Hillman Library. Commissioned in 1971 by Westinghouse Electric Corporation, it was originally situated in Gateway Center in downtown Pittsburgh, but was donated to the University of Pittsburgh and relocated to its Oakland campus in 1988. The sculpture was temporarily recited to the Seagram Plaza in New York City in 1998 for an exhibition of Smith's work at the Museum of Modern Art.

1362_NT

Light Up (sculpture)

Focus on this artwork and discuss the abstract.

Light Up, often stylised as Light Up!, is a painted steel plate public art sculpture by American artist Tony Smith and dedicated on May 15, 1974. The sculpture is located in the University of Pittsburgh's Forbes Quadrangle between Posvar Hall, the Barco Law Building, and Hillman Library. Commissioned in 1971 by Westinghouse Electric Corporation, it was originally situated in Gateway Center in downtown Pittsburgh, but was donated to the University of Pittsburgh and relocated to its Oakland campus in 1988. The sculpture was temporarily recited to the Seagram Plaza in New York City in 1998 for an exhibition of Smith's work at the Museum of Modern Art.

1363_T

Light Up (sculpture)

How does Light Up (sculpture) elucidate its History?

In 1971, then-board-chairman of the Westinghouse Electric Corporation Donald Burnham commissioned Tony Smith for a piece of public artwork for the Gateway Center in downtown Pittsburgh. Light Up! was assembled with a crane on-site in 1974. With the help of University of Pittsburgh architect Ana Guzman, the sculpture was relocated to its current location on the University's campus.Although generally well received at the time of its dedication, it was described as a disappointment by a news columnist for the Pittsburgh Post-Gazette for not being as "dynamic" as some of Smith's other works.

1363_NT

Light Up (sculpture)

How does this artwork elucidate its History?

In 1971, then-board-chairman of the Westinghouse Electric Corporation Donald Burnham commissioned Tony Smith for a piece of public artwork for the Gateway Center in downtown Pittsburgh. Light Up! was assembled with a crane on-site in 1974. With the help of University of Pittsburgh architect Ana Guzman, the sculpture was relocated to its current location on the University's campus.Although generally well received at the time of its dedication, it was described as a disappointment by a news columnist for the Pittsburgh Post-Gazette for not being as "dynamic" as some of Smith's other works.

1364_T

Light Up (sculpture)

Focus on Light Up (sculpture) and analyze the Description.

Light Up is 20 feet and 6 inches in height and most noted for it being a bright shade of yellow; a departure from the sculptor's more numerous black works. It combines a tetrahedron and octahedron into what Smith described as a "continuous space grid" which "may be seen as interruptions in an otherwise unbroken flow of space."In its public settings it has been seen to be a stark comparison to the surrounding colors and shapes of its neighboring architecture, with one writer describing it in comparison to an adjacent Ludwig Mies van der Rohe skyscraper in its temporary New York retrospective setting as being "a jazzy counterpoint to its staid geometry." For this reason some posit Smith's intention, for its original setting, was to lighten up its surroundings and perhaps the attitudes of passers-by. Although Smith acknowledged that the color provided warmth against the sculpture's original backdrop which was a dark building, Smith's actual inspiration came from his observation of yellow newspaper truck driving around Pittsburgh that he had witnessed from a vantage point on the Mount Washington overlook above the city's downtown.

1364_NT

Light Up (sculpture)

Focus on this artwork and analyze the Description.

Light Up is 20 feet and 6 inches in height and most noted for it being a bright shade of yellow; a departure from the sculptor's more numerous black works. It combines a tetrahedron and octahedron into what Smith described as a "continuous space grid" which "may be seen as interruptions in an otherwise unbroken flow of space."In its public settings it has been seen to be a stark comparison to the surrounding colors and shapes of its neighboring architecture, with one writer describing it in comparison to an adjacent Ludwig Mies van der Rohe skyscraper in its temporary New York retrospective setting as being "a jazzy counterpoint to its staid geometry." For this reason some posit Smith's intention, for its original setting, was to lighten up its surroundings and perhaps the attitudes of passers-by. Although Smith acknowledged that the color provided warmth against the sculpture's original backdrop which was a dark building, Smith's actual inspiration came from his observation of yellow newspaper truck driving around Pittsburgh that he had witnessed from a vantage point on the Mount Washington overlook above the city's downtown.

1365_T

Renaissance (Bakalar)

In Renaissance (Bakalar), how is the Description discussed?

Renaissance consists of two granite pieces placed upon a stone display. The proper left piece is shaped like an obelisk cut in half placed on the diagonal on the display. Its tip is a gold triangle. The proper right piece features a granite sphere resting on a triangular shaped pedestal. The tip of the obelisk is close to the sphere, a few inches from touching the ball. It aims towards a gold disk placed on the sphere. The sculpture sits outside the entrance to the William T. Golden Center for Science and Engineering.

1365_NT

Renaissance (Bakalar)

In this artwork, how is the Description discussed?

Renaissance consists of two granite pieces placed upon a stone display. The proper left piece is shaped like an obelisk cut in half placed on the diagonal on the display. Its tip is a gold triangle. The proper right piece features a granite sphere resting on a triangular shaped pedestal. The tip of the obelisk is close to the sphere, a few inches from touching the ball. It aims towards a gold disk placed on the sphere. The sculpture sits outside the entrance to the William T. Golden Center for Science and Engineering.

1366_T

Renaissance (Bakalar)

Focus on Renaissance (Bakalar) and explore the Artist.

David Bakalar was a physicist before becoming a sculptor. With degrees from Harvard University and Massachusetts Institute of Technology, science influences his creation process. Founder of Transitron Electronic Corporation, his work specialized in transistor design and manufacturing, his tenure lasted thirty years before devoting himself to sculpture.His work is in the collections of MIT, Massachusetts College of Art, Brandeis University, Columbia University Law School and others.Bakalar describes his work: "I've always been fascinated by the codes and molecules that are the Life Force. My sculptures, subject to multiple interpretations, abstractly reflect the complexity of this force and our common identity with all of nature."

1366_NT

Renaissance (Bakalar)

Focus on this artwork and explore the Artist.

David Bakalar was a physicist before becoming a sculptor. With degrees from Harvard University and Massachusetts Institute of Technology, science influences his creation process. Founder of Transitron Electronic Corporation, his work specialized in transistor design and manufacturing, his tenure lasted thirty years before devoting himself to sculpture.His work is in the collections of MIT, Massachusetts College of Art, Brandeis University, Columbia University Law School and others.Bakalar describes his work: "I've always been fascinated by the codes and molecules that are the Life Force. My sculptures, subject to multiple interpretations, abstractly reflect the complexity of this force and our common identity with all of nature."

1367_T

Renaissance (Bakalar)

Focus on Renaissance (Bakalar) and explain the Acquisition.

The piece was donated in September 1999 by the artist for permanent display at AAAS. Its dedication coincided with an exhibit of Bakalar's work that ran through February 2000 at AAAS.

1367_NT

Renaissance (Bakalar)

Focus on this artwork and explain the Acquisition.

The piece was donated in September 1999 by the artist for permanent display at AAAS. Its dedication coincided with an exhibit of Bakalar's work that ran through February 2000 at AAAS.

1368_T

Bust of Mark A. Matthews

Explore the abstract of this artwork, Bust of Mark A. Matthews.

