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NAIST NLP 19

1401_T

Fan print with two bugaku dancers

Focus on Fan print with two bugaku dancers and explain the Aizuri-e.

Also known as aizome-e (藍染絵) and ai-e (藍絵), aizuri-e (藍摺絵) translates literally as "blue printed picture," and describes prints that are produced entirely or predominantly in shades of blue. A counterpart to ostensibly red and pink benizuri-e (紅摺絵), aizuri-e were a late Edo period development. Perhaps due to the fact that single colour prints were cheaper to produce, the aizuri technique was particularly popular for uchiwa-e.In the past, some art historians theorized that aizuri-e arose as a result of an 1841 government ban on the use of lavish colour in the then-dominant nishiki-e (錦絵), multi-coloured woodblock prints. The existence of a number of prominent examples predating the ban, however, suggests that aizuri-e did not simply come about as an alternative to poly-chromatic images. While the earliest recorded use is in an 1829 print by Eisen, Utagawa Sadahide, Hokusai, Hiroshige, Toyokuni II and Kunisada all produced notable examples. The increased popularity of aizuri-e is directly linked to the 1829 importation of the first synthetic colouring agent to Japan. Known in the west as Prussian Blue, Berlin Blue, or bero (ベロ) as it came to be known, effectively challenged natural indigo as an ukiyo-e mainstay due to its lower price and decreased susceptibility to fading from light exposure. Aizuri has been described by one critic as having "revolutionized landscape prints."

1401_NT

Fan print with two bugaku dancers

Focus on this artwork and explain the Aizuri-e.

Also known as aizome-e (藍染絵) and ai-e (藍絵), aizuri-e (藍摺絵) translates literally as "blue printed picture," and describes prints that are produced entirely or predominantly in shades of blue. A counterpart to ostensibly red and pink benizuri-e (紅摺絵), aizuri-e were a late Edo period development. Perhaps due to the fact that single colour prints were cheaper to produce, the aizuri technique was particularly popular for uchiwa-e.In the past, some art historians theorized that aizuri-e arose as a result of an 1841 government ban on the use of lavish colour in the then-dominant nishiki-e (錦絵), multi-coloured woodblock prints. The existence of a number of prominent examples predating the ban, however, suggests that aizuri-e did not simply come about as an alternative to poly-chromatic images. While the earliest recorded use is in an 1829 print by Eisen, Utagawa Sadahide, Hokusai, Hiroshige, Toyokuni II and Kunisada all produced notable examples. The increased popularity of aizuri-e is directly linked to the 1829 importation of the first synthetic colouring agent to Japan. Known in the west as Prussian Blue, Berlin Blue, or bero (ベロ) as it came to be known, effectively challenged natural indigo as an ukiyo-e mainstay due to its lower price and decreased susceptibility to fading from light exposure. Aizuri has been described by one critic as having "revolutionized landscape prints."

1402_T

Fan print with two bugaku dancers

Explore the Bokashi of this artwork, Fan print with two bugaku dancers.

Given the lack of colour contrast in the monochromatic aizuri-e, late Edo artists began to experiment with techniques to increase image complexity. This led to the development of bokashi, a printing technique which allowed for the reproduction and mixing of differing colour tones within a single image. This is achieved through carefully graded applications of water and pigment mixtures to the woodblock with a hake brush. The result is a single-coloured print characterised by shading and tonality. It was practiced most effectively in the rendering of skies and water. While aizuri-e themselves were inexpensive to print, bokashi was costly. It is therefore generally seen in formal prints, and not regularly seen in cheaper media such as uchiwa-e. Kunisada has, however, used the technique on this fan print, most notably in the cloud and ground regions, where the value of the blue pigment deepens from very pale blue to near-black opacity.

1402_NT

Fan print with two bugaku dancers

Explore the Bokashi of this artwork.

Given the lack of colour contrast in the monochromatic aizuri-e, late Edo artists began to experiment with techniques to increase image complexity. This led to the development of bokashi, a printing technique which allowed for the reproduction and mixing of differing colour tones within a single image. This is achieved through carefully graded applications of water and pigment mixtures to the woodblock with a hake brush. The result is a single-coloured print characterised by shading and tonality. It was practiced most effectively in the rendering of skies and water. While aizuri-e themselves were inexpensive to print, bokashi was costly. It is therefore generally seen in formal prints, and not regularly seen in cheaper media such as uchiwa-e. Kunisada has, however, used the technique on this fan print, most notably in the cloud and ground regions, where the value of the blue pigment deepens from very pale blue to near-black opacity.

1403_T

Fan print with two bugaku dancers

In Fan print with two bugaku dancers, how is the Biography of the Utagawa Kunisada elucidated?

Utagawa Kunisada (歌川国貞) was born in 1786 in the Honjō district of Edo (present-day Tokyo) into a wealthy family of ferry service owners. He began an apprenticeship with the head of the prestigious Utagawa school of artists, Toyokuni I, in 1807, and took the artist name Kunisada to include the second character (国 - kuni) of his mentor's name. In 1844, Kunisada succeeded his master as Toyokuni III (三代歌川豊国).Kunisada emerged as a book illustrator in 1807 with the series "Twelve Hours of the Courtesans" (Keisei jūnitoki). Kuchi-e book illustrations were essential to the success of the then popular sharebon and kibyōshi books, and this soon became a lucrative market for Kunisada due to his talent and ambition. His position within the Utagawa studio afforded him access to training from the finest masters, and connections to publishers, actors, theatres and poet's associations. This, in turn, led to many commissions. By the early 1810s, he had opened his own studio, and demand for his illustrations had outstripped that for his master's. His great success was also reputedly linked to his "convivial and balanced demeanor, and [the fact that] he delivered his commissions on time."Kunisada was "without a doubt... the most prolific and successful print artist of all time." He was incredibly prodigious, creating between 35 and 40 thousand designs for individual ukiyo-e prints during his lifetime. His studio was larger than that of any other print artist, and he had a large stable of several dozen students. As a further indication of his unprecedented success, when he died in 1865 after having headed the Utagawa school for around 40 years, he was the subject of four separate shini-e memorial portraits. He is buried on the grounds of Banshōin Kōunji Temple in present-day Nakano ward, Tokyo, alongside Toyokuni I (1769–1825) and Kunisada II (1823–1880).

1403_NT

Fan print with two bugaku dancers

In this artwork, how is the Biography of the Utagawa Kunisada elucidated?

Utagawa Kunisada (歌川国貞) was born in 1786 in the Honjō district of Edo (present-day Tokyo) into a wealthy family of ferry service owners. He began an apprenticeship with the head of the prestigious Utagawa school of artists, Toyokuni I, in 1807, and took the artist name Kunisada to include the second character (国 - kuni) of his mentor's name. In 1844, Kunisada succeeded his master as Toyokuni III (三代歌川豊国).Kunisada emerged as a book illustrator in 1807 with the series "Twelve Hours of the Courtesans" (Keisei jūnitoki). Kuchi-e book illustrations were essential to the success of the then popular sharebon and kibyōshi books, and this soon became a lucrative market for Kunisada due to his talent and ambition. His position within the Utagawa studio afforded him access to training from the finest masters, and connections to publishers, actors, theatres and poet's associations. This, in turn, led to many commissions. By the early 1810s, he had opened his own studio, and demand for his illustrations had outstripped that for his master's. His great success was also reputedly linked to his "convivial and balanced demeanor, and [the fact that] he delivered his commissions on time."Kunisada was "without a doubt... the most prolific and successful print artist of all time." He was incredibly prodigious, creating between 35 and 40 thousand designs for individual ukiyo-e prints during his lifetime. His studio was larger than that of any other print artist, and he had a large stable of several dozen students. As a further indication of his unprecedented success, when he died in 1865 after having headed the Utagawa school for around 40 years, he was the subject of four separate shini-e memorial portraits. He is buried on the grounds of Banshōin Kōunji Temple in present-day Nakano ward, Tokyo, alongside Toyokuni I (1769–1825) and Kunisada II (1823–1880).

1404_T

Fan print with two bugaku dancers

In the context of Fan print with two bugaku dancers, analyze the Names of the Utagawa Kunisada.

Like many artists of the Edo period, Kunisada was associated with a number of names throughout his lifetime.

1404_NT

Fan print with two bugaku dancers

In the context of this artwork, analyze the Names of the Utagawa Kunisada.

Like many artists of the Edo period, Kunisada was associated with a number of names throughout his lifetime.

1405_T

Fan print with two bugaku dancers

In the context of Fan print with two bugaku dancers, explain the Works of the Utagawa Kunisada.

Although Kunisada designed many surimono and fan pictures, most of his works are in the ōban format. He also produced over sixty paintings.Given his incredible output, it is not surprising that Kunisada was active in various genres, including kabuki-e and yakusha-e (kabuki actor pictures), bijin-ga (pictures of beauties), yūrei-zu (ghost pictures), sumō-e (sumo wrestler pictures), shunga (erotica), musha-e (warrior prints), and uchiwa-e. He is also credited with popularizing Genji-e, a print genre related to the 11th century novel The Tale of Genji, through his 1829-1842 book series, Nise Murasaki inaka Genji (A Country Genji by a Fake Murasaki). In 1808, he began creating yakusha-e, and these were to become the mainstay of his production, making up 60 to 70% of his total works. So prolific was he, that he came to be known as "Kunisada, the Portraitist of Actors (yakusha-e no Kunisada)."Two popular genres which are under-represented in Kunisada's oeuvre are nature images (kachō-e/ 花鳥絵) and landscapes (fūkei-e/ 風景絵). He rarely designed pure landscapes, but began in the 1820s or 1830s to incorporate landscape elements into prints featuring beautiful women and actors. "Fan Print with two Bugaku Dancers" with its spare background landscape, is an example of this type of piece.

1405_NT

Fan print with two bugaku dancers

In the context of this artwork, explain the Works of the Utagawa Kunisada.

Although Kunisada designed many surimono and fan pictures, most of his works are in the ōban format. He also produced over sixty paintings.Given his incredible output, it is not surprising that Kunisada was active in various genres, including kabuki-e and yakusha-e (kabuki actor pictures), bijin-ga (pictures of beauties), yūrei-zu (ghost pictures), sumō-e (sumo wrestler pictures), shunga (erotica), musha-e (warrior prints), and uchiwa-e. He is also credited with popularizing Genji-e, a print genre related to the 11th century novel The Tale of Genji, through his 1829-1842 book series, Nise Murasaki inaka Genji (A Country Genji by a Fake Murasaki). In 1808, he began creating yakusha-e, and these were to become the mainstay of his production, making up 60 to 70% of his total works. So prolific was he, that he came to be known as "Kunisada, the Portraitist of Actors (yakusha-e no Kunisada)."Two popular genres which are under-represented in Kunisada's oeuvre are nature images (kachō-e/ 花鳥絵) and landscapes (fūkei-e/ 風景絵). He rarely designed pure landscapes, but began in the 1820s or 1830s to incorporate landscape elements into prints featuring beautiful women and actors. "Fan Print with two Bugaku Dancers" with its spare background landscape, is an example of this type of piece.

