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1451_T

George Floyd mural (Portland, Oregon)

In George Floyd mural (Portland, Oregon), how is the Description and history discussed?

Emma Berger painted a mural of George Floyd outside Apple Pioneer Place in downtown Portland, on June 1, 2020. She completed the mural, which depicted Floyd and the phrase "I can't breathe", in approximately two hours and without seeking permission. Berger later added the faces of Ahmaud Arbery and Breonna Taylor, as well as the phrases "black lives matter" and "say their names". The image of Floyd is 8-foot (2.4 m) tall. Berger invited other artists to contribute to the mural; more faces, names, and background imagery were added on June 4. More artworks were added to the surrounding area.The mural was vandalized in August 2020; the text "It's okay to be white" was written in spray-paint. Berger returned to repair the artwork. In December 2020, Apple covered the mural for preservation. The work was removed in January 2021, and donated to Don't Shoot PDX.

1451_NT

George Floyd mural (Portland, Oregon)

In this artwork, how is the Description and history discussed?

Emma Berger painted a mural of George Floyd outside Apple Pioneer Place in downtown Portland, on June 1, 2020. She completed the mural, which depicted Floyd and the phrase "I can't breathe", in approximately two hours and without seeking permission. Berger later added the faces of Ahmaud Arbery and Breonna Taylor, as well as the phrases "black lives matter" and "say their names". The image of Floyd is 8-foot (2.4 m) tall. Berger invited other artists to contribute to the mural; more faces, names, and background imagery were added on June 4. More artworks were added to the surrounding area.The mural was vandalized in August 2020; the text "It's okay to be white" was written in spray-paint. Berger returned to repair the artwork. In December 2020, Apple covered the mural for preservation. The work was removed in January 2021, and donated to Don't Shoot PDX.

1452_T

George Floyd mural (Portland, Oregon)

Focus on George Floyd mural (Portland, Oregon) and explore the Reception.

The memorial was expanded by community members, who wrote poems using chalk and added candles. People also left flowers, pictures, and signs. According to KOIN's Ken Boddie, the work "became a national symbol".Apple described the mural as "a monumental art piece honoring the ongoing fight for justice" and said in a statement: "Apple stands in support of the artists and all who are fighting for social and racial justice. We are honored to have hosted the murals and are very happy to entrust the artwork to Don't Shoot Portland in support of their advocacy for social change." Don't Shoot PDX said the paintings "reflect the responses of so many that were witnesses to last summer's uprisings, answering the joint call to action against institutionalized violence and white nationalism".

1452_NT

George Floyd mural (Portland, Oregon)

Focus on this artwork and explore the Reception.

The memorial was expanded by community members, who wrote poems using chalk and added candles. People also left flowers, pictures, and signs. According to KOIN's Ken Boddie, the work "became a national symbol".Apple described the mural as "a monumental art piece honoring the ongoing fight for justice" and said in a statement: "Apple stands in support of the artists and all who are fighting for social and racial justice. We are honored to have hosted the murals and are very happy to entrust the artwork to Don't Shoot Portland in support of their advocacy for social change." Don't Shoot PDX said the paintings "reflect the responses of so many that were witnesses to last summer's uprisings, answering the joint call to action against institutionalized violence and white nationalism".

1453_T

Elijah Receiving Bread from the Widow of Zarephath

Focus on Elijah Receiving Bread from the Widow of Zarephath and explain the abstract.

Elijah Receiving Bread from the Widow of Zarephath is a painting by the Italian Baroque painter Giovanni Lanfranco. It is housed in the J. Paul Getty Museum located in Los Angeles, California.

1453_NT

Elijah Receiving Bread from the Widow of Zarephath

Focus on this artwork and explain the abstract.

Elijah Receiving Bread from the Widow of Zarephath is a painting by the Italian Baroque painter Giovanni Lanfranco. It is housed in the J. Paul Getty Museum located in Los Angeles, California.

1454_T

Five Day Locker Piece

Explore the abstract of this artwork, Five Day Locker Piece.

Five Day Locker Piece was a 1971 performance by Chris Burden in which he stayed in a student locker for five days as part of his UC Irvine Master's thesis.

1454_NT

Five Day Locker Piece

Explore the abstract of this artwork.

Five Day Locker Piece was a 1971 performance by Chris Burden in which he stayed in a student locker for five days as part of his UC Irvine Master's thesis.

1455_T

Five Day Locker Piece

Focus on Five Day Locker Piece and discuss the Description.

For his UC Irvine Master of Fine Arts thesis, performance artist Chris Burden entered an art building student locker (2 ft × 2 ft × 3 ft) for five days, from April 26–30, 1971. He had some room to wiggle but not unbend. In the lockers above and below him, Burden put a five-gallon water container and an empty container for urine with hoses for each. He fasted for several days in advance and consulted with doctors, who warned of potential blood clots and paralysis.Outside the locker, students and teachers argued about the project's merits. The campus police considered ending the performance early for Burden's safety. Towards the end, Burden said, the dean's office heard about the performance and considered ending it in light of their responsibility but ultimately decided to let it finish. Near the end, Burden himself began to fear his vulnerability and what a crazed person could do to him.

1455_NT

Five Day Locker Piece

Focus on this artwork and discuss the Description.