Dr. Mark A. Matthews is an outdoor 1941 bust depicting the minister and city reformer of the same name by Alonzo Victor Lewis, installed in Seattle's Denny Park, in the U.S. state of Washington.

1368_NT

Bust of Mark A. Matthews

Explore the abstract of this artwork.

Dr. Mark A. Matthews is an outdoor 1941 bust depicting the minister and city reformer of the same name by Alonzo Victor Lewis, installed in Seattle's Denny Park, in the U.S. state of Washington.

1369_T

Bust of Mark A. Matthews

Focus on Bust of Mark A. Matthews and discuss the Description.

The cast bronze sculpture is approximately 3.5 feet (1.1 m) tall. It rests on a stone pedestal and base that measures approximately 85 inches (220 cm) tall. An inscription on the front of the best, near the base, reads: REV.DR / MARK.A.MATTHEWS. The bronze plaque on the back of the base reads: ALONZO VICTOR LEWIS / -SCULPTOR-. The front of the base displays the text: TO / THE MEMORY / OF / REV. / MARK A. MATTHEWS / D.D,LL.D / PREACHER OF THE / WORD OF GOD / AND FRIEND / OF MAN / ERECTED BY / HIS FELLOW CITIZENS / 1942.

1369_NT

Bust of Mark A. Matthews

Focus on this artwork and discuss the Description.

The cast bronze sculpture is approximately 3.5 feet (1.1 m) tall. It rests on a stone pedestal and base that measures approximately 85 inches (220 cm) tall. An inscription on the front of the best, near the base, reads: REV.DR / MARK.A.MATTHEWS. The bronze plaque on the back of the base reads: ALONZO VICTOR LEWIS / -SCULPTOR-. The front of the base displays the text: TO / THE MEMORY / OF / REV. / MARK A. MATTHEWS / D.D,LL.D / PREACHER OF THE / WORD OF GOD / AND FRIEND / OF MAN / ERECTED BY / HIS FELLOW CITIZENS / 1942.

1370_T

RISE (sculpture)

How does RISE (sculpture) elucidate its abstract?

RISE is the official name given to the public art sculpture located at Broadway Roundabout in Belfast, Northern Ireland. However, it has been given unofficial, colloquial titles such as the "Balls of the Falls", "the Testes on the Westes" and "the Westicles". These names have been derived by both the sculpture's location on Broadway Junction (located above the A12 Westlink and in close proximity to the Falls Road) and in reference to its shape made from two spherical, metal structures.The RISE sculpture was designed by Wolfgang Buttress and consists of a geodesic sphere suspended inside a larger, 30 m (98 ft) diameter sphere, standing at an overall height of 37.5 m (123 ft). Geodesic refers to the shortest path between two points on a curve so that in the case of the RISE sculpture, adjacent connections on each of the spheres are connected using straight bars, thereby minimising the distance between two points. At 30m wide and 37.5m tall, RISE is the biggest public art sculpture in Belfast.RISE was commissioned by Belfast City Council and built in 2011 as part of a multimillion-pound road improvement programme. It now sits atop of the A12 Westlink Underpass (a grade-separated junction) where, according to a 2009 Northern Ireland Assembly report, sees approximately 80,000 cars on average flow past it each day.

1370_NT

RISE (sculpture)

How does this artwork elucidate its abstract?

RISE is the official name given to the public art sculpture located at Broadway Roundabout in Belfast, Northern Ireland. However, it has been given unofficial, colloquial titles such as the "Balls of the Falls", "the Testes on the Westes" and "the Westicles". These names have been derived by both the sculpture's location on Broadway Junction (located above the A12 Westlink and in close proximity to the Falls Road) and in reference to its shape made from two spherical, metal structures.The RISE sculpture was designed by Wolfgang Buttress and consists of a geodesic sphere suspended inside a larger, 30 m (98 ft) diameter sphere, standing at an overall height of 37.5 m (123 ft). Geodesic refers to the shortest path between two points on a curve so that in the case of the RISE sculpture, adjacent connections on each of the spheres are connected using straight bars, thereby minimising the distance between two points. At 30m wide and 37.5m tall, RISE is the biggest public art sculpture in Belfast.RISE was commissioned by Belfast City Council and built in 2011 as part of a multimillion-pound road improvement programme. It now sits atop of the A12 Westlink Underpass (a grade-separated junction) where, according to a 2009 Northern Ireland Assembly report, sees approximately 80,000 cars on average flow past it each day.

1371_T

RISE (sculpture)

Focus on RISE (sculpture) and analyze the Concept and construction.

The globe-shaped, white and silver steel sculpture is a representation of a new sun rising to celebrate a new chapter in the history of Belfast. The inner sphere represents the sun rising over the bogs and the outer sphere represents the sun's halo, while the angled, steel supports are to represent the reeds of the bog meadows that extended more widely across the area before it was developed. Due to Belfast's history of conflict and the location of the Westlink separating some of the city's unionist and nationalist communities, the sculptor noted that it was important to design a sculpture that could be viewed in its 'roundness' from any angle and therefore any political or religious persuasion.The sculptor encouraged input from local people living near the landmark sculpture, including the holding of creative workshops with groups from the Donegall Road and St James' areas of Belfast.Belfast City Council coordinated the plans for the new sculpture with strong support and funding from the Department for Social Development (Regeneration Directorate) and the National Lottery, through the Big Lottery Fund, through the Arts Council of Northern Ireland, as well as advice and assistance from the Department for Regional Development Roads Service. Construction of the piece was challenging.Work on RISE was due to begin in August 2009 and end in October 2009. However, due to delays the completion date was changed to March 2011. It was finally completed in September 2011, nearly two years behind the original schedule.

1371_NT

RISE (sculpture)

Focus on this artwork and analyze the Concept and construction.

The globe-shaped, white and silver steel sculpture is a representation of a new sun rising to celebrate a new chapter in the history of Belfast. The inner sphere represents the sun rising over the bogs and the outer sphere represents the sun's halo, while the angled, steel supports are to represent the reeds of the bog meadows that extended more widely across the area before it was developed. Due to Belfast's history of conflict and the location of the Westlink separating some of the city's unionist and nationalist communities, the sculptor noted that it was important to design a sculpture that could be viewed in its 'roundness' from any angle and therefore any political or religious persuasion.The sculptor encouraged input from local people living near the landmark sculpture, including the holding of creative workshops with groups from the Donegall Road and St James' areas of Belfast.Belfast City Council coordinated the plans for the new sculpture with strong support and funding from the Department for Social Development (Regeneration Directorate) and the National Lottery, through the Big Lottery Fund, through the Arts Council of Northern Ireland, as well as advice and assistance from the Department for Regional Development Roads Service. Construction of the piece was challenging.Work on RISE was due to begin in August 2009 and end in October 2009. However, due to delays the completion date was changed to March 2011. It was finally completed in September 2011, nearly two years behind the original schedule.

1372_T

RISE (sculpture)

In RISE (sculpture), how is the Competition discussed?

There had been a previous competition and previous winner: Trillian by Ed Carpenter. However, plans were scrapped amid escalating steel costs, which threatened to raise the price of the sculpture, originally agreed at £400,000, to £600,000.

1372_NT

RISE (sculpture)

In this artwork, how is the Competition discussed?