1406_T

Fan print with two bugaku dancers

Explore the Reputation about the Utagawa Kunisada of this artwork, Fan print with two bugaku dancers.

Despite his success during his own period, Kunisada was not highly regarded in the west until quite recently. Critics today consider Kunisada to have been "a trendsetter... in tune with the tastes of urban society," and credit him with a "more humanized" style than his contemporaries, and with bringing a sense of realism to ukiyo-e, particularly in his depiction of the female form. Many argue, however, that the quality of Kunisada's later works degraded into "gaudy and ostentatious" use of colour, and "lost... elegance in the human figure". Ukiyo-e specialist Rupert Faulkner is particularly scathing, asserting that Kunisada's work "became noticeably coarser and somewhat clumsy, revealing a cheap and gaudy caricaturism of grotesque facial expressions and exaggerated poses." It has been suggested that his production generally suffered "because of over-production and lowering of artistic standards," as well as possible mental or physical health issues, which led to Kunisada becoming a near-recluse in 1847. As art historian J. Hillier notes, "Kunisada's career tells the tragedy of the downfall of ukiyo-e. With evident talent and tremendous verve, his early prints have qualities that link him with the great days of the school, but the great mass of his prints are hastily designed, over-coloured and badly printed."

1406_NT

Fan print with two bugaku dancers

Explore the Reputation about the Utagawa Kunisada of this artwork.

Despite his success during his own period, Kunisada was not highly regarded in the west until quite recently. Critics today consider Kunisada to have been "a trendsetter... in tune with the tastes of urban society," and credit him with a "more humanized" style than his contemporaries, and with bringing a sense of realism to ukiyo-e, particularly in his depiction of the female form. Many argue, however, that the quality of Kunisada's later works degraded into "gaudy and ostentatious" use of colour, and "lost... elegance in the human figure". Ukiyo-e specialist Rupert Faulkner is particularly scathing, asserting that Kunisada's work "became noticeably coarser and somewhat clumsy, revealing a cheap and gaudy caricaturism of grotesque facial expressions and exaggerated poses." It has been suggested that his production generally suffered "because of over-production and lowering of artistic standards," as well as possible mental or physical health issues, which led to Kunisada becoming a near-recluse in 1847. As art historian J. Hillier notes, "Kunisada's career tells the tragedy of the downfall of ukiyo-e. With evident talent and tremendous verve, his early prints have qualities that link him with the great days of the school, but the great mass of his prints are hastily designed, over-coloured and badly printed."

1407_T

Fan print with two bugaku dancers

In Fan print with two bugaku dancers, how is the Image of the Fan Print elucidated?

The scene depicted on the fan is of two male bugaku dancers in full ceremonial costume, who appear to be performing a dance in lock-step with no audience in evidence. Bugaku, made up of the characters for 'dance' (舞-bu) and 'music' or 'entertainment' (楽-gaku), joined Japanese culture from China, Korea, India and Southeast Asia in the late 8th century, as a form of dance performed at the imperial court, as well as at temples and shrines. Dancers assume stylized hand, arm and foot poses accompanied by drumming and the world's oldest surviving orchestral music, gagaku. Bugaku is often performed by dancers wearing masks to represent fictional characters, though not in Kunisada's print. There are four bugaku genres: civil, warrior, children's, and running dances. The figures here appear to be performing the latter. From the late 1820s, Kunisada began studying painting under Hanabusa Ikkei (英一珪), master of the Itchō school. The art-name appearing on this print, "Kōchōrō" (香蝶楼), borrows characters from his teacher's pseudonym (Shinkō) and from the name of the school's founder, Hanabusa Itchō (英一蝶). Both of these artists painted bugaku scenes prior to "Fan Print with two Bugaku Dancers," which are very different in style from Kunisada's image.

1407_NT

Fan print with two bugaku dancers

In this artwork, how is the Image of the Fan Print elucidated?

The scene depicted on the fan is of two male bugaku dancers in full ceremonial costume, who appear to be performing a dance in lock-step with no audience in evidence. Bugaku, made up of the characters for 'dance' (舞-bu) and 'music' or 'entertainment' (楽-gaku), joined Japanese culture from China, Korea, India and Southeast Asia in the late 8th century, as a form of dance performed at the imperial court, as well as at temples and shrines. Dancers assume stylized hand, arm and foot poses accompanied by drumming and the world's oldest surviving orchestral music, gagaku. Bugaku is often performed by dancers wearing masks to represent fictional characters, though not in Kunisada's print. There are four bugaku genres: civil, warrior, children's, and running dances. The figures here appear to be performing the latter. From the late 1820s, Kunisada began studying painting under Hanabusa Ikkei (英一珪), master of the Itchō school. The art-name appearing on this print, "Kōchōrō" (香蝶楼), borrows characters from his teacher's pseudonym (Shinkō) and from the name of the school's founder, Hanabusa Itchō (英一蝶). Both of these artists painted bugaku scenes prior to "Fan Print with two Bugaku Dancers," which are very different in style from Kunisada's image.

1408_T

Fan print with two bugaku dancers

In the context of Fan print with two bugaku dancers, analyze the Signature of the Fan Print.

The print is signed near the right edge of the fan. It reads vertically from right to left and top to bottom as follows:Line 1: Ōju (応需) - a prefix meaning "by special request," suggesting it may have been commissioned Line 2: Kōchōrō (香蝶楼) - an art-name (gō) used 1825-1861,ref>These dates are from Marks (2010, 120). Lane asserts Kunisada began using this name in 1833 (1978, 295), while the Japan Arts Council website dates its use to 1827-1851. mainly on non-actor prints. Line 3: Kunisada ga (国貞画) - artist name used 1807-1843, followed by 'picture' (i.e. 'by Kunisada') End of line 3: double circular toshidama-in (年玉印) seal

1408_NT

Fan print with two bugaku dancers

In the context of this artwork, analyze the Signature of the Fan Print.

The print is signed near the right edge of the fan. It reads vertically from right to left and top to bottom as follows:Line 1: Ōju (応需) - a prefix meaning "by special request," suggesting it may have been commissioned Line 2: Kōchōrō (香蝶楼) - an art-name (gō) used 1825-1861,ref>These dates are from Marks (2010, 120). Lane asserts Kunisada began using this name in 1833 (1978, 295), while the Japan Arts Council website dates its use to 1827-1851. mainly on non-actor prints. Line 3: Kunisada ga (国貞画) - artist name used 1807-1843, followed by 'picture' (i.e. 'by Kunisada') End of line 3: double circular toshidama-in (年玉印) seal

1409_T

Fan print with two bugaku dancers

Describe the characteristics of the Toshidama in Fan print with two bugaku dancers's Fan Print.

The double circle mark below Kunisada's signature is a toshidama-in, the distinctive seal used by all generations of the Utagawa school after Toyokuni I first adopted it, for reasons unknown, in 1808 or 1809. It is a lucky symbol, referencing gifts of coins given to children at New Year's. Kunisada gave the mark his own unique twist, elongating it and making it a yellow frame with red infill containing his signature. From 1850, he used this cartouche-style almost exclusively.

1409_NT

Fan print with two bugaku dancers

Describe the characteristics of the Toshidama in this artwork's Fan Print.

The double circle mark below Kunisada's signature is a toshidama-in, the distinctive seal used by all generations of the Utagawa school after Toyokuni I first adopted it, for reasons unknown, in 1808 or 1809. It is a lucky symbol, referencing gifts of coins given to children at New Year's. Kunisada gave the mark his own unique twist, elongating it and making it a yellow frame with red infill containing his signature. From 1850, he used this cartouche-style almost exclusively.

1410_T

Fan print with two bugaku dancers

In the context of Fan print with two bugaku dancers, explore the Date of the Fan Print.

The ROM dates the print to sometime between the mid-1820s and 1844; however, there are indications that the date can be narrowed to between 1830 and 1843. Synthetic blue pigment was not introduced to Japan until 1829, and it is unlikely that expensive natural indigo would be used on a medium as cheap as uchiwa-e. Kunisada's signature is flanked by two circular toshidama-in seals rather than appearing within an oblong, stylized toshidama cartouche. This suggests the print belongs to his early career.

1410_NT

Fan print with two bugaku dancers

In the context of this artwork, explore the Date of the Fan Print.

The ROM dates the print to sometime between the mid-1820s and 1844; however, there are indications that the date can be narrowed to between 1830 and 1843. Synthetic blue pigment was not introduced to Japan until 1829, and it is unlikely that expensive natural indigo would be used on a medium as cheap as uchiwa-e. Kunisada's signature is flanked by two circular toshidama-in seals rather than appearing within an oblong, stylized toshidama cartouche. This suggests the print belongs to his early career.

1411_T

Fan print with two bugaku dancers

In the context of Fan print with two bugaku dancers, explain the Provenance of the Fan Print.

The print was donated to the ROM by Sir Edmund Walker (1848–1924), who was the long-time president of the Canadian Bank of Commerce, and served as the first Chairman of the Board of Trustees for the ROM. Walker began collecting Japanese art in the 1870s, making him one of the earliest collectors in North America. He bought many of his pieces in New York between 1873–1875 and 1881–1886, and during a trip to London in 1909. In 1919, after travelling to Japan, China and Korea, he was named Honorary Consul-General of Japan for Toronto.

1411_NT

Fan print with two bugaku dancers

In the context of this artwork, explain the Provenance of the Fan Print.

The print was donated to the ROM by Sir Edmund Walker (1848–1924), who was the long-time president of the Canadian Bank of Commerce, and served as the first Chairman of the Board of Trustees for the ROM. Walker began collecting Japanese art in the 1870s, making him one of the earliest collectors in North America. He bought many of his pieces in New York between 1873–1875 and 1881–1886, and during a trip to London in 1909. In 1919, after travelling to Japan, China and Korea, he was named Honorary Consul-General of Japan for Toronto.

1412_T

Fan print with two bugaku dancers

Explore the Print details about the Fan Print of this artwork, Fan print with two bugaku dancers.

Size: ōban Format: uchiwa-e Title: none indicated Subject: 2 male bugaku dancers performing in a landscape defined by two trees Signature: 応需 / 香蝶楼 / 国貞画 (ōju / Kōchōrō / Kunisada ga) Seal: double toshidama-in Publisher: none indicated Censor seals: none Date seal: none Genre: uchiwa-e, aizuri-e Condition: 4 circular holes on right edge of paper suggesting previous inclusion in a book; some minor creases and stains Provenance: Sir Edmund Walker Collection

1412_NT

Fan print with two bugaku dancers

Explore the Print details about the Fan Print of this artwork.