For his UC Irvine Master of Fine Arts thesis, performance artist Chris Burden entered an art building student locker (2 ft × 2 ft × 3 ft) for five days, from April 26–30, 1971. He had some room to wiggle but not unbend. In the lockers above and below him, Burden put a five-gallon water container and an empty container for urine with hoses for each. He fasted for several days in advance and consulted with doctors, who warned of potential blood clots and paralysis.Outside the locker, students and teachers argued about the project's merits. The campus police considered ending the performance early for Burden's safety. Towards the end, Burden said, the dean's office heard about the performance and considered ending it in light of their responsibility but ultimately decided to let it finish. Near the end, Burden himself began to fear his vulnerability and what a crazed person could do to him.

1456_T

Five Day Locker Piece

How does Five Day Locker Piece elucidate its Analysis and legacy?

The performance began Burden's career as a "durational daredevil" and led to polarized opinions about his masochistic oeuvre. It established several themes that would recur in his work: risk of death, endurance, and the audience's moral dilemma. New York Magazine compared the performance to Eusebius of Vercelli's ordeal of confinement.The work had a confessional quality, as people came to see the performance and would speak in confidence when they could not see the artist.

1456_NT

Five Day Locker Piece

How does this artwork elucidate its Analysis and legacy?

The performance began Burden's career as a "durational daredevil" and led to polarized opinions about his masochistic oeuvre. It established several themes that would recur in his work: risk of death, endurance, and the audience's moral dilemma. New York Magazine compared the performance to Eusebius of Vercelli's ordeal of confinement.The work had a confessional quality, as people came to see the performance and would speak in confidence when they could not see the artist.

1457_T

Fountain of Neptune, Mexico City

Focus on Fountain of Neptune, Mexico City and analyze the abstract.

The Fountain of Neptune (Spanish: Fuente de Neptuno) is installed in Mexico City's Alameda Central, in Mexico. The fountain has a bronze sculpture depicting Neptune, the Roman God of the sea.

1457_NT

Fountain of Neptune, Mexico City

Focus on this artwork and analyze the abstract.

The Fountain of Neptune (Spanish: Fuente de Neptuno) is installed in Mexico City's Alameda Central, in Mexico. The fountain has a bronze sculpture depicting Neptune, the Roman God of the sea.

1458_T

Theseus Rediscovering His Father's Sword

In Theseus Rediscovering His Father's Sword, how is the abstract discussed?

Theseus Rediscovering His Father's Sword is a c.1638 painting by Nicolas Poussin and Jean Le Maire, acquired in London by Henri d'Orléans, Duke of Aumale in 1860, moved to his château de Chantilly in 1871 and now in the Musée Condé at Chantilly. The Uffizi (inv. 1004) and the Wildenstein collection hold autograph copies of the work, but X-ray examination has shown much retouching of the Chantilly version and so it is accepted as the original of the composition. Such collaborations were common - in the 1630s Poussin only produced small private commissions, with foreground figures in his own hand and background architecture by a specialist painter such as Le Maire. The first record of the painting dates to the 19th century, when it was in the United Kingdom, passing through the hands of John Knight, Higginson and Nieuwenhuis before being acquired by the Duke of Aumale. It shows a scene from Plutarch's Life of Theseus. Theseus's mother Aethra and Theseus himself were both born in Troezen. She had had sex with both Poseidon and the mortal Aegeus, king of Athens, in Troezen on the same night. Before leaving her in Troezen to return to Athens, Aegeus left his sandals and sword under a heavy boulder and instructed that - if Aethra's son could lift the boulder and recover the items under it - he must come to Athens to meet his father. Theseus later managed to do so without effort, as shown in the painting.

1458_NT

Theseus Rediscovering His Father's Sword

In this artwork, how is the abstract discussed?

Theseus Rediscovering His Father's Sword is a c.1638 painting by Nicolas Poussin and Jean Le Maire, acquired in London by Henri d'Orléans, Duke of Aumale in 1860, moved to his château de Chantilly in 1871 and now in the Musée Condé at Chantilly. The Uffizi (inv. 1004) and the Wildenstein collection hold autograph copies of the work, but X-ray examination has shown much retouching of the Chantilly version and so it is accepted as the original of the composition. Such collaborations were common - in the 1630s Poussin only produced small private commissions, with foreground figures in his own hand and background architecture by a specialist painter such as Le Maire. The first record of the painting dates to the 19th century, when it was in the United Kingdom, passing through the hands of John Knight, Higginson and Nieuwenhuis before being acquired by the Duke of Aumale. It shows a scene from Plutarch's Life of Theseus. Theseus's mother Aethra and Theseus himself were both born in Troezen. She had had sex with both Poseidon and the mortal Aegeus, king of Athens, in Troezen on the same night. Before leaving her in Troezen to return to Athens, Aegeus left his sandals and sword under a heavy boulder and instructed that - if Aethra's son could lift the boulder and recover the items under it - he must come to Athens to meet his father. Theseus later managed to do so without effort, as shown in the painting.

1459_T

Portrait of a Commander in the Spanish Army

Focus on Portrait of a Commander in the Spanish Army and explore the abstract.

The Portrait of a Commander in the Spanish Army is a painting by the Flemish artist Michaelina Wautier. It was painted in 1646. It is one of her earliest known portraits, though the maturity of the execution of the painting implies this is not her first painting. It now hangs in the Royal Museum of Fine Arts in Brussels, having been in the royal collection since 1812.The sitter is Don Antonio Pimentel de Prado. He wears a sash known as a bandi carmesi, used at the time by military figures to indicate their senior position. The use of the colour pink was reserved for the Spanish army, hence the attribution of the sitter as a commander in the Spanish army.

1459_NT

Portrait of a Commander in the Spanish Army

Focus on this artwork and explore the abstract.