There had been a previous competition and previous winner: Trillian by Ed Carpenter. However, plans were scrapped amid escalating steel costs, which threatened to raise the price of the sculpture, originally agreed at £400,000, to £600,000.

1373_T

RISE (sculpture)

Focus on RISE (sculpture) and explore the Cost and funding.

Originally, the sculpture concept was estimated at a cost of £400,000. This final cost was reported in the region of £486,000, with £330,000 coming from the Department for Social Development, £100,000 coming from the Arts Council of Northern Ireland and £56,000 being supplied by Belfast City Council itself.

1373_NT

RISE (sculpture)

Focus on this artwork and explore the Cost and funding.

Originally, the sculpture concept was estimated at a cost of £400,000. This final cost was reported in the region of £486,000, with £330,000 coming from the Department for Social Development, £100,000 coming from the Arts Council of Northern Ireland and £56,000 being supplied by Belfast City Council itself.

1374_T

RISE (sculpture)

Focus on RISE (sculpture) and explain the Workshop.

In October 2009, school children and senior citizens from across Belfast worked with New Belfast Community Arts Initiative, local writers and the artist, Buttress, to look at plans for RISE, and to learn more about creative expression through workshops. The workshops were designed to give people an insight into the process involved in creating the sculpture, to give an opportunity to reflect on what it symbolises for Belfast, and to offer their own creative insights in response.

1374_NT

RISE (sculpture)

Focus on this artwork and explain the Workshop.

In October 2009, school children and senior citizens from across Belfast worked with New Belfast Community Arts Initiative, local writers and the artist, Buttress, to look at plans for RISE, and to learn more about creative expression through workshops. The workshops were designed to give people an insight into the process involved in creating the sculpture, to give an opportunity to reflect on what it symbolises for Belfast, and to offer their own creative insights in response.

1375_T

Moses Leaving for Egypt

Explore the abstract of this artwork, Moses Leaving for Egypt.

Moses Leaving for Egypt is a fresco by the Italian Renaissance painter Pietro Perugino and his workshop, executed around 1482 and located in the Sistine Chapel, Rome. It depicts a journey by the prophet Moses.

1375_NT

Moses Leaving for Egypt

Explore the abstract of this artwork.

Moses Leaving for Egypt is a fresco by the Italian Renaissance painter Pietro Perugino and his workshop, executed around 1482 and located in the Sistine Chapel, Rome. It depicts a journey by the prophet Moses.

1376_T

Moses Leaving for Egypt

Focus on Moses Leaving for Egypt and discuss the History.

The commission of the work originated in 1480, when Perugino was decorating a chapel in the Old St. Peter's Basilica in Rome. Pope Sixtus IV was pleased by his work, and decided to commission him also the decoration of the new Chapel he had built in the Vatican Palace. Due to the size of the work, Perugino was later joined by a group of painters from Florence, including Botticelli, Ghirlandaio and others.Perugino's assistants in the Sistine Chapel included Pinturicchio. Some figures in the fresco were traditionally attributed to him, but this has been disputed by 20th-century art historians. They were painted by Andrea d'Assisi, Rocco Zoppo or, less likely, Lo Spagna or Bartolomeo della Gatta, other Perugino's collaborators of the time.

1376_NT

Moses Leaving for Egypt

Focus on this artwork and discuss the History.

The commission of the work originated in 1480, when Perugino was decorating a chapel in the Old St. Peter's Basilica in Rome. Pope Sixtus IV was pleased by his work, and decided to commission him also the decoration of the new Chapel he had built in the Vatican Palace. Due to the size of the work, Perugino was later joined by a group of painters from Florence, including Botticelli, Ghirlandaio and others.Perugino's assistants in the Sistine Chapel included Pinturicchio. Some figures in the fresco were traditionally attributed to him, but this has been disputed by 20th-century art historians. They were painted by Andrea d'Assisi, Rocco Zoppo or, less likely, Lo Spagna or Bartolomeo della Gatta, other Perugino's collaborators of the time.

1377_T

Moses Leaving for Egypt

How does Moses Leaving for Egypt elucidate its Description?

The fresco depicting the voyage of Moses is the first on the wall right to the altar, and faces the Baptism of Christ on the opposite wall. The painting shows Moses (dressing in yellow and green as in the other frescoes of the cycle) leaving for Egypt, after he had been exiled from Midian, with Zipporah to his right. In the center, an angel asks him to circumcise his son Eliezer (scene on the right), as a sign of the alliance between Yahweh and the Israelites. The baptism, depicted on the opposite fresco, was in fact considered by several early Christian writers, including Augustine, as a kind of "spiritual circumcision". The ceremony is on the right, and includes Zipporah.In the right background Moses and Zipporah are greeting Jethro before leaving. Natural elements include the hill landscape in the background, characterized by thin trees (including a palm, a symbol of Christian sacrifice), and the birds: two of them are mating, an allusion to the renovations cycles of the nature. On the left background is a group of shepherds. The dames with flying dresses were a common element of Florentine early Renaissance painting, used also by Ghirlandaio and Botticelli.

1377_NT

Moses Leaving for Egypt

How does this artwork elucidate its Description?

The fresco depicting the voyage of Moses is the first on the wall right to the altar, and faces the Baptism of Christ on the opposite wall. The painting shows Moses (dressing in yellow and green as in the other frescoes of the cycle) leaving for Egypt, after he had been exiled from Midian, with Zipporah to his right. In the center, an angel asks him to circumcise his son Eliezer (scene on the right), as a sign of the alliance between Yahweh and the Israelites. The baptism, depicted on the opposite fresco, was in fact considered by several early Christian writers, including Augustine, as a kind of "spiritual circumcision". The ceremony is on the right, and includes Zipporah.In the right background Moses and Zipporah are greeting Jethro before leaving. Natural elements include the hill landscape in the background, characterized by thin trees (including a palm, a symbol of Christian sacrifice), and the birds: two of them are mating, an allusion to the renovations cycles of the nature. On the left background is a group of shepherds. The dames with flying dresses were a common element of Florentine early Renaissance painting, used also by Ghirlandaio and Botticelli.

1378_T

Cerritos Veterans Memorial

Focus on Cerritos Veterans Memorial and analyze the abstract.

The Cerritos Veterans Memorial, located in Cerritos, California is a 20-foot-high (6.1 m) sculpture dedicated in honor of local veterans. The sculpture is part of a "Cerritos Veterans Project," which seeks to preserve the stories of veterans who are current or former residents of the City of Cerritos. The sculpture, which was designed and built by artist James T. Russell, sits on the grounds of the Cerritos Civic Center.

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Cerritos Veterans Memorial

Focus on this artwork and analyze the abstract.

The Cerritos Veterans Memorial, located in Cerritos, California is a 20-foot-high (6.1 m) sculpture dedicated in honor of local veterans. The sculpture is part of a "Cerritos Veterans Project," which seeks to preserve the stories of veterans who are current or former residents of the City of Cerritos. The sculpture, which was designed and built by artist James T. Russell, sits on the grounds of the Cerritos Civic Center.

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Cerritos Veterans Memorial

In Cerritos Veterans Memorial, how is the The memorial discussed?