Size: ōban Format: uchiwa-e Title: none indicated Subject: 2 male bugaku dancers performing in a landscape defined by two trees Signature: 応需 / 香蝶楼 / 国貞画 (ōju / Kōchōrō / Kunisada ga) Seal: double toshidama-in Publisher: none indicated Censor seals: none Date seal: none Genre: uchiwa-e, aizuri-e Condition: 4 circular holes on right edge of paper suggesting previous inclusion in a book; some minor creases and stains Provenance: Sir Edmund Walker Collection

1413_T

Start Westward Memorial

Focus on Start Westward Memorial and discuss the abstract.

The Start Westward Memorial, officially known as the Memorial to the "Start Westward of the United States", also known as the National Start Westward Memorial of The United States or Start Westward Monument, is a 1938 sculpture designed by Gutzon Borglum and located in Muskingum Park in Marietta, Ohio, United States. Borglum agreed to take on the commission at the request of George White, his friend and former Governor of Ohio. It commemorates the westward expansion of the United States, and the sesquicentennial of the establishment of Marietta in 1788. It stands on purpose-designed esplanade designed by Borglum and the architect John Schooley. As the memorial has weathered badly, there are plans to recreate it in bronze, and move the original to a new indoor visitor center.

1413_NT

Start Westward Memorial

Focus on this artwork and discuss the abstract.

The Start Westward Memorial, officially known as the Memorial to the "Start Westward of the United States", also known as the National Start Westward Memorial of The United States or Start Westward Monument, is a 1938 sculpture designed by Gutzon Borglum and located in Muskingum Park in Marietta, Ohio, United States. Borglum agreed to take on the commission at the request of George White, his friend and former Governor of Ohio. It commemorates the westward expansion of the United States, and the sesquicentennial of the establishment of Marietta in 1788. It stands on purpose-designed esplanade designed by Borglum and the architect John Schooley. As the memorial has weathered badly, there are plans to recreate it in bronze, and move the original to a new indoor visitor center.

1414_T

Start Westward Memorial

How does Start Westward Memorial elucidate its Design and construction?

Borglum visited Marietta in October 1936. He was asked by the former state governor, his friend George White, to design a sculpture to commemorate the Westward expansion of the United States, from its original thirteen states, the settlement of the Northwest Territory and the sesquicentennial (150th anniversary) of the establishment of Marietta in 1788. His appointment, by the Federal Commission for the Celebration of the 150th Anniversary of the Ordinance of 1787, was first announced on the front page of The Marietta Daily Times on November 18, 1936.Borglum designed the memorial at his studio in San Antonio, Texas in late 1936 and 1937, working in plaster of Paris. From this full-scale rendering, a small clay maquette was made, and given to stonemasons engaged using Works Progress Administration funding as part of the New Deal. They sculpted the design from an 80-short-ton (73 t) block of sandstone from a quarry near the old lock number 18 on the Ohio River at a workshop at Briggs Station.With its weight reduced to 25 short tons (23 t), the partially completed carving was moved ten miles (on a circuitous route to avoid a railroad bridge at Mile Run) on May 7, 1938 to Muskingum Park (then known as East Muskingum Park), Marietta, on the east bank of the Muskingum River, where work was completed. The chosen position is where Arthur St. Clair was inaugurated as first governor of the Northwest Territory.The sculpture depicts three standing men on a rock, with two further men and a woman behind them, alongside a boat, to represent the first landing of pioneers. The figures wear eighteenth-century clothing.With John Schooley, State Architect of Ohio, who worked pro bono, Borglum also designed the esplanade on which the statue sits. It includes anding stage on the riverbank. Borglum also sculpted four eagles, as a gift to the city, to top pylons, or obelisks, located at entrances to the park, on Front Street.

1414_NT

Start Westward Memorial

How does this artwork elucidate its Design and construction?

Borglum visited Marietta in October 1936. He was asked by the former state governor, his friend George White, to design a sculpture to commemorate the Westward expansion of the United States, from its original thirteen states, the settlement of the Northwest Territory and the sesquicentennial (150th anniversary) of the establishment of Marietta in 1788. His appointment, by the Federal Commission for the Celebration of the 150th Anniversary of the Ordinance of 1787, was first announced on the front page of The Marietta Daily Times on November 18, 1936.Borglum designed the memorial at his studio in San Antonio, Texas in late 1936 and 1937, working in plaster of Paris. From this full-scale rendering, a small clay maquette was made, and given to stonemasons engaged using Works Progress Administration funding as part of the New Deal. They sculpted the design from an 80-short-ton (73 t) block of sandstone from a quarry near the old lock number 18 on the Ohio River at a workshop at Briggs Station.With its weight reduced to 25 short tons (23 t), the partially completed carving was moved ten miles (on a circuitous route to avoid a railroad bridge at Mile Run) on May 7, 1938 to Muskingum Park (then known as East Muskingum Park), Marietta, on the east bank of the Muskingum River, where work was completed. The chosen position is where Arthur St. Clair was inaugurated as first governor of the Northwest Territory.The sculpture depicts three standing men on a rock, with two further men and a woman behind them, alongside a boat, to represent the first landing of pioneers. The figures wear eighteenth-century clothing.With John Schooley, State Architect of Ohio, who worked pro bono, Borglum also designed the esplanade on which the statue sits. It includes anding stage on the riverbank. Borglum also sculpted four eagles, as a gift to the city, to top pylons, or obelisks, located at entrances to the park, on Front Street.

1415_T

Start Westward Memorial

Focus on Start Westward Memorial and analyze the Postage stamp.

The sculpture featured on a 3¢ United States postage stamp, issued on July 15, 1938.

1415_NT

Start Westward Memorial

Focus on this artwork and analyze the Postage stamp.

The sculpture featured on a 3¢ United States postage stamp, issued on July 15, 1938.

1416_T

Start Westward Memorial

In Start Westward Memorial, how is the Protection and restoration discussed?

Since its creation, the sculpture has weathered badly.In April 1962 the head of the center standing pioneer, which broke in 1961, was replaced with one carved by Fred Mitchem and a silicone coating was applied to the work.In August 1975 the head on the figure nearest the river had to be reattached.On the 50th anniversary of the memorial's dedication, flagpoles, with the flags of the six states formed from the Northwest Territory, and the national flag, lighting and commemorative plaques were installed.In readiness for the 250th anniversary of the founding of the United States, there have been moves to restore the memorial and the city of Marietta has commissioned a study in how best to do so. In 2020 the memorial was covered by a temporary canopy, to give some protection from the elements.In August 2021 Marietta City Council approved a $7 million proposal by the Start Westward Memorial Society to replicate the memorial in bronze—in accordance with Borglum's original intention—and to move the original stone sculpture to an indoor Start Westward National Memorial Visitors Center, with a target completion date of Marietta's 250th anniversary in 2038.

1416_NT

Start Westward Memorial

In this artwork, how is the Protection and restoration discussed?

Since its creation, the sculpture has weathered badly.In April 1962 the head of the center standing pioneer, which broke in 1961, was replaced with one carved by Fred Mitchem and a silicone coating was applied to the work.In August 1975 the head on the figure nearest the river had to be reattached.On the 50th anniversary of the memorial's dedication, flagpoles, with the flags of the six states formed from the Northwest Territory, and the national flag, lighting and commemorative plaques were installed.In readiness for the 250th anniversary of the founding of the United States, there have been moves to restore the memorial and the city of Marietta has commissioned a study in how best to do so. In 2020 the memorial was covered by a temporary canopy, to give some protection from the elements.In August 2021 Marietta City Council approved a $7 million proposal by the Start Westward Memorial Society to replicate the memorial in bronze—in accordance with Borglum's original intention—and to move the original stone sculpture to an indoor Start Westward National Memorial Visitors Center, with a target completion date of Marietta's 250th anniversary in 2038.

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Start Westward Memorial

Focus on Start Westward Memorial and explore the Ownership.

The ownership and responsibility for the care of the memorial is being discussed, at of 2022, between Marietta City Council and the National Park Service.

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Start Westward Memorial

Focus on this artwork and explore the Ownership.

The ownership and responsibility for the care of the memorial is being discussed, at of 2022, between Marietta City Council and the National Park Service.

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Conduit (mural)

Focus on Conduit (mural) and explain the abstract.

Conduit is an outdoor 2009–2010 mural by Emily Ginsburg, installed on the University Services Building's exterior on the Portland State University campus in Portland, Oregon, in the United States.

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Conduit (mural)

Focus on this artwork and explain the abstract.

Conduit is an outdoor 2009–2010 mural by Emily Ginsburg, installed on the University Services Building's exterior on the Portland State University campus in Portland, Oregon, in the United States.

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Conduit (mural)

Explore the Description of this artwork, Conduit (mural).

Emily Ginsburg's Conduit is installed on the Southwest Sixth Avenue side of the University Services Building on the Portland State University campus. The Culture Trip describes the mural as "two forms, one illustrating thought and the other communication. Linking them is a road, along which the processes are tied. To outline these processes the work also includes visual maps of different aspects of life including work, home and learning, which are all connected to the act of travelling."According to Ginsburg, the mural depicts "the act of traveling as a metaphor for the transmission and exchange of ideas and the perpetual space between thinking and communicating tied to learning, living and working". It is made of "black anodized, laser cut and etched" metal (aluminum, according to Ginsburg; steel, according to PSU), and measures 90 inches (2.3 m) × 377 inches (9.6 m).

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Conduit (mural)

Explore the Description of this artwork.

Emily Ginsburg's Conduit is installed on the Southwest Sixth Avenue side of the University Services Building on the Portland State University campus. The Culture Trip describes the mural as "two forms, one illustrating thought and the other communication. Linking them is a road, along which the processes are tied. To outline these processes the work also includes visual maps of different aspects of life including work, home and learning, which are all connected to the act of travelling."According to Ginsburg, the mural depicts "the act of traveling as a metaphor for the transmission and exchange of ideas and the perpetual space between thinking and communicating tied to learning, living and working". It is made of "black anodized, laser cut and etched" metal (aluminum, according to Ginsburg; steel, according to PSU), and measures 90 inches (2.3 m) × 377 inches (9.6 m).

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Conduit (mural)

Focus on Conduit (mural) and discuss the History.

The site-specific work was commissioned by PSU and TriMet.

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Conduit (mural)

Focus on this artwork and discuss the History.

The site-specific work was commissioned by PSU and TriMet.

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Virgin of the Councillors

How does Virgin of the Councillors elucidate its abstract?

The Virgin of the Councillors is a panel painting in oils by Lluís Dalmau now in the National Art Museum of Catalonia in Barcelona. It was commissioned in 1443.

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Virgin of the Councillors

How does this artwork elucidate its abstract?

The Virgin of the Councillors is a panel painting in oils by Lluís Dalmau now in the National Art Museum of Catalonia in Barcelona. It was commissioned in 1443.