The Portrait of a Commander in the Spanish Army is a painting by the Flemish artist Michaelina Wautier. It was painted in 1646. It is one of her earliest known portraits, though the maturity of the execution of the painting implies this is not her first painting. It now hangs in the Royal Museum of Fine Arts in Brussels, having been in the royal collection since 1812.The sitter is Don Antonio Pimentel de Prado. He wears a sash known as a bandi carmesi, used at the time by military figures to indicate their senior position. The use of the colour pink was reserved for the Spanish army, hence the attribution of the sitter as a commander in the Spanish army.

1460_T

Madonna and Child (Bellini, Milan, 1510)

Focus on Madonna and Child (Bellini, Milan, 1510) and explain the abstract.

The 'Madonna and Child or Madonna with the Christ Child Blessing is a 1510 oil on panel painting by Giovanni Bellini, painted when he was already in his eighties but still responding to new developments in painting. It is similar to the 1505 Madonna del Prato (National Gallery, London) and the 1509 Madonna and Child (Detroit Institute of Arts). It is now in the Pinacoteca di Brera in Milan.Restoration in 1986–1987 showed that there was no preparatory drawing under the landscape in the background and that he had often applied the paint to the preparation with his fingertips. The landscape in the background draws on Giorgione's innovations in landscape, the use of aerial perspective in the blue haze over the mountains and the more late Gothic study of detail from life which Bellini had learned under his father Jacopo – one example is the cheetah to the left, standing on a stone which bears his Latin signature and the date in Latin numerals (IOANNES BELLINUS MDX).

1460_NT

Madonna and Child (Bellini, Milan, 1510)

Focus on this artwork and explain the abstract.

The 'Madonna and Child or Madonna with the Christ Child Blessing is a 1510 oil on panel painting by Giovanni Bellini, painted when he was already in his eighties but still responding to new developments in painting. It is similar to the 1505 Madonna del Prato (National Gallery, London) and the 1509 Madonna and Child (Detroit Institute of Arts). It is now in the Pinacoteca di Brera in Milan.Restoration in 1986–1987 showed that there was no preparatory drawing under the landscape in the background and that he had often applied the paint to the preparation with his fingertips. The landscape in the background draws on Giorgione's innovations in landscape, the use of aerial perspective in the blue haze over the mountains and the more late Gothic study of detail from life which Bellini had learned under his father Jacopo – one example is the cheetah to the left, standing on a stone which bears his Latin signature and the date in Latin numerals (IOANNES BELLINUS MDX).

1461_T

Green Wheat Field with Cypress

Explore the abstract of this artwork, Green Wheat Field with Cypress.

Green Wheat Field with Cypress (French: Champ de blé vert avec cyprès) is an oil-on-canvas painting by Dutch Post-Impressionist Vincent van Gogh. It is held by the National Gallery Prague, displayed at the Veletržní palác (Fair Trade Palace) in the district of Holešovice, where the painting is known as Zelené obilí ("Green wheat"). Like many similar works at this time, the landscape painting was made on a size 30 canvas and measures 73 cm × 93.5 cm (28.7 in × 36.8 in). It depicts a field of largely green wheat with parts ripening to yellow. A tall dark fastigiate cypress tree is at the centre of the scene, next to a small white house, with mountains in the background, and a blue sky with white clouds above. The painting was completed in 1889, while van Gogh was voluntarily incarcerated at the asylum of St. Paul near Saint-Rémy in Provence.On 16 June 1889, Vincent wrote to his sister Wil that he had just completed the painting, just a few days after he was allowed out to paint en plein air: Then yet another [landscape] that depicts a field of yellowing wheat surrounded by brambles and green bushes. At the end of the field a little pink house with a tall and dark cypress tree that stands out against the distant purplish and bluish hills, and against a forget-me-not blue sky streaked with pink whose pure tones contrast with the already heavy, scorched ears, whose tones are as warm as the crust of a loaf of bread." He sent an ink drawing of the painting (F1548, JH1726) with a letter to his brother Theo in early July 1889. The drawing is now in the Morgan Library & Museum in New York City. Van Gogh probably sent the painting to Theo with a consignment in September 1889.Van Gogh made several other paintings of wheat fields with cypresses when he was able to leave the asylum grounds and explore the local landscape, with the wheat rapidly turning to a ripe yellow. Besides a fondness for cypresses, van Gogh had a special affinity with wheat fields; he depicted them dozens of times over the years; to Vincent they symbolized the cycle of life and death, and he found in them both solace and inspiration. Although the composition is similar to several paintings by other artists such as Monet, Renoir, Sisley, and Pissarro, the art historian Ronald Pickvance says that "compared to high Impressionist practice, color is used more locally and the brushstrokes are more organic and vigorously hatched." However, "with no spatial distortions, no excessively heightened color tonalities, and no revolutionary symbolism, this landscape affirms its normality within an Impressionist convention. It neither manifests psychological tension nor projects a morbid vision."

1461_NT

Green Wheat Field with Cypress

Explore the abstract of this artwork.