The memorial was dedicated at the first annual Veterans Day ceremony on November 11, 2006. The memorial contains a 20-foot-high (6.1 m) stainless steel sculpture in the shape of a flame atop a reflecting pool. There are five pedestals surrounding the pool, each containing the emblem of one branch of the United States armed forces: Army, Navy, Air Force, Marines, and the Coast Guard. Off to the side, there are two other pedestals, one in honor of the Merchant Marine, and another honoring all 32 groups who were recognized by Congress for their efforts during World War I and World War II. The memorial serves as a focal point for the various official city ceremonies which have a patriotic theme. The dedication ceremony in 2006 served as the city's first annual Veterans Day ceremony, and the first annual Memorial Day ceremony took place in 2008. Starting in 2007, the city also moved its Let Freedom Ring ceremony to celebrate the Fourth of July to the grounds around the Cerritos Veterans Memorial, and in 2010 the city held its Patriot Day concert in that venue.

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Cerritos Veterans Memorial

In this artwork, how is the The memorial discussed?

The memorial was dedicated at the first annual Veterans Day ceremony on November 11, 2006. The memorial contains a 20-foot-high (6.1 m) stainless steel sculpture in the shape of a flame atop a reflecting pool. There are five pedestals surrounding the pool, each containing the emblem of one branch of the United States armed forces: Army, Navy, Air Force, Marines, and the Coast Guard. Off to the side, there are two other pedestals, one in honor of the Merchant Marine, and another honoring all 32 groups who were recognized by Congress for their efforts during World War I and World War II. The memorial serves as a focal point for the various official city ceremonies which have a patriotic theme. The dedication ceremony in 2006 served as the city's first annual Veterans Day ceremony, and the first annual Memorial Day ceremony took place in 2008. Starting in 2007, the city also moved its Let Freedom Ring ceremony to celebrate the Fourth of July to the grounds around the Cerritos Veterans Memorial, and in 2010 the city held its Patriot Day concert in that venue.

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Cerritos Veterans Memorial

In the context of Cerritos Veterans Memorial, explain the Memorial design of the Controversies.

During the November 22, 2005, Cerritos City Council meeting, a controversy erupted as to whether there should be a sixth pedestal around the pool with the emblem of the Merchant Marine. After a very long public discussion, a compromise was reached where it was decided to put a pedestal with the emblem of the Merchant Marine, but place that pedestal off to the side and not include it with the emblems of the 5 primary branches. In order to be sensitive to other groups, it was also decided to have a pedestal honoring all the groups recognized by Congress for the contributions during World War I and World War II.

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Cerritos Veterans Memorial

In the context of this artwork, explain the Memorial design of the Controversies.

During the November 22, 2005, Cerritos City Council meeting, a controversy erupted as to whether there should be a sixth pedestal around the pool with the emblem of the Merchant Marine. After a very long public discussion, a compromise was reached where it was decided to put a pedestal with the emblem of the Merchant Marine, but place that pedestal off to the side and not include it with the emblems of the 5 primary branches. In order to be sensitive to other groups, it was also decided to have a pedestal honoring all the groups recognized by Congress for the contributions during World War I and World War II.

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Centennial Land Run Monument

Explore the abstract of this artwork, Centennial Land Run Monument.

The Centennial Land Run Monument is an art installation by Paul Moore, located in the Oklahoma City Bricktown District, in the U.S. state of Oklahoma. It commemorates the Land Run of 1889 in the Unassigned Lands.

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Centennial Land Run Monument

Explore the abstract of this artwork.

The Centennial Land Run Monument is an art installation by Paul Moore, located in the Oklahoma City Bricktown District, in the U.S. state of Oklahoma. It commemorates the Land Run of 1889 in the Unassigned Lands.

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The Elevation of the Cross (Rubens)

Focus on The Elevation of the Cross (Rubens) and discuss the abstract.

The Elevation of the Cross (also called The Raising of the Cross) is the name of two paintings, a very large triptych in oil on panel and a much smaller oil on paper painting. Both pieces were painted by the Flemish artist Peter Paul Rubens in Antwerp, Belgium, the original in 1610 and the latter in 1638.The original is in the Cathedral of Our Lady, as the Catholic church for which it was painted has been destroyed. The smaller version is now in the Art Gallery of Ontario, Canada. Another smaller triptych with a different composition, and an oil study, are in the Louvre in Paris. Peter Paul Rubens painted the triptych The Elevation of the Cross after returning to Antwerp from Italy in 1610–1611 as commissioned by the church authorities of the Church of St. Walburga. Cornelis van der Geest, a wealthy merchant and churchwarden of the Catholic Church of St. Walburga, secured this commission for Rubens and funded the majority of the project. Under Napoleon's rule, the emperor took the painting, along with Peter Paul Rubens's The Descent from the Cross, to Paris. The paintings were returned to Antwerp in 1815, but since the Catholic Church of St. Walburga had been destroyed, they were placed in the Cathedral of Our Lady in Antwerp instead. The Antwerp triptych was positioned above the high altar preceded by a set of stairs, making it visible from a great distance in the vast Gothic cathedral of St. Walburga. This height was unusual for an altarpiece indicating its important presence in St. Walburga. While Rubens' triptych was present in St. Walburga, the painting was surrounded on all sides by images of God the Father, Christ, angels, and at the top of the structure was a gilded wooden pelican, which was a common representation of Christ's redemptive sacrifice, based on the ancient legend that the pelican hacked his brood to death in a first rage, but then brought them back to life with his own blood.

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The Elevation of the Cross (Rubens)

Focus on this artwork and discuss the abstract.

The Elevation of the Cross (also called The Raising of the Cross) is the name of two paintings, a very large triptych in oil on panel and a much smaller oil on paper painting. Both pieces were painted by the Flemish artist Peter Paul Rubens in Antwerp, Belgium, the original in 1610 and the latter in 1638.The original is in the Cathedral of Our Lady, as the Catholic church for which it was painted has been destroyed. The smaller version is now in the Art Gallery of Ontario, Canada. Another smaller triptych with a different composition, and an oil study, are in the Louvre in Paris. Peter Paul Rubens painted the triptych The Elevation of the Cross after returning to Antwerp from Italy in 1610–1611 as commissioned by the church authorities of the Church of St. Walburga. Cornelis van der Geest, a wealthy merchant and churchwarden of the Catholic Church of St. Walburga, secured this commission for Rubens and funded the majority of the project. Under Napoleon's rule, the emperor took the painting, along with Peter Paul Rubens's The Descent from the Cross, to Paris. The paintings were returned to Antwerp in 1815, but since the Catholic Church of St. Walburga had been destroyed, they were placed in the Cathedral of Our Lady in Antwerp instead. The Antwerp triptych was positioned above the high altar preceded by a set of stairs, making it visible from a great distance in the vast Gothic cathedral of St. Walburga. This height was unusual for an altarpiece indicating its important presence in St. Walburga. While Rubens' triptych was present in St. Walburga, the painting was surrounded on all sides by images of God the Father, Christ, angels, and at the top of the structure was a gilded wooden pelican, which was a common representation of Christ's redemptive sacrifice, based on the ancient legend that the pelican hacked his brood to death in a first rage, but then brought them back to life with his own blood.

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The Elevation of the Cross (Rubens)

How does The Elevation of the Cross (Rubens) elucidate its Visual analysis?