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Virgin of the Councillors

Focus on Virgin of the Councillors and analyze the Description.

The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfonso the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language firsthand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints.

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Virgin of the Councillors

Focus on this artwork and analyze the Description.

The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfonso the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language firsthand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints.

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Lute Player

In Lute Player, how is the abstract discussed?

Lute Player is an early 17th-century painting by French artist Valentin de Boulogne. Done in oil on canvas, the painting depicts a young soldier playing a lute. The painting was originally in the collection of Cardinal Mazarin, and is now in the collection of the Metropolitan Museum of Art, in New York.

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Lute Player

In this artwork, how is the abstract discussed?

Lute Player is an early 17th-century painting by French artist Valentin de Boulogne. Done in oil on canvas, the painting depicts a young soldier playing a lute. The painting was originally in the collection of Cardinal Mazarin, and is now in the collection of the Metropolitan Museum of Art, in New York.

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Lute Player

Focus on Lute Player and explore the Description.

Lute was rendered by Valentin de Boulogne between 1625 and 1626 in Rome. The work was then sold, and first appears in the collection of Cardinal Mazarin, a French political minister who owned nine other works by de Boulogne. The painting's title and central figure may be self-referential as de Boulogne's nickname in Rome was "Amador", which has been loosely translated from Spanish as "lover boy".The painting itself depicts a young man playing a lute. The figure is clad in rich clothing and a steel gorget, indicating he is a soldier - likely a Spanish mercenary. Like many of de Boulogne's paintings, Lute is heavily influenced by tenebrism, a style of art popularized by de Boulogne's contemporary Caravaggio.

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Lute Player

Focus on this artwork and explore the Description.

Lute was rendered by Valentin de Boulogne between 1625 and 1626 in Rome. The work was then sold, and first appears in the collection of Cardinal Mazarin, a French political minister who owned nine other works by de Boulogne. The painting's title and central figure may be self-referential as de Boulogne's nickname in Rome was "Amador", which has been loosely translated from Spanish as "lover boy".The painting itself depicts a young man playing a lute. The figure is clad in rich clothing and a steel gorget, indicating he is a soldier - likely a Spanish mercenary. Like many of de Boulogne's paintings, Lute is heavily influenced by tenebrism, a style of art popularized by de Boulogne's contemporary Caravaggio.

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Portrait of Lucina Brembati

Focus on Portrait of Lucina Brembati and explain the abstract.

The Portrait of Lucina Brembati is an oil-on-panel painting by the Italian High Renaissance painter Lorenzo Lotto, dating to c. 1518. It is housed in the Accademia Carrara of Bergamo, northern Italy. The work is known since 1882, when the Accademia acquired it from a private collection. The subject was identified later, after the rebus included in it was recognized: the moon in the upper left background contains the inscription "CI", which, in Italian, translates as "CI in Luna", e.g. "LuCIna"; the Brembati coat of arms is instead contained in ring of the woman's left forefinger.

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Portrait of Lucina Brembati

Focus on this artwork and explain the abstract.

The Portrait of Lucina Brembati is an oil-on-panel painting by the Italian High Renaissance painter Lorenzo Lotto, dating to c. 1518. It is housed in the Accademia Carrara of Bergamo, northern Italy. The work is known since 1882, when the Accademia acquired it from a private collection. The subject was identified later, after the rebus included in it was recognized: the moon in the upper left background contains the inscription "CI", which, in Italian, translates as "CI in Luna", e.g. "LuCIna"; the Brembati coat of arms is instead contained in ring of the woman's left forefinger.

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Portrait of Lucina Brembati

Explore the Description of this artwork, Portrait of Lucina Brembati.

The painting is a bust portrait, with the face slightly from three-quarters. Lucina wears rich clothes with gilt ribbons and shell-shaped embroideries, as well as several jewels including a necklace of pearls, and another with a horn-shaped pendant, which at the time was used as a toothpick. Working differently from the idealized portraits Titian and Palma the Elder had made widespread in Venice, Lotto used a more realistic approach: this is shown is details such as the asymmetric face, the weighty chin, and the sharp nose. In this he followed the local tradition of painters such as Paolo Cavazzola. According to some scholars, the man touching the womb could be an allusion to the character's pregnancy state. The dead weasel could also symbolize the defeat of a presage of disgrace for pregnant woman. According to other scholars, the weasel could symbolize marital fidelity. The background includes a heavy red brocade drapery with a night sky.

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Portrait of Lucina Brembati

Explore the Description of this artwork.

The painting is a bust portrait, with the face slightly from three-quarters. Lucina wears rich clothes with gilt ribbons and shell-shaped embroideries, as well as several jewels including a necklace of pearls, and another with a horn-shaped pendant, which at the time was used as a toothpick. Working differently from the idealized portraits Titian and Palma the Elder had made widespread in Venice, Lotto used a more realistic approach: this is shown is details such as the asymmetric face, the weighty chin, and the sharp nose. In this he followed the local tradition of painters such as Paolo Cavazzola. According to some scholars, the man touching the womb could be an allusion to the character's pregnancy state. The dead weasel could also symbolize the defeat of a presage of disgrace for pregnant woman. According to other scholars, the weasel could symbolize marital fidelity. The background includes a heavy red brocade drapery with a night sky.

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The Greenwich Village Bookshop Door

Focus on The Greenwich Village Bookshop Door and discuss the abstract.

The Greenwich Village Bookshop Door (1920–25) separated the back office from the main area of Frank Shay's Bookshop in Greenwich Village from 1920 until 1925, where it served as an autograph book for nearly two hundred and fifty authors, artists, publishers, poets, and Bohemian creatives. Notable signatories include Upton Sinclair, the Provincetown Players, John Sloan, Susan Glaspell, Theodore Dreiser, Porter Garnett, and Sinclair Lewis. The door has been held in the permanent collections of the Harry Ransom Center at the University of Texas at Austin since it was purchased in 1960.

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The Greenwich Village Bookshop Door

Focus on this artwork and discuss the abstract.

The Greenwich Village Bookshop Door (1920–25) separated the back office from the main area of Frank Shay's Bookshop in Greenwich Village from 1920 until 1925, where it served as an autograph book for nearly two hundred and fifty authors, artists, publishers, poets, and Bohemian creatives. Notable signatories include Upton Sinclair, the Provincetown Players, John Sloan, Susan Glaspell, Theodore Dreiser, Porter Garnett, and Sinclair Lewis. The door has been held in the permanent collections of the Harry Ransom Center at the University of Texas at Austin since it was purchased in 1960.

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The Greenwich Village Bookshop Door

How does The Greenwich Village Bookshop Door elucidate its History?

The bookshop door began its provenance at 11 Christopher Street in Greenwich Village, in the home of novelist and playwright Floyd Dell. The building was slated for demolition in 1920 when the owner of the bookshop across the street, Frank Shay, spotted the then-bright red door and salvaged it for his office. Much is yet unknown about The Greenwich Village Bookshop Door, including why individuals were chosen to sign it, which way the door originally faced, when exactly the signatures began and ended, or even when it was painted blue."It is true that Greenwich Village is an anomaly. To the pseudo-artist it is a Sargasso Sea, a cess-pool of lost effort and alluring but unkept promises. To the sincere student of art or literature it is America's greatest proving ground...in all this great United States it is the only place a person can sport a stocking with a hole in the heel, and an idea. Elsewhere both are taboo."

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The Greenwich Village Bookshop Door

How does this artwork elucidate its History?

The bookshop door began its provenance at 11 Christopher Street in Greenwich Village, in the home of novelist and playwright Floyd Dell. The building was slated for demolition in 1920 when the owner of the bookshop across the street, Frank Shay, spotted the then-bright red door and salvaged it for his office. Much is yet unknown about The Greenwich Village Bookshop Door, including why individuals were chosen to sign it, which way the door originally faced, when exactly the signatures began and ended, or even when it was painted blue."It is true that Greenwich Village is an anomaly. To the pseudo-artist it is a Sargasso Sea, a cess-pool of lost effort and alluring but unkept promises. To the sincere student of art or literature it is America's greatest proving ground...in all this great United States it is the only place a person can sport a stocking with a hole in the heel, and an idea. Elsewhere both are taboo."

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The Greenwich Village Bookshop Door

In the context of The Greenwich Village Bookshop Door, analyze the Frank Shay's Bookshop of the History.

Frank Shay opened his bookshop in October 1920 at 4 Christopher Street, in what had previously been the Columbia Cafe where John Masefield briefly worked as a bar-back in the mid-1890s. Another portion of the building functioned as an art studio owned by Winold Reiss until 1921, when Shay obtained the space and effectively doubled the size of his bookshop.Until the door was rescued from Floyd Dell's old apartment, Frank Shay's office was separated from the rest of his bookshop by a thin sheet that hung in the doorway. Though Shay himself never admitted it, authors William McFee and Christopher Morley would eventually both write that Frank had taken the door for more privacy as several customers and friends had seen the silhouette of him drinking in his office after the prohibition had outlawed such activity.The signatures began on the door before Shay even had the chance to repaint it, resulting in the large unpainted areas that remain on the door today. According to Christopher Morley, author Hendrik Willem van Loon was the first to sign the door; doing so spontaneously and accompanying his name with a doodle of a sailing ship. The earliest dated signatures, those of John Van Alstyne Weaver and Porter Garnett, were added on October 17, 1921. Frank cultivated a creative environment in his bookshop that encouraged publishers, writers, artists, theater directors, actors, cartoonists, illustrators, political activists and more to socialize and gather at his shop. Shay went beyond selling books, going so far as to edit plays for other publishing houses, lecture on the importance of books and bookselling, create a circulating library, and put a great deal of effort into his award-winning window displays. In 1921, inspired by his friend Christopher Morley's 1917 novel Parnassus on Wheels, Shay modified a Ford truck for the purpose of mobile book selling.Frank Shay's Bookshop shelves were lined with popular novels, children's books, socialist pamphlets and avant-garde chapbooks. He placed a particular emphasis on carrying the books of Walt Whitman and Joseph Conrad. Many early 20th-century booksellers expanded their businesses by adding publishing services and Frank Shay was no exception. The bookshop published a poetry magazine titled The Measure, the Salvo series of chapbooks, a local newspaper titled The Greenwich Villager, and numerous books and booklets of poetry, prose, and plays. The bookshop even printed their own set of branded stationery and envelopes. Frank Shay sold his bookshop sometime during the summer of 1924, after his wife (Fern Forrester Shay) gave birth to their daughter Jean. The family moved to Provincetown, Massachusetts shortly after, opening a new bookshop in the Cape Cod area under the same name as the original. The bookshop in New York City appeared as "The Greenwich Village Bookshop" several times before closing permanently approximately a year later. While delivering a lecture at the University of Pennsylvania in 1931, author Christopher Morley said "It was too personal, too enchanting, too Bohemian a bookshop to survive indefinitely, but for five or six years it played a very real part in the creative life of New York City."The original building that housed Frank Shay's Bookshop at 4 Christopher Street was demolished and replaced by a modern building sometime around 1960, less than a decade before the creation of the Greenwich Village Historic District would have protected it from destruction.