Green Wheat Field with Cypress (French: Champ de blé vert avec cyprès) is an oil-on-canvas painting by Dutch Post-Impressionist Vincent van Gogh. It is held by the National Gallery Prague, displayed at the Veletržní palác (Fair Trade Palace) in the district of Holešovice, where the painting is known as Zelené obilí ("Green wheat"). Like many similar works at this time, the landscape painting was made on a size 30 canvas and measures 73 cm × 93.5 cm (28.7 in × 36.8 in). It depicts a field of largely green wheat with parts ripening to yellow. A tall dark fastigiate cypress tree is at the centre of the scene, next to a small white house, with mountains in the background, and a blue sky with white clouds above. The painting was completed in 1889, while van Gogh was voluntarily incarcerated at the asylum of St. Paul near Saint-Rémy in Provence.On 16 June 1889, Vincent wrote to his sister Wil that he had just completed the painting, just a few days after he was allowed out to paint en plein air: Then yet another [landscape] that depicts a field of yellowing wheat surrounded by brambles and green bushes. At the end of the field a little pink house with a tall and dark cypress tree that stands out against the distant purplish and bluish hills, and against a forget-me-not blue sky streaked with pink whose pure tones contrast with the already heavy, scorched ears, whose tones are as warm as the crust of a loaf of bread." He sent an ink drawing of the painting (F1548, JH1726) with a letter to his brother Theo in early July 1889. The drawing is now in the Morgan Library & Museum in New York City. Van Gogh probably sent the painting to Theo with a consignment in September 1889.Van Gogh made several other paintings of wheat fields with cypresses when he was able to leave the asylum grounds and explore the local landscape, with the wheat rapidly turning to a ripe yellow. Besides a fondness for cypresses, van Gogh had a special affinity with wheat fields; he depicted them dozens of times over the years; to Vincent they symbolized the cycle of life and death, and he found in them both solace and inspiration. Although the composition is similar to several paintings by other artists such as Monet, Renoir, Sisley, and Pissarro, the art historian Ronald Pickvance says that "compared to high Impressionist practice, color is used more locally and the brushstrokes are more organic and vigorously hatched." However, "with no spatial distortions, no excessively heightened color tonalities, and no revolutionary symbolism, this landscape affirms its normality within an Impressionist convention. It neither manifests psychological tension nor projects a morbid vision."

1462_T

St. Petronius (Michelangelo)

Focus on St. Petronius (Michelangelo) and discuss the abstract.

The statue of St. Petronius (1494–1495) was created by Michelangelo out of marble. Its height is 64 cm. It is situated in the Basilica of San Domenico, Bologna. Its subject is Saint Petronius, bishop of Bologna.

1462_NT

St. Petronius (Michelangelo)

Focus on this artwork and discuss the abstract.

The statue of St. Petronius (1494–1495) was created by Michelangelo out of marble. Its height is 64 cm. It is situated in the Basilica of San Domenico, Bologna. Its subject is Saint Petronius, bishop of Bologna.

1463_T

Japanese Woman

How does Japanese Woman elucidate its abstract?

Japanese woman (Hungarian: Japán nő) is an 1871 painting by Hungarian artist Bertalan Székely.

1463_NT

Japanese Woman

How does this artwork elucidate its abstract?

Japanese woman (Hungarian: Japán nő) is an 1871 painting by Hungarian artist Bertalan Székely.

1464_T

Japanese Woman

Focus on Japanese Woman and analyze the Description.

Oil on canvas, it is 169.5 x 121.5cm and is in the collection of the Hungarian National Museum in Budapest.

1464_NT

Japanese Woman

Focus on this artwork and analyze the Description.

Oil on canvas, it is 169.5 x 121.5cm and is in the collection of the Hungarian National Museum in Budapest.

1465_T

Japanese Woman

In Japanese Woman, how is the Analysis discussed?

Székely a significant artist in 19th century Kingdom of Hungary, also produced a remarkable work in this painting -- for the first time Hungarian art shows the impact of Japonism. Judging by her look and features, the model does not seem to be Japanese, but other items in the work testify to Japanese culture and spirit and give information about them. Szekely encountered Japanese original works and objects during the East Asia exhibition at the Hungarian National Museum in 1870, and the exhibition inspired him to create this picture the following year.

1465_NT

Japanese Woman

In this artwork, how is the Analysis discussed?

Székely a significant artist in 19th century Kingdom of Hungary, also produced a remarkable work in this painting -- for the first time Hungarian art shows the impact of Japonism. Judging by her look and features, the model does not seem to be Japanese, but other items in the work testify to Japanese culture and spirit and give information about them. Szekely encountered Japanese original works and objects during the East Asia exhibition at the Hungarian National Museum in 1870, and the exhibition inspired him to create this picture the following year.

1466_T

Jammin' on the Avenue

Focus on Jammin' on the Avenue and explore the abstract.

Jammin' on the Avenue is an outdoor sculpture by American artist John Spaulding. It is located on the border of the Indiana University-Purdue University Indianapolis (IUPUI) campus, which is near downtown Indianapolis, Indiana, at the intersection of Indiana Avenue, North Street, and Blackford Street. The historic Lockefield Gardens apartments flank the sculpture to its back. Madam Walker Legacy Center is located across the street. This sculpture is documented in the Smithsonian's Save Outdoor Sculpture! database, which is the inspiration for this project.

1466_NT

Jammin' on the Avenue

Focus on this artwork and explore the abstract.

Jammin' on the Avenue is an outdoor sculpture by American artist John Spaulding. It is located on the border of the Indiana University-Purdue University Indianapolis (IUPUI) campus, which is near downtown Indianapolis, Indiana, at the intersection of Indiana Avenue, North Street, and Blackford Street. The historic Lockefield Gardens apartments flank the sculpture to its back. Madam Walker Legacy Center is located across the street. This sculpture is documented in the Smithsonian's Save Outdoor Sculpture! database, which is the inspiration for this project.