This altarpiece is an early attempt by Ruben's to employ the intensity of the Baroque style. The three panels together work harmoniously, creating a continuous scene. The setting is dark and restless as the group of spectators, soldiers, horses, and the strained bodies of the executioners surround the soon-to-be crucified Christ.Jesus Christ and the elevation of his cross are the focal points for this artwork, with features of the story overflowing from the middle panel onto the wings on both sides. The central panel illustrates a tension between the multitude of massively muscled men attempting to lift the cross and the seemingly unbearable weight of Christ on the cross. Christ's suffering is made apparent in his strained and tense body, hands clenched tight around the nails in his hands, and his head contorted in the last moments of agonizing pain. Jesus' body is a picture of classical nobility; with arms raised and gaze turned upward, Rubens emphasizes Christ's willing sacrifice over the horrors of his crucifixion. Christ looks up and asks his Father, who was depicted above the triptych, for forgiveness for his tormentors: "Father, forgive them, they know not what they do." (Luke 23:34)The thieves in the left wing of Jesus are being prepared for execution as the Roman officers issue their orders. In the right wing, the women on the road (Luke 23:28) respond to Christ's plea for forgiveness, reliving figure by figure the stages of repentance: fearfulness, contrition, hope, and charity toward the Savior. The Virgin and Saint John are identified above them, deeply moved, reflecting on the meaning of the raising of the cross and Christ's plea for forgiveness.The Elevation of the Cross is an accurate biblical representation of the crucifixion of Christ, in keeping with the specific guidelines for art as produced by the Council of Trent. Rubens emanates the spirit of the catholic reform by representing the victorious nature of Christ's death while maintaining his divine nature. Rubens's visual argument on human sin, judgment, the elevation of the cross, the plea for forgiveness, and the acts of penitence, follows Johannes Herolt's collection of sermons from 1435, widely used in Rubens' time. Rubens contrasts the uniqueness of Christ's plea for forgiveness with quotations from ancient depictions of the vengeance of the gods (Laocoon, Niobids, Farnese Bull).The high altar of St. Walburga rises high above an ancient Holy Sepulchre chapel restored in 1613. Thus, Rubens' "Erection of the Cross" reenacts the journey from the Jerusalem Church of the Holy Sepulchre to the erection of the Holy Cross in the Golgotha Chapel located above.Rubens also paints the outside of the wings, illustrating four saints that were venerated in Flanders during this time period. On the far left stands St. Amandus clothed impressively in bishop robes, with St. Walburga positioned alongside him. On the right outer wing stands Saint Catherine of Alexandria, accompanied by Saint Eligius. On the socles, garlands of fruit announce the fruits that Christ's raising of the cross and plea for forgiveness earn for the believers.

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The Elevation of the Cross (Rubens)

How does this artwork elucidate its Visual analysis?

This altarpiece is an early attempt by Ruben's to employ the intensity of the Baroque style. The three panels together work harmoniously, creating a continuous scene. The setting is dark and restless as the group of spectators, soldiers, horses, and the strained bodies of the executioners surround the soon-to-be crucified Christ.Jesus Christ and the elevation of his cross are the focal points for this artwork, with features of the story overflowing from the middle panel onto the wings on both sides. The central panel illustrates a tension between the multitude of massively muscled men attempting to lift the cross and the seemingly unbearable weight of Christ on the cross. Christ's suffering is made apparent in his strained and tense body, hands clenched tight around the nails in his hands, and his head contorted in the last moments of agonizing pain. Jesus' body is a picture of classical nobility; with arms raised and gaze turned upward, Rubens emphasizes Christ's willing sacrifice over the horrors of his crucifixion. Christ looks up and asks his Father, who was depicted above the triptych, for forgiveness for his tormentors: "Father, forgive them, they know not what they do." (Luke 23:34)The thieves in the left wing of Jesus are being prepared for execution as the Roman officers issue their orders. In the right wing, the women on the road (Luke 23:28) respond to Christ's plea for forgiveness, reliving figure by figure the stages of repentance: fearfulness, contrition, hope, and charity toward the Savior. The Virgin and Saint John are identified above them, deeply moved, reflecting on the meaning of the raising of the cross and Christ's plea for forgiveness.The Elevation of the Cross is an accurate biblical representation of the crucifixion of Christ, in keeping with the specific guidelines for art as produced by the Council of Trent. Rubens emanates the spirit of the catholic reform by representing the victorious nature of Christ's death while maintaining his divine nature. Rubens's visual argument on human sin, judgment, the elevation of the cross, the plea for forgiveness, and the acts of penitence, follows Johannes Herolt's collection of sermons from 1435, widely used in Rubens' time. Rubens contrasts the uniqueness of Christ's plea for forgiveness with quotations from ancient depictions of the vengeance of the gods (Laocoon, Niobids, Farnese Bull).The high altar of St. Walburga rises high above an ancient Holy Sepulchre chapel restored in 1613. Thus, Rubens' "Erection of the Cross" reenacts the journey from the Jerusalem Church of the Holy Sepulchre to the erection of the Holy Cross in the Golgotha Chapel located above.Rubens also paints the outside of the wings, illustrating four saints that were venerated in Flanders during this time period. On the far left stands St. Amandus clothed impressively in bishop robes, with St. Walburga positioned alongside him. On the right outer wing stands Saint Catherine of Alexandria, accompanied by Saint Eligius. On the socles, garlands of fruit announce the fruits that Christ's raising of the cross and plea for forgiveness earn for the believers.

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The Elevation of the Cross (Rubens)

Focus on The Elevation of the Cross (Rubens) and analyze the Influences.

The work shows the clear influence of ancient sculptures (Laocoon, Niobids, Farnese Bull) and Italian Renaissance and Baroque artists such as Caravaggio, Tintoretto and Michelangelo. Peter Paul Rubens's foreshortening is evident in the contortions of the struggling, strapping men, which is reminiscent of Tintoretto's Crucifixion in the Scuola di San Rocco in Venice. Rubens's version creates a more compelling, intense and emotional response through the re-positioning of Christ. Christ cuts across the central panel diagonally, akin to Caravaggio's Entombment where both descent and ascent are in play at a key moment. Rubens represents light with tenebrism, reflecting on the influence of Caravaggio. Christ's perfectly molded body alludes to the nude figures painted by Michelangelo on the ceilings of the Sistine Chapel.

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The Elevation of the Cross (Rubens)

Focus on this artwork and analyze the Influences.

The work shows the clear influence of ancient sculptures (Laocoon, Niobids, Farnese Bull) and Italian Renaissance and Baroque artists such as Caravaggio, Tintoretto and Michelangelo. Peter Paul Rubens's foreshortening is evident in the contortions of the struggling, strapping men, which is reminiscent of Tintoretto's Crucifixion in the Scuola di San Rocco in Venice. Rubens's version creates a more compelling, intense and emotional response through the re-positioning of Christ. Christ cuts across the central panel diagonally, akin to Caravaggio's Entombment where both descent and ascent are in play at a key moment. Rubens represents light with tenebrism, reflecting on the influence of Caravaggio. Christ's perfectly molded body alludes to the nude figures painted by Michelangelo on the ceilings of the Sistine Chapel.

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The Elevation of the Cross (Rubens)

In The Elevation of the Cross (Rubens), how is the The artists' workshop discussed?