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The Greenwich Village Bookshop Door

In the context of this artwork, analyze the Frank Shay's Bookshop of the History.

Frank Shay opened his bookshop in October 1920 at 4 Christopher Street, in what had previously been the Columbia Cafe where John Masefield briefly worked as a bar-back in the mid-1890s. Another portion of the building functioned as an art studio owned by Winold Reiss until 1921, when Shay obtained the space and effectively doubled the size of his bookshop.Until the door was rescued from Floyd Dell's old apartment, Frank Shay's office was separated from the rest of his bookshop by a thin sheet that hung in the doorway. Though Shay himself never admitted it, authors William McFee and Christopher Morley would eventually both write that Frank had taken the door for more privacy as several customers and friends had seen the silhouette of him drinking in his office after the prohibition had outlawed such activity.The signatures began on the door before Shay even had the chance to repaint it, resulting in the large unpainted areas that remain on the door today. According to Christopher Morley, author Hendrik Willem van Loon was the first to sign the door; doing so spontaneously and accompanying his name with a doodle of a sailing ship. The earliest dated signatures, those of John Van Alstyne Weaver and Porter Garnett, were added on October 17, 1921. Frank cultivated a creative environment in his bookshop that encouraged publishers, writers, artists, theater directors, actors, cartoonists, illustrators, political activists and more to socialize and gather at his shop. Shay went beyond selling books, going so far as to edit plays for other publishing houses, lecture on the importance of books and bookselling, create a circulating library, and put a great deal of effort into his award-winning window displays. In 1921, inspired by his friend Christopher Morley's 1917 novel Parnassus on Wheels, Shay modified a Ford truck for the purpose of mobile book selling.Frank Shay's Bookshop shelves were lined with popular novels, children's books, socialist pamphlets and avant-garde chapbooks. He placed a particular emphasis on carrying the books of Walt Whitman and Joseph Conrad. Many early 20th-century booksellers expanded their businesses by adding publishing services and Frank Shay was no exception. The bookshop published a poetry magazine titled The Measure, the Salvo series of chapbooks, a local newspaper titled The Greenwich Villager, and numerous books and booklets of poetry, prose, and plays. The bookshop even printed their own set of branded stationery and envelopes. Frank Shay sold his bookshop sometime during the summer of 1924, after his wife (Fern Forrester Shay) gave birth to their daughter Jean. The family moved to Provincetown, Massachusetts shortly after, opening a new bookshop in the Cape Cod area under the same name as the original. The bookshop in New York City appeared as "The Greenwich Village Bookshop" several times before closing permanently approximately a year later. While delivering a lecture at the University of Pennsylvania in 1931, author Christopher Morley said "It was too personal, too enchanting, too Bohemian a bookshop to survive indefinitely, but for five or six years it played a very real part in the creative life of New York City."The original building that housed Frank Shay's Bookshop at 4 Christopher Street was demolished and replaced by a modern building sometime around 1960, less than a decade before the creation of the Greenwich Village Historic District would have protected it from destruction.

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The Greenwich Village Bookshop Door

Describe the characteristics of the After the bookshop in The Greenwich Village Bookshop Door's History.

Creditors acquired the full inventory and contents of the shop sometime during August 1925, as financial circumstances caused the bookshop to close. Shop manager Juliette Koenig noticed that the repossession crew had ignored the door, so she took it off of its hinges and enlisted several writers to bring it back to her apartment. Finding it interesting enough to protect with varnish and store in her house for more than three decades, Juliette Koenig Smith eventually sold the door to the University of Texas at Austin through an art dealer in 1960. At this time the door was accompanied by a list of approximately 25 identified signatures and a letter from Christopher Morley that thanked Juliette for rescuing the door. The original advertisement published in the Saturday Review read:"Mrs. Frank Leon Smith has a door for sale. On the door are the autographs of about sixty people who in the early Twenties were important, famous, talented, unusual. I'm telling you, this is a fabulous door....Want a door? Ask Mrs. Smith at 321 East 52nd Street, New York 22."The Harry Ransom Center at the University of Texas at Austin responded to the advertisement and purchased the door, subsequently allowing it to remain undisturbed in their collections for over a decade until a graduate student named Anna Lou Ashby discovered it in storage in 1972. While completing the first official research on the door, Ashby was able to identify 25 more signatures including those of Egmont Arens, Albert Boni, Robert Nathan, and Max Liebermann. After Ashby's brief research the door was again returned to storage where it remained for several more decades. The bookshop door was rediscovered again in 2008 and research was quickly organized by Molly Schwartzburg, a curator of literature at the University of Texas at Austin.

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The Greenwich Village Bookshop Door

Describe the characteristics of the After the bookshop in this artwork's History.

Creditors acquired the full inventory and contents of the shop sometime during August 1925, as financial circumstances caused the bookshop to close. Shop manager Juliette Koenig noticed that the repossession crew had ignored the door, so she took it off of its hinges and enlisted several writers to bring it back to her apartment. Finding it interesting enough to protect with varnish and store in her house for more than three decades, Juliette Koenig Smith eventually sold the door to the University of Texas at Austin through an art dealer in 1960. At this time the door was accompanied by a list of approximately 25 identified signatures and a letter from Christopher Morley that thanked Juliette for rescuing the door. The original advertisement published in the Saturday Review read:"Mrs. Frank Leon Smith has a door for sale. On the door are the autographs of about sixty people who in the early Twenties were important, famous, talented, unusual. I'm telling you, this is a fabulous door....Want a door? Ask Mrs. Smith at 321 East 52nd Street, New York 22."The Harry Ransom Center at the University of Texas at Austin responded to the advertisement and purchased the door, subsequently allowing it to remain undisturbed in their collections for over a decade until a graduate student named Anna Lou Ashby discovered it in storage in 1972. While completing the first official research on the door, Ashby was able to identify 25 more signatures including those of Egmont Arens, Albert Boni, Robert Nathan, and Max Liebermann. After Ashby's brief research the door was again returned to storage where it remained for several more decades. The bookshop door was rediscovered again in 2008 and research was quickly organized by Molly Schwartzburg, a curator of literature at the University of Texas at Austin.

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The Greenwich Village Bookshop Door

In the context of The Greenwich Village Bookshop Door, explore the The Greenwich Village Bookshop Door: A Portal to Bohemia, 1920–1925 of the History.

The Harry Ransom Center mounted The Greenwich Village Bookshop Door: A Portal to Bohemia, 1920–1925 exhibition from September 6, 2011, until January 22, 2012. The exhibition marked the first and thus far only public show to include the bookshop door, with curation headed by Molly Schwartzburg. For the duration of the exhibition The Greenwich Village Bookshop Door was installed in the middle of a gallery, on a custom blue base that exactly matched the color of the door. It was encased in plexiglas and anchored to the ceiling with steel wires for added security.Historians at the Harry Ransom Center were able to use online photograph databases and collections in 2010 to prepare for the exhibition, relying on technology that was not available when the university first acquired the door in 1960. Curators educated themselves on twentieth-century penmanship techniques to correctly match signatures on the door to those found on original manuscripts, novels, poems, letters, drawings and more. Their diligence resulted in the identification of more than one hundred and fifty additional signatures.The physical exhibition ran concurrently with a more in-depth online, virtual exhibit that was still accessible as of 2022. This online exhibit allowed viewers to learn more about each of the identified signatories and their connections to one another. The Harry Ransom Center continues to operate a website highlighting the door's yet unidentified signatures in hopes of using the public's assistance to eventually identify every signature on the door.In 2012, the Harry Ransom Center was nominated for an Austin Critics' Table award for "Best Museum Exhibition" for their work on The Greenwich Valley Bookshop Door: A Portal to Bohemia exhibition. The Austin Critics' Table awards are a series of longstanding Austin awards that seek to honor those involved in all aspects of the local art scene.

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The Greenwich Village Bookshop Door

In the context of this artwork, explore the The Greenwich Village Bookshop Door: A Portal to Bohemia, 1920–1925 of the History.

The Harry Ransom Center mounted The Greenwich Village Bookshop Door: A Portal to Bohemia, 1920–1925 exhibition from September 6, 2011, until January 22, 2012. The exhibition marked the first and thus far only public show to include the bookshop door, with curation headed by Molly Schwartzburg. For the duration of the exhibition The Greenwich Village Bookshop Door was installed in the middle of a gallery, on a custom blue base that exactly matched the color of the door. It was encased in plexiglas and anchored to the ceiling with steel wires for added security.Historians at the Harry Ransom Center were able to use online photograph databases and collections in 2010 to prepare for the exhibition, relying on technology that was not available when the university first acquired the door in 1960. Curators educated themselves on twentieth-century penmanship techniques to correctly match signatures on the door to those found on original manuscripts, novels, poems, letters, drawings and more. Their diligence resulted in the identification of more than one hundred and fifty additional signatures.The physical exhibition ran concurrently with a more in-depth online, virtual exhibit that was still accessible as of 2022. This online exhibit allowed viewers to learn more about each of the identified signatories and their connections to one another. The Harry Ransom Center continues to operate a website highlighting the door's yet unidentified signatures in hopes of using the public's assistance to eventually identify every signature on the door.In 2012, the Harry Ransom Center was nominated for an Austin Critics' Table award for "Best Museum Exhibition" for their work on The Greenwich Valley Bookshop Door: A Portal to Bohemia exhibition. The Austin Critics' Table awards are a series of longstanding Austin awards that seek to honor those involved in all aspects of the local art scene.

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The Greenwich Village Bookshop Door

Focus on The Greenwich Village Bookshop Door and explain the Signatures.

Approximately 25 autographs had been identified and connected to their respective owners by the time the University of Texas obtained the door in 1960. As of 2021, only 47 of the 242 total signatures remained unidentified. Two individuals, Laurie York Erskine and Don Marquis, signed the door on two separate occasions, and a handful of signatures are from fictional characters. During research for the 2011 exhibition historians separated the known signatures into five major groups: writing, publishing, visual arts, performance, and social groups. Many names are featured in more than one category, as day jobs overlapped with hobbies and social groups that all intersected at Frank Shay's Bookshop.A wide selection of those involved in the 1920s literary scene in New York City and beyond signed The Greenwich Village Bookshop Door. Many worked as publishers, librarians, booksellers, and both magazine and book editors. Signatures included in the writing category consist of those of poets, historians, translators, critics, fiction and travel writers, playwrights, humorists, journalists, and screenwriters. Many of the individuals in this category had their writings censored by the New York Society for the Suppression of Vice, an organization that claimed to supervise public morality.The performance category of signatures includes theater directors, stage actors, those employed in the early film industry, and members of theater troupes like the Provincetown Players and the Washington Square Players. Visual artists who signed The Greenwich Village Bookshop Door included architects, sculptors, cartoonists, photographers, industrial designers, illustrators, typographers and more. Both the Art Students League and the 1913 Armory Show are represented by a handful of signatures.At least one member of the following social groups signed The Greenwich Village Bookshop Door: Skull and Bones, Three Hours for Lunch Club, Algonquin Round Table, and the Bohemian Club. Several politicians, teachers, seafarers, and Greenwich Village business owners also signed the door. Additionally, thirty-two signatures have been identified as belonging to men who served as soldiers or war correspondents in World War I.