1467_T

Jammin' on the Avenue

Focus on Jammin' on the Avenue and explain the Description.

The sculpture is a collage of brass wind instruments welded together and arranged in a square column. Instruments consist of saxophones, sousaphones, trombones, trumpets, and tubas. The sculpture sits in a fountain basin, which has non-chlorinated running water and illumination for the sculpture. The fountain basin is a large trapezoidal shape and the sculpture is set in its most central point. The basin is made of cement and tile. The dimensions of the sculpture are 9'6" × 4' × 4'. The dimensions of the fountain basin are approximately 26" × 35'6" × 70'.

1467_NT

Jammin' on the Avenue

Focus on this artwork and explain the Description.

The sculpture is a collage of brass wind instruments welded together and arranged in a square column. Instruments consist of saxophones, sousaphones, trombones, trumpets, and tubas. The sculpture sits in a fountain basin, which has non-chlorinated running water and illumination for the sculpture. The fountain basin is a large trapezoidal shape and the sculpture is set in its most central point. The basin is made of cement and tile. The dimensions of the sculpture are 9'6" × 4' × 4'. The dimensions of the fountain basin are approximately 26" × 35'6" × 70'.

1468_T

Jammin' on the Avenue

Explore the Information of this artwork, Jammin' on the Avenue.

Jammin' on the Avenue, fabricated in 1989, was commissioned by the Sexton Companies. The sculpture stands at the south entrance to the new section of Lockefield Gardens. It is a tribute to the rich jazz and musical heritage that was a part of the Indiana Avenue cultural district.

1468_NT

Jammin' on the Avenue

Explore the Information of this artwork.

Jammin' on the Avenue, fabricated in 1989, was commissioned by the Sexton Companies. The sculpture stands at the south entrance to the new section of Lockefield Gardens. It is a tribute to the rich jazz and musical heritage that was a part of the Indiana Avenue cultural district.

1469_T

Jammin' on the Avenue

Focus on Jammin' on the Avenue and discuss the Location history.

The location of Jammin' on the Avenue reflects the spirit of this sculpture. It faces Indiana Avenue and the Madam Walker Legacy Center to remind all those who pass of the rich cultural heritage that was and still is a part of this area near the IUPUI campus. The sculpture's location in front of Lockefield Gardens is also significant because the artist was born here. Lockefield Gardens was a public housing project built in 1938. New construction has been added to seven surviving historic buildings, which have been renovated, to create the Lockefield Gardens apartment complex. The sculpture can be found at the south entrance to the complex, which is home to IUPUI students, staff, faculty, and anyone who want to live in this historic and cultural tapestry. Another Spaulding sculpture, Untitled (Jazz Musicians), stands nearby on West Street, across from the Madam Walker Legacy Center.

1469_NT

Jammin' on the Avenue

Focus on this artwork and discuss the Location history.

The location of Jammin' on the Avenue reflects the spirit of this sculpture. It faces Indiana Avenue and the Madam Walker Legacy Center to remind all those who pass of the rich cultural heritage that was and still is a part of this area near the IUPUI campus. The sculpture's location in front of Lockefield Gardens is also significant because the artist was born here. Lockefield Gardens was a public housing project built in 1938. New construction has been added to seven surviving historic buildings, which have been renovated, to create the Lockefield Gardens apartment complex. The sculpture can be found at the south entrance to the complex, which is home to IUPUI students, staff, faculty, and anyone who want to live in this historic and cultural tapestry. Another Spaulding sculpture, Untitled (Jazz Musicians), stands nearby on West Street, across from the Madam Walker Legacy Center.

1470_T

Portrait of Bartolomeo Panciatichi

How does Portrait of Bartolomeo Panciatichi elucidate its abstract?

The Portrait of Bartolomeo Panciatichi is a painting by the Italian artist Agnolo di Cosimo, known as Bronzino, finished around 1540. It is housed in the Uffizi Gallery of Florence, Italy since 1704.Bartolomeo Panciatichi was a Florentine humanist and politician. His wife was also portrayed by Bronzino a few years later.

1470_NT

Portrait of Bartolomeo Panciatichi

How does this artwork elucidate its abstract?

The Portrait of Bartolomeo Panciatichi is a painting by the Italian artist Agnolo di Cosimo, known as Bronzino, finished around 1540. It is housed in the Uffizi Gallery of Florence, Italy since 1704.Bartolomeo Panciatichi was a Florentine humanist and politician. His wife was also portrayed by Bronzino a few years later.

1471_T

M-Maybe

Focus on M-Maybe and analyze the abstract.

M-Maybe is a 1965 pop art painting by Roy Lichtenstein. It is one of his romance comics-based works.

1471_NT

M-Maybe

Focus on this artwork and analyze the abstract.

M-Maybe is a 1965 pop art painting by Roy Lichtenstein. It is one of his romance comics-based works.

1472_T

M-Maybe

In M-Maybe, how is the History discussed?

Lichtenstein's first solo show at The Leo Castelli Gallery in February 1962 sold out before opening. Engagement Ring sold for $1200 and Blam sold for $1000. Prices for his work rose quickly. In 1965, German collector Peter Ludwig asked Castelli, what price Lichtenstein might accept to sell M-Maybe from his personal collection. By then, the going rate for a Lichtenstein was $6000 and Castelli estimated $12,000. Ludwig offered Lichtenstein $30,000 to purchase the work.

1472_NT

M-Maybe

In this artwork, how is the History discussed?