Peter Paul Rubens was not fully responsible for the creation of this artwork, which is the reality for many of Rubens's paintings. The period after which Rubens arrived in Antwerp was a particularly busy time for the painter, and consisted of responsibilities beyond painting. Rubens was head of a workshop that consisted of a hierarchy of pupils, assistants, and collaborators – all of which played an important role in the creation of the painting. Rubens would have done all the sketches and designs for the works being created in his workshop. In terms of the Elevation of the Cross, Rubens started the creative process with oil and brush on a small panel. Also called a modello, this oil sketch served as a sample painting for the patron to approve the overall story and imagery, especially paying attention to the iconographic details. The modello also served as a model for the assistants to start the preliminary steps of the full scale painting. No major iconographic changes were made in the case of Rubens's Elevation of the Cross, but a few details such as the position of the cross were adjusted. From the modello to the Antwerp triptych, Rubens exchanged the figure of a fleeing Niobid on the right wing for that of a son of Niobe lying on the ground. In the radical foreshortening of this figure he was able to demonstrate his mastery of art to the connoisseurs of his time.Once the assistants had established the general composition, Rubens turned his attention towards the human figures. In this stage, Rubens used chalk to make drawings with live models present, positioning the models in the various poses as predetermined in the modello. These separate drawings were used in conjunction with the modello in the final execution of the large scale painting. Rubens made sure to touch up all the paintings once the assistants had completed their portion.

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The Elevation of the Cross (Rubens)

In this artwork, how is the The artists' workshop discussed?

Peter Paul Rubens was not fully responsible for the creation of this artwork, which is the reality for many of Rubens's paintings. The period after which Rubens arrived in Antwerp was a particularly busy time for the painter, and consisted of responsibilities beyond painting. Rubens was head of a workshop that consisted of a hierarchy of pupils, assistants, and collaborators – all of which played an important role in the creation of the painting. Rubens would have done all the sketches and designs for the works being created in his workshop. In terms of the Elevation of the Cross, Rubens started the creative process with oil and brush on a small panel. Also called a modello, this oil sketch served as a sample painting for the patron to approve the overall story and imagery, especially paying attention to the iconographic details. The modello also served as a model for the assistants to start the preliminary steps of the full scale painting. No major iconographic changes were made in the case of Rubens's Elevation of the Cross, but a few details such as the position of the cross were adjusted. From the modello to the Antwerp triptych, Rubens exchanged the figure of a fleeing Niobid on the right wing for that of a son of Niobe lying on the ground. In the radical foreshortening of this figure he was able to demonstrate his mastery of art to the connoisseurs of his time.Once the assistants had established the general composition, Rubens turned his attention towards the human figures. In this stage, Rubens used chalk to make drawings with live models present, positioning the models in the various poses as predetermined in the modello. These separate drawings were used in conjunction with the modello in the final execution of the large scale painting. Rubens made sure to touch up all the paintings once the assistants had completed their portion.

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The Elevation of the Cross (Rubens)

Focus on The Elevation of the Cross (Rubens) and explore the Smaller version.

The Elevation of the Cross is also the title of a smaller oil on paper painting reproduction of the triptych. It measured 60 × 126.5 cm, but was later enlarged to 70 × 131.5 cm. This smaller painting is a representative of modified reproduction of the much earlier triptych. Also painted by Rubens, he completed the piece around 1638, and it was given to Hans Witdoeck, to use as a modello. The smaller painting is unique from the original, however, with the addition of color accents throughout the composition. The most notable difference seen between the 1611 painting and the 1638 painting is the elimination of the frames. The removal of the breaks created a more cohesive scene. Figures not seen in the earlier version are added, as well as some changes in the landscape. Due to its size, some have suggested the painting may have been conceived as an independent painting to The Elevation of the Cross, to be given as a personal gift to Cornelis van der Geest. The painting is now in the Art Gallery of Ontario's permanent collection, after it was purchased from George Holford in 1928.

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The Elevation of the Cross (Rubens)

Focus on this artwork and explore the Smaller version.

The Elevation of the Cross is also the title of a smaller oil on paper painting reproduction of the triptych. It measured 60 × 126.5 cm, but was later enlarged to 70 × 131.5 cm. This smaller painting is a representative of modified reproduction of the much earlier triptych. Also painted by Rubens, he completed the piece around 1638, and it was given to Hans Witdoeck, to use as a modello. The smaller painting is unique from the original, however, with the addition of color accents throughout the composition. The most notable difference seen between the 1611 painting and the 1638 painting is the elimination of the frames. The removal of the breaks created a more cohesive scene. Figures not seen in the earlier version are added, as well as some changes in the landscape. Due to its size, some have suggested the painting may have been conceived as an independent painting to The Elevation of the Cross, to be given as a personal gift to Cornelis van der Geest. The painting is now in the Art Gallery of Ontario's permanent collection, after it was purchased from George Holford in 1928.

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Laurentian Sow (sculpture)

Focus on Laurentian Sow (sculpture) and explain the abstract.

The Laurentian Sow is a 1st or 2nd century AD Roman marble sculpture of a sow with feeding suckling pigs, now on display in the Ny Carlsberg Glyptotek in Copenhagen, Denmark.

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Laurentian Sow (sculpture)

Focus on this artwork and explain the abstract.

The Laurentian Sow is a 1st or 2nd century AD Roman marble sculpture of a sow with feeding suckling pigs, now on display in the Ny Carlsberg Glyptotek in Copenhagen, Denmark.

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Laurentian Sow (sculpture)

Explore the Iconography of this artwork, Laurentian Sow (sculpture).

The relates to the story of Aeneas according to a prophecy of a priest of Apollo. Æneas lands on the shores of Old Latium with his son Ascanius behind him; on the left, a sow tells him where to found his city.

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Laurentian Sow (sculpture)

Explore the Iconography of this artwork.

The relates to the story of Aeneas according to a prophecy of a priest of Apollo. Æneas lands on the shores of Old Latium with his son Ascanius behind him; on the left, a sow tells him where to found his city.

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Laurentian Sow (sculpture)

Focus on Laurentian Sow (sculpture) and discuss the History.

The sculpture was acquired by the Ny Carlsberg Glyptotek on 1 January 1909.

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Laurentian Sow (sculpture)

Focus on this artwork and discuss the History.

The sculpture was acquired by the Ny Carlsberg Glyptotek on 1 January 1909.

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Statue of Robert the Bruce, Stirling Castle

How does Statue of Robert the Bruce, Stirling Castle elucidate its abstract?

The statue of Robert the Bruce on the esplanade at Stirling Castle, Stirling, is a 1876 work sculpted by Andrew Currie and designed by illustrator George Cruikshank. As of 2020, the statue is featured on the Clydesdale Bank £20 note.

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Statue of Robert the Bruce, Stirling Castle

How does this artwork elucidate its abstract?

The statue of Robert the Bruce on the esplanade at Stirling Castle, Stirling, is a 1876 work sculpted by Andrew Currie and designed by illustrator George Cruikshank. As of 2020, the statue is featured on the Clydesdale Bank £20 note.

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Death and the Maiden (Baldung)

Focus on Death and the Maiden (Baldung) and analyze the abstract.