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The Greenwich Village Bookshop Door

Focus on this artwork and explain the Signatures.

Approximately 25 autographs had been identified and connected to their respective owners by the time the University of Texas obtained the door in 1960. As of 2021, only 47 of the 242 total signatures remained unidentified. Two individuals, Laurie York Erskine and Don Marquis, signed the door on two separate occasions, and a handful of signatures are from fictional characters. During research for the 2011 exhibition historians separated the known signatures into five major groups: writing, publishing, visual arts, performance, and social groups. Many names are featured in more than one category, as day jobs overlapped with hobbies and social groups that all intersected at Frank Shay's Bookshop.A wide selection of those involved in the 1920s literary scene in New York City and beyond signed The Greenwich Village Bookshop Door. Many worked as publishers, librarians, booksellers, and both magazine and book editors. Signatures included in the writing category consist of those of poets, historians, translators, critics, fiction and travel writers, playwrights, humorists, journalists, and screenwriters. Many of the individuals in this category had their writings censored by the New York Society for the Suppression of Vice, an organization that claimed to supervise public morality.The performance category of signatures includes theater directors, stage actors, those employed in the early film industry, and members of theater troupes like the Provincetown Players and the Washington Square Players. Visual artists who signed The Greenwich Village Bookshop Door included architects, sculptors, cartoonists, photographers, industrial designers, illustrators, typographers and more. Both the Art Students League and the 1913 Armory Show are represented by a handful of signatures.At least one member of the following social groups signed The Greenwich Village Bookshop Door: Skull and Bones, Three Hours for Lunch Club, Algonquin Round Table, and the Bohemian Club. Several politicians, teachers, seafarers, and Greenwich Village business owners also signed the door. Additionally, thirty-two signatures have been identified as belonging to men who served as soldiers or war correspondents in World War I.

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Return of the Sun

Explore the abstract of this artwork, Return of the Sun.

Return of the Sun (Norwegian: Solen vender tilbake) is a 1986 painting by the Norwegian artist Odd Nerdrum. It depicts three young women, two of whom are twins, on a ledge surrounded by peculiar cloud formations. The women's mouths are open as they reach out toward a light source outside of the picture's frame. Their eyes are wide open but completely blank.

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Return of the Sun

Explore the abstract of this artwork.

Return of the Sun (Norwegian: Solen vender tilbake) is a 1986 painting by the Norwegian artist Odd Nerdrum. It depicts three young women, two of whom are twins, on a ledge surrounded by peculiar cloud formations. The women's mouths are open as they reach out toward a light source outside of the picture's frame. Their eyes are wide open but completely blank.

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Return of the Sun

Focus on Return of the Sun and discuss the Reception.

The art historian Jan Åke Pettersson interpreted the painting as optimistic, seeing it as an expression of renewed vitality after the fall of modern civilization. Jan-Erik Ebbestad Hansen, a Norwegian professor of the history of ideas, also interpreted the painting's sun as a symbol for life and a new beginning. Barbara Vetland on the other hand, in her art history master's thesis, interpreted the painting as pessimistic, citing the overall atmosphere, the colour scheme, the abyss in front of the women, and the fact that they are blind and thus cannot actually see the light. "Therefore it is warranted to ask which sun Nerdrum has depicted", Vetland wrote, "Is it the life-giving, or the destructive? For Icarus' hubris, to move too close to the sun was imposed with punishment and downfall."

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Return of the Sun

Focus on this artwork and discuss the Reception.

The art historian Jan Åke Pettersson interpreted the painting as optimistic, seeing it as an expression of renewed vitality after the fall of modern civilization. Jan-Erik Ebbestad Hansen, a Norwegian professor of the history of ideas, also interpreted the painting's sun as a symbol for life and a new beginning. Barbara Vetland on the other hand, in her art history master's thesis, interpreted the painting as pessimistic, citing the overall atmosphere, the colour scheme, the abyss in front of the women, and the fact that they are blind and thus cannot actually see the light. "Therefore it is warranted to ask which sun Nerdrum has depicted", Vetland wrote, "Is it the life-giving, or the destructive? For Icarus' hubris, to move too close to the sun was imposed with punishment and downfall."

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Return of the Sun

How does Return of the Sun elucidate its Legacy?

With the artist's permission, the painting was used as cover art for the black metal band Solefald's 1997 album The Linear Scaffold. It also appears on the cover of Corey Marks' 2000 poetry collection Renunciation.

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Return of the Sun

How does this artwork elucidate its Legacy?

With the artist's permission, the painting was used as cover art for the black metal band Solefald's 1997 album The Linear Scaffold. It also appears on the cover of Corey Marks' 2000 poetry collection Renunciation.

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After B. K. S. Iyengar (Engman)

Focus on After B. K. S. Iyengar (Engman) and analyze the abstract.

After B.K.S. Iyengar is an abstract bronze sculpture, by Robert Engman, that commemorates B. K. S. Iyengar's 1976 visit to the United States. It is located at Morris Arboretum, 9414 Meadowbrook Avenue, English Park Step Garden, Philadelphia. It was dedicated in September 1988.Another casting is at the Annmarie Sculpture Garden, Solomons, Maryland, on loan from the Hirshhorn Museum and Sculpture Garden.The statute was originally sited at Cobble Court, the historic house built by J. H. Carstair and owned by Marvin and Marian Garfinkel. Iyengar was a guest of the Garfinkels when he visited Philadelphia in 1976 and gave a public demonstration of yoga at Haverford College. Artist Robert Engman was one of the Garfinkels' neighbors.

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After B. K. S. Iyengar (Engman)

Focus on this artwork and analyze the abstract.

After B.K.S. Iyengar is an abstract bronze sculpture, by Robert Engman, that commemorates B. K. S. Iyengar's 1976 visit to the United States. It is located at Morris Arboretum, 9414 Meadowbrook Avenue, English Park Step Garden, Philadelphia. It was dedicated in September 1988.Another casting is at the Annmarie Sculpture Garden, Solomons, Maryland, on loan from the Hirshhorn Museum and Sculpture Garden.The statute was originally sited at Cobble Court, the historic house built by J. H. Carstair and owned by Marvin and Marian Garfinkel. Iyengar was a guest of the Garfinkels when he visited Philadelphia in 1976 and gave a public demonstration of yoga at Haverford College. Artist Robert Engman was one of the Garfinkels' neighbors.

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The Black Brunswicker

In The Black Brunswicker, how is the abstract discussed?

The Black Brunswicker (1860) is a painting by John Everett Millais. It was inspired in part by the exploits of the Black Brunswickers, a German volunteer corps of the Napoleonic Wars, during the Waterloo campaign and in part by the contrasts of black broadcloth and pearl-white satin in a moment of tender conflict.

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The Black Brunswicker

In this artwork, how is the abstract discussed?

The Black Brunswicker (1860) is a painting by John Everett Millais. It was inspired in part by the exploits of the Black Brunswickers, a German volunteer corps of the Napoleonic Wars, during the Waterloo campaign and in part by the contrasts of black broadcloth and pearl-white satin in a moment of tender conflict.

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The Black Brunswicker

Focus on The Black Brunswicker and explore the Subject.

The painting depicts a Brunswicker about to depart for battle. His sweetheart, wearing a ballgown, restrains him, trying to push the door closed, while he pulls it open. This suggests that the scene is inspired by the Duchess of Richmond's ball on 15 June 1815, from which the officers departed to join troops at the Battle of Quatre Bras. The woman's dog, wearing a red ribbon like its mistress, looks on attentively. In a letter to his wife, Effie Gray, Millais described his inspiration for the work, referring to a conversation with William Howard Russell, the war correspondent of The Times:My subject appears to me, too, most fortunate, and Russell thinks it first-rate. It is connected with the Brunswick Cavalry at Waterloo...They were nearly annihilated but performed prodigies of valour... I have it all in my mind's eye and feel confident that it will be a prodigious success. The costume and incident are so powerful that I am astonished it has never been touched upon before. Russell was quite struck with it, and he is the best man for knowing the public taste. Nothing could be kinder than his interest, and he is to set about getting all the information that is required. The same letter states that he intends it to be "a perfect pendant to The Huguenot", Millais's first major success, which portrays a similar scene featuring two lovers gazing at each other longingly. Originally Millais intended the two paintings to be even more similar than they are by repeating the motif of the armband used in the earlier painting. He wanted the soldier to be wearing a black crepe mourning armband, with "the sweetheart of the young soldier sewing it around his arm". The armband idea was quickly dropped as it does not appear in any extant preparatory drawings.Millais reduced the presence of Napoleon to an engraving after Jacques-Louis David's Napoleon Crossing the Alps, which is framed on the damask-hung wall, and which "perplexed the critics with the possible intricacies of cross purposes and rival jealousies" according to the reviewer from Blackwood's Edinburgh Magazine. This refers to the fact that some critics took the print to imply that the female character was an admirer of Napoleon, and so she was trying to prevent her lover from joining the army for both personal and political reasons. As the critic of The Times surmised, "her reluctance is due in part to a romantic admiration for this great conquerer [sic?]." Other critics suggest the print was intended to allude to both the Waterloo campaign and to more recent events, particularly Napoleon III's repetition of his predecessor's crossing of the Alps by his attack on Austrian-controlled Lombardy in 1859.

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The Black Brunswicker

Focus on this artwork and explore the Subject.