Lichtenstein's first solo show at The Leo Castelli Gallery in February 1962 sold out before opening. Engagement Ring sold for $1200 and Blam sold for $1000. Prices for his work rose quickly. In 1965, German collector Peter Ludwig asked Castelli, what price Lichtenstein might accept to sell M-Maybe from his personal collection. By then, the going rate for a Lichtenstein was $6000 and Castelli estimated $12,000. Ludwig offered Lichtenstein $30,000 to purchase the work.

1473_T

M-Maybe

Focus on M-Maybe and explore the Details.

M-Maybe depicts a blonde girl, which is typical for Lichtenstein's romance comics adaptations. As is a common theme among these works, she awaits a man in a vague but urban setting. The thought bubble reads "M–Maybe he became ill and couldn’t leave the studio". The text and her expression jointly capture her continuing worry and anticipation. David Britt likens the work to Victorian narrative painting because Lichtenstein invites much speculation with the work, including the identities of the present and absent subjects of the work as well as the "nature of the situation". I.e, what might be holding up his arrival.Eckhard Schneider describes this single-frame style of art as stills suddenly halting a narrative associated with young women's predicaments, noting that "The private tone of the words increases the paintings’ aura of authenticity, like verbal snap-snots – an aspect especially apparent in the hesitantly voiced ‘M-Maybe’." However, Lichtenstein idealizes the appearance with graphic tension that separates the emotional subject matter from the apparent poise of the depiction.Lichtenstein had a desire that his paintings look as mechanical as possible although he was a painter. Rather than selecting subject matter from photographs by an individual, he selected teen and action comics, such as the obvious source for this work, as subjects since they were illustrated by teams that produced source material that was devoid of "personal elements of style".After 1963, Lichtenstein's comics-based women "look hard, crisp, brittle, and uniformly modish in appearance, as if they all came out of the same pot of makeup." This particular example is one of several that is cropped so closely that the girl's hair flows beyond the edges of the canvas. This is an example of Lichtenstein humorously presenting a subject that might be crowded out in a newspaper with a sort of ironic self-awareness that relies on the difference between art and the rest of the world.

1473_NT

M-Maybe

Focus on this artwork and explore the Details.

M-Maybe depicts a blonde girl, which is typical for Lichtenstein's romance comics adaptations. As is a common theme among these works, she awaits a man in a vague but urban setting. The thought bubble reads "M–Maybe he became ill and couldn’t leave the studio". The text and her expression jointly capture her continuing worry and anticipation. David Britt likens the work to Victorian narrative painting because Lichtenstein invites much speculation with the work, including the identities of the present and absent subjects of the work as well as the "nature of the situation". I.e, what might be holding up his arrival.Eckhard Schneider describes this single-frame style of art as stills suddenly halting a narrative associated with young women's predicaments, noting that "The private tone of the words increases the paintings’ aura of authenticity, like verbal snap-snots – an aspect especially apparent in the hesitantly voiced ‘M-Maybe’." However, Lichtenstein idealizes the appearance with graphic tension that separates the emotional subject matter from the apparent poise of the depiction.Lichtenstein had a desire that his paintings look as mechanical as possible although he was a painter. Rather than selecting subject matter from photographs by an individual, he selected teen and action comics, such as the obvious source for this work, as subjects since they were illustrated by teams that produced source material that was devoid of "personal elements of style".After 1963, Lichtenstein's comics-based women "look hard, crisp, brittle, and uniformly modish in appearance, as if they all came out of the same pot of makeup." This particular example is one of several that is cropped so closely that the girl's hair flows beyond the edges of the canvas. This is an example of Lichtenstein humorously presenting a subject that might be crowded out in a newspaper with a sort of ironic self-awareness that relies on the difference between art and the rest of the world.

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Sciarra Madonna

Focus on Sciarra Madonna and explain the abstract.

The Sciarra Madonna is an oil on canvas painting attributed to Titian, signed "TITIANVS" and dated to circa 1540. It is now in the Museu Nacional d'Art de Catalunya in Barcelona. This attribution was accepted by Cavalcaselle, abandoned and then revived by Suida, who noted how the Madonna's pose echoed that in Rest on the Flight into Egypt (Longleat House). Tietze and Berenson argue it is a work by the school of Titian rather than an autograph work.

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Sciarra Madonna

Focus on this artwork and explain the abstract.

The Sciarra Madonna is an oil on canvas painting attributed to Titian, signed "TITIANVS" and dated to circa 1540. It is now in the Museu Nacional d'Art de Catalunya in Barcelona. This attribution was accepted by Cavalcaselle, abandoned and then revived by Suida, who noted how the Madonna's pose echoed that in Rest on the Flight into Egypt (Longleat House). Tietze and Berenson argue it is a work by the school of Titian rather than an autograph work.

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Sciarra Madonna

Explore the History of this artwork, Sciarra Madonna.

It is first recorded in the Palazzo Sciarra in Ferrara, from which it was bought in Rome by Francis Cowper. It then passed from his descendants to the Thyssen collection.

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Sciarra Madonna

Explore the History of this artwork.

It is first recorded in the Palazzo Sciarra in Ferrara, from which it was bought in Rome by Francis Cowper. It then passed from his descendants to the Thyssen collection.

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Untitled (1996 painting by Ellen Gallagher)

Focus on Untitled (1996 painting by Ellen Gallagher) and discuss the abstract.