Death and the Maiden or Death and Lust is a painting executed in 1517 by the German artist Hans Baldung (otherwise known as Hans Baldung Grien) which is in the collection of the Kunstmuseum Basel, Basel, Switzerland. The work depicts a popular theme that Baldung himself visited several times, that of the early death of a young woman, often with erotic overtones. In this version Death has seized hold of a voluptuous young woman's hair and is pointing down to a tomb in mock benediction. Above his head are written the words "Hie must du yn" or "Here you must go". The distraught victim, fully aware of her fate, wrings her hands together, pleading for her life.

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Death and the Maiden (Baldung)

Focus on this artwork and analyze the abstract.

Death and the Maiden or Death and Lust is a painting executed in 1517 by the German artist Hans Baldung (otherwise known as Hans Baldung Grien) which is in the collection of the Kunstmuseum Basel, Basel, Switzerland. The work depicts a popular theme that Baldung himself visited several times, that of the early death of a young woman, often with erotic overtones. In this version Death has seized hold of a voluptuous young woman's hair and is pointing down to a tomb in mock benediction. Above his head are written the words "Hie must du yn" or "Here you must go". The distraught victim, fully aware of her fate, wrings her hands together, pleading for her life.

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Gnome Watching Railway Train

In Gnome Watching Railway Train, how is the abstract discussed?

Gnome Watching Railway Train (German: Gnom, Eisenbahn betrachtend) is an 1848 oil-on-wood painting by the German painter Carl Spitzweg.

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Gnome Watching Railway Train

In this artwork, how is the abstract discussed?

Gnome Watching Railway Train (German: Gnom, Eisenbahn betrachtend) is an 1848 oil-on-wood painting by the German painter Carl Spitzweg.

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Gnome Watching Railway Train

Focus on Gnome Watching Railway Train and explore the Description.

A small gnome with a grey beard and a pointed hat stands at the entrance of a cave at a high altitude. He looks out over a landscape with hills and trees and a town in the distant background. At the foot of a hill, the silhouette of a railway train passes by and pours out grey smoke from the locomotive.

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Gnome Watching Railway Train

Focus on this artwork and explore the Description.

A small gnome with a grey beard and a pointed hat stands at the entrance of a cave at a high altitude. He looks out over a landscape with hills and trees and a town in the distant background. At the foot of a hill, the silhouette of a railway train passes by and pours out grey smoke from the locomotive.

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Gnome Watching Railway Train

Focus on Gnome Watching Railway Train and explain the Analysis.

In 2008, the art historian Florian Illies made a comparison to J. M. W. Turner's Rain, Steam and Speed – The Great Western Railway (1844), "modernity's break-in into art history", and interpreted Gnome Watching Railway Train as Spitzweg's self-ironic comment to his reputation as someone who wanted to stop time. According to Illies, Spitzweg's gnome is a caricature of someone who thinks he can watch the modern world come and go from his cave.Analysing the painting in 2018, the German studies scholar Theodore Ziolkowski grouped it with Charles Dickens' novel Dombey and Son (1848), William Wordsworth's poem "On the Projected Kendal and Windermere Railway" (1844) and several texts by Joseph Freiherr von Eichendorff. The railway here symbolises the new technology, which is accepted but also regarded as destructive. Spitzweg's composition, with an elevated figure gazing across a landscape, had previously been used by romantic painters like Caspar David Friedrich, John Constable and Eugène Delacroix. Instead of conveying a romantic message, however, Spitzweg's gnome is humouristic, and the seemingly idyllic painting is ironic. Ziolkowski wrote: "No painting could mark more precisely the artist's recognition that the Romanticism in which he began his career has been displaced by the technological developments of the contemporary world—the developments that inform his contemporary Biedermeier culture as well as the approaching Realism. The Romantic reverence for art, which it regarded as a substitute for religion, has given way to humor and irony."

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Gnome Watching Railway Train

Focus on this artwork and explain the Analysis.

In 2008, the art historian Florian Illies made a comparison to J. M. W. Turner's Rain, Steam and Speed – The Great Western Railway (1844), "modernity's break-in into art history", and interpreted Gnome Watching Railway Train as Spitzweg's self-ironic comment to his reputation as someone who wanted to stop time. According to Illies, Spitzweg's gnome is a caricature of someone who thinks he can watch the modern world come and go from his cave.Analysing the painting in 2018, the German studies scholar Theodore Ziolkowski grouped it with Charles Dickens' novel Dombey and Son (1848), William Wordsworth's poem "On the Projected Kendal and Windermere Railway" (1844) and several texts by Joseph Freiherr von Eichendorff. The railway here symbolises the new technology, which is accepted but also regarded as destructive. Spitzweg's composition, with an elevated figure gazing across a landscape, had previously been used by romantic painters like Caspar David Friedrich, John Constable and Eugène Delacroix. Instead of conveying a romantic message, however, Spitzweg's gnome is humouristic, and the seemingly idyllic painting is ironic. Ziolkowski wrote: "No painting could mark more precisely the artist's recognition that the Romanticism in which he began his career has been displaced by the technological developments of the contemporary world—the developments that inform his contemporary Biedermeier culture as well as the approaching Realism. The Romantic reverence for art, which it regarded as a substitute for religion, has given way to humor and irony."

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Gnome Watching Railway Train

Explore the History of this artwork, Gnome Watching Railway Train.

Gnome Watching Railway Train was made a decade after the opening of the first railway line in Germany, and the technology had rapidly become commonplace. It was painted with oil on the lid of a cigar box.

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Gnome Watching Railway Train

Explore the History of this artwork.

Gnome Watching Railway Train was made a decade after the opening of the first railway line in Germany, and the technology had rapidly become commonplace. It was painted with oil on the lid of a cigar box.

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Gnome Watching Railway Train

Focus on Gnome Watching Railway Train and discuss the Provenance.

The painting has belonged to Spitzweg's nephew-in-law Major Karl Loreck, Hugo Helbing in Munich, E. Ullmann in Vienna, H. Meyer in Munich (from October 1937) and H. E. Martini in Augsburg (from 1951). On 5 April 2008 it was sold at auction for 69,600 euro.Since the 1950s, it has also gone under the name Gnomen (English: Gnomes). This was caused by a mistake from Günther Rönnefahrt during his catalogization of Spitzweg's works. Rönnefahrt only had access to a black-and-white photograph of the painting and thought he saw a second gnome in the shadows of the cave.

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Gnome Watching Railway Train

Focus on this artwork and discuss the Provenance.

The painting has belonged to Spitzweg's nephew-in-law Major Karl Loreck, Hugo Helbing in Munich, E. Ullmann in Vienna, H. Meyer in Munich (from October 1937) and H. E. Martini in Augsburg (from 1951). On 5 April 2008 it was sold at auction for 69,600 euro.Since the 1950s, it has also gone under the name Gnomen (English: Gnomes). This was caused by a mistake from Günther Rönnefahrt during his catalogization of Spitzweg's works. Rönnefahrt only had access to a black-and-white photograph of the painting and thought he saw a second gnome in the shadows of the cave.

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A Boy and a Girl with a Cat and an Eel

How does A Boy and a Girl with a Cat and an Eel elucidate its abstract?

A Boy and a Girl with a Cat and an Eel is a 1635 oil painting by Judith Leyster that is now in the National Gallery, London.

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A Boy and a Girl with a Cat and an Eel

How does this artwork elucidate its abstract?