The painting depicts a Brunswicker about to depart for battle. His sweetheart, wearing a ballgown, restrains him, trying to push the door closed, while he pulls it open. This suggests that the scene is inspired by the Duchess of Richmond's ball on 15 June 1815, from which the officers departed to join troops at the Battle of Quatre Bras. The woman's dog, wearing a red ribbon like its mistress, looks on attentively. In a letter to his wife, Effie Gray, Millais described his inspiration for the work, referring to a conversation with William Howard Russell, the war correspondent of The Times:My subject appears to me, too, most fortunate, and Russell thinks it first-rate. It is connected with the Brunswick Cavalry at Waterloo...They were nearly annihilated but performed prodigies of valour... I have it all in my mind's eye and feel confident that it will be a prodigious success. The costume and incident are so powerful that I am astonished it has never been touched upon before. Russell was quite struck with it, and he is the best man for knowing the public taste. Nothing could be kinder than his interest, and he is to set about getting all the information that is required. The same letter states that he intends it to be "a perfect pendant to The Huguenot", Millais's first major success, which portrays a similar scene featuring two lovers gazing at each other longingly. Originally Millais intended the two paintings to be even more similar than they are by repeating the motif of the armband used in the earlier painting. He wanted the soldier to be wearing a black crepe mourning armband, with "the sweetheart of the young soldier sewing it around his arm". The armband idea was quickly dropped as it does not appear in any extant preparatory drawings.Millais reduced the presence of Napoleon to an engraving after Jacques-Louis David's Napoleon Crossing the Alps, which is framed on the damask-hung wall, and which "perplexed the critics with the possible intricacies of cross purposes and rival jealousies" according to the reviewer from Blackwood's Edinburgh Magazine. This refers to the fact that some critics took the print to imply that the female character was an admirer of Napoleon, and so she was trying to prevent her lover from joining the army for both personal and political reasons. As the critic of The Times surmised, "her reluctance is due in part to a romantic admiration for this great conquerer [sic?]." Other critics suggest the print was intended to allude to both the Waterloo campaign and to more recent events, particularly Napoleon III's repetition of his predecessor's crossing of the Alps by his attack on Austrian-controlled Lombardy in 1859.

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The Black Brunswicker

Focus on The Black Brunswicker and explain the Creation and reception.

The artwork took an estimated three months to paint. Millais is reported to have paid particularly close attention to the correctness of the Brunswicker's uniform. Kate Perugini, the daughter of Charles Dickens, was used as a model for the woman seen in the picture. The male model was an anonymous soldier who died shortly afterwards. The two models never actually met. Millais' son says that they both posed with wooden props. He "clasped a lay-figure to his breast, while the fair lady leant on the bosom of a man of wood."It was also bought for the highest price Millais had ever received from dealer and publisher Ernest Gambart—100 guineas (£105). He sold it on to the well-known Pre-Raphaelite collector Thomas Plint. Later, in 1898, William Hesketh Lever purchased the work for his private collection.The painting followed a period of relative lack of success for Millais, and its similarity to A Huguenot is widely interpreted as an attempt to repeat his earlier success. It was engraved in mezzotint by T.L. Atkinson in 1864. Millais also painted two watercolour copies of the composition.

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The Black Brunswicker

Focus on this artwork and explain the Creation and reception.

The artwork took an estimated three months to paint. Millais is reported to have paid particularly close attention to the correctness of the Brunswicker's uniform. Kate Perugini, the daughter of Charles Dickens, was used as a model for the woman seen in the picture. The male model was an anonymous soldier who died shortly afterwards. The two models never actually met. Millais' son says that they both posed with wooden props. He "clasped a lay-figure to his breast, while the fair lady leant on the bosom of a man of wood."It was also bought for the highest price Millais had ever received from dealer and publisher Ernest Gambart—100 guineas (£105). He sold it on to the well-known Pre-Raphaelite collector Thomas Plint. Later, in 1898, William Hesketh Lever purchased the work for his private collection.The painting followed a period of relative lack of success for Millais, and its similarity to A Huguenot is widely interpreted as an attempt to repeat his earlier success. It was engraved in mezzotint by T.L. Atkinson in 1864. Millais also painted two watercolour copies of the composition.

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South Bank Lion

Explore the abstract of this artwork, South Bank Lion.

The South Bank Lion is an 1837 sculpture in Central London. Since 1966 it has stood next to County Hall, on the South Bank of the River Thames. It is a significant depiction of a lion, along with the four that surround Nelson's Column in Trafalgar Square just across the river. The statue is about 13 feet (4.0 m) long and 12 feet (3.7 m) high, and weighs about 13 tonnes (14 tons). It was cast in 1837, the year of Queen Victoria's accession, of Coade stone, one of the earliest types of artificial stone. The material is very resistant to weathering, and the fine details of the lion's modelling still remain clear after decades of exposure to the corrosive effects of London's severe air pollution, the infamous pea soup fog, prior to the passage of the Clean Air Act 1956. The statue was made in separate parts and cramped together on an iron frame. It was formerly known as the Red Lion, as it was painted that colour between 1951 and 1966.

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South Bank Lion

Explore the abstract of this artwork.

The South Bank Lion is an 1837 sculpture in Central London. Since 1966 it has stood next to County Hall, on the South Bank of the River Thames. It is a significant depiction of a lion, along with the four that surround Nelson's Column in Trafalgar Square just across the river. The statue is about 13 feet (4.0 m) long and 12 feet (3.7 m) high, and weighs about 13 tonnes (14 tons). It was cast in 1837, the year of Queen Victoria's accession, of Coade stone, one of the earliest types of artificial stone. The material is very resistant to weathering, and the fine details of the lion's modelling still remain clear after decades of exposure to the corrosive effects of London's severe air pollution, the infamous pea soup fog, prior to the passage of the Clean Air Act 1956. The statue was made in separate parts and cramped together on an iron frame. It was formerly known as the Red Lion, as it was painted that colour between 1951 and 1966.

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South Bank Lion

Focus on South Bank Lion and discuss the History.

The lion was originally mounted on the parapet of James Goding's Lion Brewery on the Lambeth bank of the River Thames; Hungerford Bridge spanned the Thames nearby from 1845. The Lion Brewery closed in 1924 and the building was demolished in 1949, to make way for construction of the Royal Festival Hall as part of the Festival of Britain. The lion was removed, revealing the initials of the sculptor William Frederick Woodington and the date, 24 May 1837, under one of its paws. It was painted red as the symbol of British Rail, and mounted on high plinth beside the entrance to the Festival of Britain near Waterloo station. The statue was moved in 1966 to allow the station to be extended. The red paint was removed, and the statue was erected in its current location on a large granite plinth at the east end of Westminster Bridge, to the north side, beside County Hall. The plinth bears the inscription "The South Bank Lion". The statue was given a Grade II* listing by English Heritage in 1981.

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South Bank Lion

Focus on this artwork and discuss the History.

The lion was originally mounted on the parapet of James Goding's Lion Brewery on the Lambeth bank of the River Thames; Hungerford Bridge spanned the Thames nearby from 1845. The Lion Brewery closed in 1924 and the building was demolished in 1949, to make way for construction of the Royal Festival Hall as part of the Festival of Britain. The lion was removed, revealing the initials of the sculptor William Frederick Woodington and the date, 24 May 1837, under one of its paws. It was painted red as the symbol of British Rail, and mounted on high plinth beside the entrance to the Festival of Britain near Waterloo station. The statue was moved in 1966 to allow the station to be extended. The red paint was removed, and the statue was erected in its current location on a large granite plinth at the east end of Westminster Bridge, to the north side, beside County Hall. The plinth bears the inscription "The South Bank Lion". The statue was given a Grade II* listing by English Heritage in 1981.

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South Bank Lion

How does South Bank Lion elucidate its Other versions?

The prototype for the Lion Brewery statue was made in wood, and was rediscovered in Woburn, Bedfordshire in the 1970s. It was moved to Cambridge, where it was displayed at the new Lion Yard shopping centre, which had been named after a pub at that location. From 1999 the statue was kept in storage until late 2014, when it was moved to Cambridge University Rugby Club's ground on Grange Road, Cambridge. A second, similar Coade stone lion was removed from the Lion Brewery when it was demolished. It stood on an arched gateway leading to a second brewery site on the south side of Belvedere Road, on the corner of Sutton Walk. It was presented to the Rugby Football Union in 1971, its centenary season, by the Greater London Council and unveiled in 1972. It is now located above the central pillar of the Rowland Hill Memorial Gate (Gate 3) to the west of Twickenham Stadium. It was covered in gold leaf when England hosted the 1991 Rugby World Cup. The Lion Brewery also had a third Coade stone lion, over the arched entrance to the south of the main brewery site, on the north side of the Belvedere Road. It was present in 1930, but was missing for some years before the brewery was demolished, and is believed to have been destroyed. A recumbent Coade stone lion, made in 1821 to a different design by Thomas Hardwick for King George IV, is mounted above the Lion Gate at Kew Gardens. It is partnered by a unicorn of the same material, which surmounts the corresponding gate. The Lion and the Unicorn were traditional symbols of England and Scotland respectively.

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South Bank Lion

How does this artwork elucidate its Other versions?

The prototype for the Lion Brewery statue was made in wood, and was rediscovered in Woburn, Bedfordshire in the 1970s. It was moved to Cambridge, where it was displayed at the new Lion Yard shopping centre, which had been named after a pub at that location. From 1999 the statue was kept in storage until late 2014, when it was moved to Cambridge University Rugby Club's ground on Grange Road, Cambridge. A second, similar Coade stone lion was removed from the Lion Brewery when it was demolished. It stood on an arched gateway leading to a second brewery site on the south side of Belvedere Road, on the corner of Sutton Walk. It was presented to the Rugby Football Union in 1971, its centenary season, by the Greater London Council and unveiled in 1972. It is now located above the central pillar of the Rowland Hill Memorial Gate (Gate 3) to the west of Twickenham Stadium. It was covered in gold leaf when England hosted the 1991 Rugby World Cup. The Lion Brewery also had a third Coade stone lion, over the arched entrance to the south of the main brewery site, on the north side of the Belvedere Road. It was present in 1930, but was missing for some years before the brewery was demolished, and is believed to have been destroyed. A recumbent Coade stone lion, made in 1821 to a different design by Thomas Hardwick for King George IV, is mounted above the Lion Gate at Kew Gardens. It is partnered by a unicorn of the same material, which surmounts the corresponding gate. The Lion and the Unicorn were traditional symbols of England and Scotland respectively.

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Gwenfritz

Focus on Gwenfritz and analyze the abstract.

Gwenfritz is a painted steel abstract stabile, by Alexander Calder. It is located at the National Museum of American History, at 14th Street, and Constitution Avenue, in Washington, D.C.It was dedicated on June 2, 1969. In 1983, it was relocated from the west front fountain plaza, to a corner location. On October 31, 2014, the sculpture was rededicated after being restored and relocated to its original location.It is named after Gwendolyn Cafritz, widow of Morris Cafritz, who had helped finance the project as head of the Morris and Gwendolyn Cafritz Foundation.

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Gwenfritz

Focus on this artwork and analyze the abstract.

Gwenfritz is a painted steel abstract stabile, by Alexander Calder. It is located at the National Museum of American History, at 14th Street, and Constitution Avenue, in Washington, D.C.It was dedicated on June 2, 1969. In 1983, it was relocated from the west front fountain plaza, to a corner location. On October 31, 2014, the sculpture was rededicated after being restored and relocated to its original location.It is named after Gwendolyn Cafritz, widow of Morris Cafritz, who had helped finance the project as head of the Morris and Gwendolyn Cafritz Foundation.