Untitled is a 1996 painting by Ellen Gallagher. It is in the collection of The Broad in Los Angeles, California in the United States. This large scale abstract, contemporary painting consists of beige paper mounted on canvas. A stroke of indigo blue paint is on the top of the painting, stopping 1/3 through. A series of blue ink squares, filled with lines, resides on a large portion of the canvas. This painting was acquired by The Broad on January 31, 1997.

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Untitled (1996 painting by Ellen Gallagher)

Focus on this artwork and discuss the abstract.

Untitled is a 1996 painting by Ellen Gallagher. It is in the collection of The Broad in Los Angeles, California in the United States. This large scale abstract, contemporary painting consists of beige paper mounted on canvas. A stroke of indigo blue paint is on the top of the painting, stopping 1/3 through. A series of blue ink squares, filled with lines, resides on a large portion of the canvas. This painting was acquired by The Broad on January 31, 1997.

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Saint Jerome Reading in a Landscape

How does Saint Jerome Reading in a Landscape elucidate its abstract?

Saint Jerome Reading in a Landscape is a painting in oil and tempera on panel by Giovanni Bellini or a follower, probably dating to between 1480 and 1485. One of several versions of the theme by the artist, it is now in the National Gallery, London. It depicts Saint Jerome in the Syrian desert producing the Vulgate Bible, accompanied by the lion from whose paw he extracted a thorn. In the distance is a walled city.

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Saint Jerome Reading in a Landscape

How does this artwork elucidate its abstract?

Saint Jerome Reading in a Landscape is a painting in oil and tempera on panel by Giovanni Bellini or a follower, probably dating to between 1480 and 1485. One of several versions of the theme by the artist, it is now in the National Gallery, London. It depicts Saint Jerome in the Syrian desert producing the Vulgate Bible, accompanied by the lion from whose paw he extracted a thorn. In the distance is a walled city.

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James W. Barney Pickaweekee Story Grove

Focus on James W. Barney Pickaweekee Story Grove and analyze the Description and history.

The artworks were completed in 1992 for the Christopher Columbus Quincentenary Jubilee celebrations. The grove is named after Jim Barney, who served as director of the Columbus Recreation and Parks Department, and the sculptures were relocated to their current location in 2015.The figures, sometimes collectively referred to as Children's Fountain, KidSpeak Children's Fountain, or Pickaweekee Children's Fountain, include Eagle, Griffin, Hound, Lion, Owl, and Unicorn.The sculptures were designed for a children's park, located just south of the Joseph P. Kinneary U.S. Courthouse. The park was themed after S. J. Seaburn's mythical story, "Pickaweekee, A Myth of Discovery", with a set of trees representing an enchanted forest, among a fountain, waterfall, and meandering stream. During the Scioto Mile renovations, the space was redesigned, and the statues were moved a short distance northwest, to their current place. The Scioto River and a nearby young tree stand in for the story in the present day.The group's owl sculpture, valued at $35,250, was stolen in 2009.

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James W. Barney Pickaweekee Story Grove

Focus on this artwork and analyze the Description and history.

The artworks were completed in 1992 for the Christopher Columbus Quincentenary Jubilee celebrations. The grove is named after Jim Barney, who served as director of the Columbus Recreation and Parks Department, and the sculptures were relocated to their current location in 2015.The figures, sometimes collectively referred to as Children's Fountain, KidSpeak Children's Fountain, or Pickaweekee Children's Fountain, include Eagle, Griffin, Hound, Lion, Owl, and Unicorn.The sculptures were designed for a children's park, located just south of the Joseph P. Kinneary U.S. Courthouse. The park was themed after S. J. Seaburn's mythical story, "Pickaweekee, A Myth of Discovery", with a set of trees representing an enchanted forest, among a fountain, waterfall, and meandering stream. During the Scioto Mile renovations, the space was redesigned, and the statues were moved a short distance northwest, to their current place. The Scioto River and a nearby young tree stand in for the story in the present day.The group's owl sculpture, valued at $35,250, was stolen in 2009.

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The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

In The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775, how is the abstract discussed?

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775 refers to several oil paintings completed in the late 18th and early 19th century by the American artist John Trumbull depicting the death of Founding Father Joseph Warren at the June 17, 1775, Battle of Bunker Hill, during the American Revolutionary War. Warren, an influential Massachusetts physician and politician, had been commissioned as a general but served in the battle as a private. He was killed during or shortly after the storming of the redoubt atop Breed's Hill by a British officer. The paintings are iconic images of the American Revolution. Trumbull painted several versions, including the one held by the Museum of Fine Arts, Boston (dated between 1815 and 1831). This was commissioned by the Warren family and passed down through the family before being acquired by the museum. Another, larger version (dated 1834) is held by the Wadsworth Atheneum in Hartford, Connecticut. Trumbull sold the engraving rights for both this painting and The Death of General Montgomery in the Attack on Quebec, December 31, 1775, which resulted in a highly successful subscription release that greatly enhanced his career.

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The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

In this artwork, how is the abstract discussed?

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775 refers to several oil paintings completed in the late 18th and early 19th century by the American artist John Trumbull depicting the death of Founding Father Joseph Warren at the June 17, 1775, Battle of Bunker Hill, during the American Revolutionary War. Warren, an influential Massachusetts physician and politician, had been commissioned as a general but served in the battle as a private. He was killed during or shortly after the storming of the redoubt atop Breed's Hill by a British officer. The paintings are iconic images of the American Revolution. Trumbull painted several versions, including the one held by the Museum of Fine Arts, Boston (dated between 1815 and 1831). This was commissioned by the Warren family and passed down through the family before being acquired by the museum. Another, larger version (dated 1834) is held by the Wadsworth Atheneum in Hartford, Connecticut. Trumbull sold the engraving rights for both this painting and The Death of General Montgomery in the Attack on Quebec, December 31, 1775, which resulted in a highly successful subscription release that greatly enhanced his career.