A Boy and a Girl with a Cat and an Eel is a 1635 oil painting by Judith Leyster that is now in the National Gallery, London.

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A Boy and a Girl with a Cat and an Eel

Focus on A Boy and a Girl with a Cat and an Eel and analyze the Academic interpretation.

There have been various interpretations of Judith Leyster's A Boy and a Girl with a Cat and an Eel by different scholars. Some, such as Neil McLaren, have argued that it represents the Dutch proverb "Een aal bij de staart hebben" (or "to hold an eel by the tail") meaning that you do not get to hold onto something just because you have it. This moralistic interpretation is supported, Cynthia Kortenhorst-Von Bogendorff Rupprath says, by the eye contact with the viewer made by the little girl in the painting as she wags her finger. Other interpretations include allusions to other Dutch proverbs as well as the popular pastime in seventeenth-century Dutch festivals or kermis of katknuppelen, the bludgeoning of cats. The depiction of children torturing or being scratched by cats was a popular one at this time in the Netherlands, and may allude to the Dutch proverbs "Hij doet kattekwaad", which translates literally to "he does the mischief of the cat", or "'t Liep uit op katjesspel", the literal translation of which is "it ends in the game of the cat", which relate to mischievous or arguing children.Leyster's husband, Jan Miense Molenaer, included such an image in his group portrait "The Ruychaver-van der Laen Family" (c. 1629–30) in which a boy holding a clawing cat by the tail torments a girl by dangling it near her; she shies away tending to her scratched hand. These roles are reversed in Leyster's painting where it is the girl pulling the cat's tail, tragedy has not yet struck, and the girl's eye contact and shaking finger leave it perhaps up to the viewer to interpret what result her actions will have. Some scholars have also interpreted the eel being held as a kat aal or cat-eel, which were fed to cats as they were not worth eating. In this case it would be the boy who had enticed the cat into his grasp and he would be getting what was coming to him. Yet another interpretation is that the girl is waving her finger to make the viewers feel that she is reprimanding her brother for teasing the cat, and she is thereby distracting their attention from her own misbehaviour, which is pulling the cat's tail, making it nervous, and about to scratch. There are other examples of Dutch paintings as well as poems, such as Jacob Cats in his introductory section of his book Kinderspel or Children's Games, which use children as a motif both to mock and to preach morals to adults, and Frima Fox Hofrichter says this painting falls into that category.

1398_NT

A Boy and a Girl with a Cat and an Eel

Focus on this artwork and analyze the Academic interpretation.

There have been various interpretations of Judith Leyster's A Boy and a Girl with a Cat and an Eel by different scholars. Some, such as Neil McLaren, have argued that it represents the Dutch proverb "Een aal bij de staart hebben" (or "to hold an eel by the tail") meaning that you do not get to hold onto something just because you have it. This moralistic interpretation is supported, Cynthia Kortenhorst-Von Bogendorff Rupprath says, by the eye contact with the viewer made by the little girl in the painting as she wags her finger. Other interpretations include allusions to other Dutch proverbs as well as the popular pastime in seventeenth-century Dutch festivals or kermis of katknuppelen, the bludgeoning of cats. The depiction of children torturing or being scratched by cats was a popular one at this time in the Netherlands, and may allude to the Dutch proverbs "Hij doet kattekwaad", which translates literally to "he does the mischief of the cat", or "'t Liep uit op katjesspel", the literal translation of which is "it ends in the game of the cat", which relate to mischievous or arguing children.Leyster's husband, Jan Miense Molenaer, included such an image in his group portrait "The Ruychaver-van der Laen Family" (c. 1629–30) in which a boy holding a clawing cat by the tail torments a girl by dangling it near her; she shies away tending to her scratched hand. These roles are reversed in Leyster's painting where it is the girl pulling the cat's tail, tragedy has not yet struck, and the girl's eye contact and shaking finger leave it perhaps up to the viewer to interpret what result her actions will have. Some scholars have also interpreted the eel being held as a kat aal or cat-eel, which were fed to cats as they were not worth eating. In this case it would be the boy who had enticed the cat into his grasp and he would be getting what was coming to him. Yet another interpretation is that the girl is waving her finger to make the viewers feel that she is reprimanding her brother for teasing the cat, and she is thereby distracting their attention from her own misbehaviour, which is pulling the cat's tail, making it nervous, and about to scratch. There are other examples of Dutch paintings as well as poems, such as Jacob Cats in his introductory section of his book Kinderspel or Children's Games, which use children as a motif both to mock and to preach morals to adults, and Frima Fox Hofrichter says this painting falls into that category.

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Fan print with two bugaku dancers

In Fan print with two bugaku dancers, how is the abstract discussed?

Fan print with two bugaku dancers is an ukiyo-e woodblock print dating to sometime between the mid 1820s and 1844 by celebrated Edo period artist Utagawa Kunisada, also known as Toyokuni III. This print is simultaneously an example of the uchiwa-e (fan print) and aizuri-e (monochromatic blue print) genres. It is part of the permanent collection of the Royal Ontario Museum, Toronto, Canada.

1399_NT

Fan print with two bugaku dancers

In this artwork, how is the abstract discussed?

Fan print with two bugaku dancers is an ukiyo-e woodblock print dating to sometime between the mid 1820s and 1844 by celebrated Edo period artist Utagawa Kunisada, also known as Toyokuni III. This print is simultaneously an example of the uchiwa-e (fan print) and aizuri-e (monochromatic blue print) genres. It is part of the permanent collection of the Royal Ontario Museum, Toronto, Canada.

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Fan print with two bugaku dancers

Focus on Fan print with two bugaku dancers and explore the Uchiwa-e.

Uchiwa (団扇) are non-folding, flat, oval fans. They are still used today for cooling rice in the preparation of sushi, in dance performances, and as a cooling tool. Historically, uchiwa were a predominantly female accessory, men typically carrying folding fans known as ōgi (扇), suehiro (末広) or sensu (扇子). They are associated with summer, traditionally having been sold only during the summer months, and decorated with summer imagery. At least one modern critic argues that, due to their use by women during periods of heat, uchiwa "can have suggestive connotations."Like ōgi-e (扇絵) folding fan prints, uchiwa-e were traditionally made from washi rice paper mounted on a wooden frame. Images were printed on paper, then cut along the margins and pasted onto a skeletal bamboo frame. As a result of their frequent handling, few pristine mounted examples remain.

1400_NT

Fan print with two bugaku dancers

Focus on this artwork and explore the Uchiwa-e.

Uchiwa (団扇) are non-folding, flat, oval fans. They are still used today for cooling rice in the preparation of sushi, in dance performances, and as a cooling tool. Historically, uchiwa were a predominantly female accessory, men typically carrying folding fans known as ōgi (扇), suehiro (末広) or sensu (扇子). They are associated with summer, traditionally having been sold only during the summer months, and decorated with summer imagery. At least one modern critic argues that, due to their use by women during periods of heat, uchiwa "can have suggestive connotations."Like ōgi-e (扇絵) folding fan prints, uchiwa-e were traditionally made from washi rice paper mounted on a wooden frame. Images were printed on paper, then cut along the margins and pasted onto a skeletal bamboo frame. As a result of their frequent handling, few pristine mounted examples remain.