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Madonna Adoring the Child with Five Angels (Botticelli)

In Madonna Adoring the Child with Five Angels (Botticelli), how is the abstract discussed?

Madonna Adoring the Child with Five Angels is a tondo or round painting by the Italian Renaissance master Sandro Botticelli, completed between 1485 and 1490. It is housed in the Baltimore Museum of Art, in Baltimore, Maryland. This work illustrates the Madonna with a young Jesus accompanied by five angels.

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Madonna Adoring the Child with Five Angels (Botticelli)

In this artwork, how is the abstract discussed?

Madonna Adoring the Child with Five Angels is a tondo or round painting by the Italian Renaissance master Sandro Botticelli, completed between 1485 and 1490. It is housed in the Baltimore Museum of Art, in Baltimore, Maryland. This work illustrates the Madonna with a young Jesus accompanied by five angels.

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Urban Light

Focus on Urban Light and explore the abstract.

Urban Light (2008) is a large-scale assemblage sculpture by Chris Burden located at the Wilshire Boulevard entrance to the Los Angeles County Museum of Art (LACMA). The 2008 installation consists of restored street lamps from the 1920s and 1930s. Most of them once lit the streets of Southern California.

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Urban Light

Focus on this artwork and explore the abstract.

Urban Light (2008) is a large-scale assemblage sculpture by Chris Burden located at the Wilshire Boulevard entrance to the Los Angeles County Museum of Art (LACMA). The 2008 installation consists of restored street lamps from the 1920s and 1930s. Most of them once lit the streets of Southern California.

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Urban Light

Focus on Urban Light and explain the Description.

Urban Light is composed of 202 street lamps arranged in a near grid. The lamps mostly came from the streets of Southern California, including Hollywood, Glendale, and Anaheim, with some from Portland, Oregon. There are 16 different streetlight models represented, many of which were commissioned for particular neighborhoods and streets. The Broadway Rose, the largest and most ornate of the models, is represented by six lamps. The style was found in downtown Los Angeles; a few can still be seen on Sixth Avenue between Olive and Flower Streets. The sculpture's glass globes are of three general shapes: round, acorn, and cone. The 309 LED bulbs are solar powered and switch on from dusk until dawn, governed by an astronomical timer.Writing in the Los Angeles Times, Susan Freudenheim described the restored lamps as displaying "elaborate floral and geometric patterns" at the base, with "fluted shafts and glass globes that cap them...meticulously cleaned, painted and refurbished to create an exuberant glow."

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Urban Light

Focus on this artwork and explain the Description.

Urban Light is composed of 202 street lamps arranged in a near grid. The lamps mostly came from the streets of Southern California, including Hollywood, Glendale, and Anaheim, with some from Portland, Oregon. There are 16 different streetlight models represented, many of which were commissioned for particular neighborhoods and streets. The Broadway Rose, the largest and most ornate of the models, is represented by six lamps. The style was found in downtown Los Angeles; a few can still be seen on Sixth Avenue between Olive and Flower Streets. The sculpture's glass globes are of three general shapes: round, acorn, and cone. The 309 LED bulbs are solar powered and switch on from dusk until dawn, governed by an astronomical timer.Writing in the Los Angeles Times, Susan Freudenheim described the restored lamps as displaying "elaborate floral and geometric patterns" at the base, with "fluted shafts and glass globes that cap them...meticulously cleaned, painted and refurbished to create an exuberant glow."

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Urban Light

Explore the Critical reception of this artwork, Urban Light.

Los Angeles Times critic Christopher Hawthorne described Urban Light as "a kind of pop temple, deftly straddling the lines between art and architecture and between seriousness and irony. It's also a joy to walk through, but there's no getting around the fact that it turns what might have been an actual public square along Wilshire—a space defined from day to day by the people using it—into an outdoor room for one sizable and very insistent piece of art."Hawthorne argued that Urban Light was the first of four large-scale installations at LACMA in which Michael Govan challenged and undermined "the polite axial symmetry" of the master plan he inherited from Piano and his patrons." Those installations also include Tony Smith's black aluminum sculpture, called "Smoke", that fills the atrium of the Ahmanson Building, a palm garden by Robert Irwin installed along the edge of the Resnick Pavilion, and, just north, Michael Heizer's Levitated Mass.Christopher Bedford of the Baltimore Museum wrote that Urban Light, "embodies a civic ideal rarely realized in public art projects" that succeeds as both a social statement and public art work.Michael Govan believed that Urban Light imparted a "feeling of walking through an ancient temple", one that echos the Greco-Roman temple facades of many East Coast museums. Those facades "are really faux; they’re neoclassical,...and here [Burden has] assembled an honest-to-goodness Los Angeles temple made of local materials, in our time."

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Urban Light

Explore the Critical reception of this artwork.

Los Angeles Times critic Christopher Hawthorne described Urban Light as "a kind of pop temple, deftly straddling the lines between art and architecture and between seriousness and irony. It's also a joy to walk through, but there's no getting around the fact that it turns what might have been an actual public square along Wilshire—a space defined from day to day by the people using it—into an outdoor room for one sizable and very insistent piece of art."Hawthorne argued that Urban Light was the first of four large-scale installations at LACMA in which Michael Govan challenged and undermined "the polite axial symmetry" of the master plan he inherited from Piano and his patrons." Those installations also include Tony Smith's black aluminum sculpture, called "Smoke", that fills the atrium of the Ahmanson Building, a palm garden by Robert Irwin installed along the edge of the Resnick Pavilion, and, just north, Michael Heizer's Levitated Mass.Christopher Bedford of the Baltimore Museum wrote that Urban Light, "embodies a civic ideal rarely realized in public art projects" that succeeds as both a social statement and public art work.Michael Govan believed that Urban Light imparted a "feeling of walking through an ancient temple", one that echos the Greco-Roman temple facades of many East Coast museums. Those facades "are really faux; they’re neoclassical,...and here [Burden has] assembled an honest-to-goodness Los Angeles temple made of local materials, in our time."

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Urban Light

Focus on Urban Light and discuss the Cultural status.

Since its 2008 installation, Urban Light has been visited by many and widely photographed and shared on social media. Director Ivan Reitman was one of the first filmmakers to incorporate the public artwork in a motion picture, using the location for a scene in his film No Strings Attached. Echoing Burden's own view, he called the artwork "an extraordinary beacon" that "lights up a desperate part of Wilshire that felt almost abandoned at night." Urban Light was featured in the Tori Amos video Maybe California and the film Valentine's Day. The work appeared in a Guinness commercial and in a Vanity Fair article featuring cast members of the television series Glee, as well as in numerous amateur photos posted online. LACMA itself has featured the work as part of its own promotional efforts, including a 3D public service announcement preceding the film Megamind. In 2014, the sculpture was used in a dance scene in VH1's Hit the Floor.The first known selfie taken at the sculpture was shot four days after the work opened and was posted to Flickr. The sculpture has its own hashtag: #urbanlight. While not rented out as a wedding site, Urban Light has been the setting for many vows.In November 2022, mass protesters were led in a performance by Mediseh Bathaie where they were tied to the lamp posts to honor the 40th day since Khodanur Lojei's death, he was killed during the 2022 Zahedan massacre (part of the Mahsa Amini protests).

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Urban Light

Focus on this artwork and discuss the Cultural status.

Since its 2008 installation, Urban Light has been visited by many and widely photographed and shared on social media. Director Ivan Reitman was one of the first filmmakers to incorporate the public artwork in a motion picture, using the location for a scene in his film No Strings Attached. Echoing Burden's own view, he called the artwork "an extraordinary beacon" that "lights up a desperate part of Wilshire that felt almost abandoned at night." Urban Light was featured in the Tori Amos video Maybe California and the film Valentine's Day. The work appeared in a Guinness commercial and in a Vanity Fair article featuring cast members of the television series Glee, as well as in numerous amateur photos posted online. LACMA itself has featured the work as part of its own promotional efforts, including a 3D public service announcement preceding the film Megamind. In 2014, the sculpture was used in a dance scene in VH1's Hit the Floor.The first known selfie taken at the sculpture was shot four days after the work opened and was posted to Flickr. The sculpture has its own hashtag: #urbanlight. While not rented out as a wedding site, Urban Light has been the setting for many vows.In November 2022, mass protesters were led in a performance by Mediseh Bathaie where they were tied to the lamp posts to honor the 40th day since Khodanur Lojei's death, he was killed during the 2022 Zahedan massacre (part of the Mahsa Amini protests).

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Scharnhorst Memorial, Berlin

How does Scharnhorst Memorial, Berlin elucidate its abstract?

The Scharnhorst Memorial on Unter den Linden avenue in Berlin's Mitte district commemorates the Prussian military reformer and freedom fighter Gerhard von Scharnhorst (1755–1813). Created from 1819 to 1822 by Christian Daniel Rauch in neoclassical style, it is a masterpiece of the Berlin school of sculpture.Until 1951 the memorial stood to the right of the Neue Wache, with which it formed an urban ensemble, and since 1963 it has stood opposite it. The marble statue was removed in 2021 due to weathering and will be replaced by a replica. In this context the re-erection at the original location is being discussed.

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Scharnhorst Memorial, Berlin

How does this artwork elucidate its abstract?

The Scharnhorst Memorial on Unter den Linden avenue in Berlin's Mitte district commemorates the Prussian military reformer and freedom fighter Gerhard von Scharnhorst (1755–1813). Created from 1819 to 1822 by Christian Daniel Rauch in neoclassical style, it is a masterpiece of the Berlin school of sculpture.Until 1951 the memorial stood to the right of the Neue Wache, with which it formed an urban ensemble, and since 1963 it has stood opposite it. The marble statue was removed in 2021 due to weathering and will be replaced by a replica. In this context the re-erection at the original location is being discussed.

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George Floyd mural (Portland, Oregon)

Focus on George Floyd mural (Portland, Oregon) and analyze the abstract.

A mural of George Floyd was painted by Emma Berger outside Portland, Oregon's Apple Pioneer Place, on June 1, 2020, a week after his murder, against the background of the ongoing protests against police brutality. She expanded the mural to show Ahmaud Arbery and Breonna Taylor and phrases associated with the Black Lives Matter movement. The work was vandalized in August, and repaired by the artist. It was covered by Apple Inc. in December for preservation, then removed in January 2021 to be donated to Don't Shoot PDX.

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George Floyd mural (Portland, Oregon)

Focus on this artwork and analyze the abstract.

A mural of George Floyd was painted by Emma Berger outside Portland, Oregon's Apple Pioneer Place, on June 1, 2020, a week after his murder, against the background of the ongoing protests against police brutality. She expanded the mural to show Ahmaud Arbery and Breonna Taylor and phrases associated with the Black Lives Matter movement. The work was vandalized in August, and repaired by the artist. It was covered by Apple Inc. in December for preservation, then removed in January 2021 to be donated to Don't Shoot PDX.