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The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

Focus on The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775 and explore the Event.

Artist John Trumbull (1756–1843) was in the colonial army camp at Roxbury, Massachusetts on June 17, 1775, the day of the Battle of Bunker Hill. He watched the battle unfold through field glasses, and later decided to depict one of its central events. Joseph Warren, a Massachusetts politician and member of the colony's Committee of Safety, volunteered to serve under Colonel William Prescott in the defense of the redoubt which the colonists had constructed on top of Breed's Hill. This redoubt was the target of three British attacks, of which the first two were repulsed. The third attack succeeded, in part because the defenders had run out of ammunition. Warren was struck by a musket or pistol ball during the evacuation of the redoubt, and killed instantly.

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The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

Focus on this artwork and explore the Event.

Artist John Trumbull (1756–1843) was in the colonial army camp at Roxbury, Massachusetts on June 17, 1775, the day of the Battle of Bunker Hill. He watched the battle unfold through field glasses, and later decided to depict one of its central events. Joseph Warren, a Massachusetts politician and member of the colony's Committee of Safety, volunteered to serve under Colonel William Prescott in the defense of the redoubt which the colonists had constructed on top of Breed's Hill. This redoubt was the target of three British attacks, of which the first two were repulsed. The third attack succeeded, in part because the defenders had run out of ammunition. Warren was struck by a musket or pistol ball during the evacuation of the redoubt, and killed instantly.

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The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

Focus on The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775 and explain the Description.

The central focus of the painting is Warren's body, dressed in white, and John Small, a British major, dressed in a scarlet uniform (holding a sword in his left hand). Small, who had served with colonial general Israel Putnam during the French and Indian War, is shown preventing a fellow British soldier from bayoneting Warren. Trumbull wanted to express the poignancy in the conflict of men who had earlier served together. On the far right of the painting is a colonial officer, Thomas Grosvenor, with a black man holding a musket behind him. The black man was long thought to be Peter Salem, a freed slave who served in the cause of American independence. Later research identified him as a slave belonging to Grosvenor.The foreground is littered with bodies from both sides of the conflict, and the background includes clusters of colonial and British troops carrying flags. Boston Harbor is also visible in the distance. The sky is partially obscured by smoke rising from Charlestown, which had been torched by the British. In describing the painting for a catalogue of his works, Trumbull explained why he chose to emphasize the British Major Small's role, saying that Small, whom he had met in London, "was equally distinguished by acts of humanity and kindness to his enemies, as by bravery and fidelity to the cause he served."

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The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

Focus on this artwork and explain the Description.

The central focus of the painting is Warren's body, dressed in white, and John Small, a British major, dressed in a scarlet uniform (holding a sword in his left hand). Small, who had served with colonial general Israel Putnam during the French and Indian War, is shown preventing a fellow British soldier from bayoneting Warren. Trumbull wanted to express the poignancy in the conflict of men who had earlier served together. On the far right of the painting is a colonial officer, Thomas Grosvenor, with a black man holding a musket behind him. The black man was long thought to be Peter Salem, a freed slave who served in the cause of American independence. Later research identified him as a slave belonging to Grosvenor.The foreground is littered with bodies from both sides of the conflict, and the background includes clusters of colonial and British troops carrying flags. Boston Harbor is also visible in the distance. The sky is partially obscured by smoke rising from Charlestown, which had been torched by the British. In describing the painting for a catalogue of his works, Trumbull explained why he chose to emphasize the British Major Small's role, saying that Small, whom he had met in London, "was equally distinguished by acts of humanity and kindness to his enemies, as by bravery and fidelity to the cause he served."

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The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

In the context of The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775, discuss the British soldiers of the People depicted.

Major John Small, the redcoated British soldier stepping over a fallen redcoat soldier to hold back the bayonet of a fellow soldier Major John Pitcairn, falling back dying in his son's (Lieutenant Pitcairn's) arms General Henry Clinton, bare-headed British officer with raised sword at the rear, center of the painting General William Howe, standing to the left of Clinton from the viewer's point of view with his sword pointing forward. Lord Rawdon, then a lieutenant, holds the British colour, center-right in the painting Lieutenant Colonel James Abercrombie, the redcoat soldier laying dead underneath John Small and at General Warren's feet.

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The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

In the context of this artwork, discuss the British soldiers of the People depicted.

Major John Small, the redcoated British soldier stepping over a fallen redcoat soldier to hold back the bayonet of a fellow soldier Major John Pitcairn, falling back dying in his son's (Lieutenant Pitcairn's) arms General Henry Clinton, bare-headed British officer with raised sword at the rear, center of the painting General William Howe, standing to the left of Clinton from the viewer's point of view with his sword pointing forward. Lord Rawdon, then a lieutenant, holds the British colour, center-right in the painting Lieutenant Colonel James Abercrombie, the redcoat soldier laying dead underneath John Small and at General Warren's feet.

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The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

In The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775, how is the Colonists of the People depicted elucidated?

Joseph Warren Thomas Grosvenor, soldier to the far right An African-American slave of Grosvenor, shown behind the officer Major Andrew McClary A black freeman, possibly Peter Salem, head visible below the flags on the left side of the painting General Israel Putnam, colonial officer on the far left of the painting Thomas Knowlton, standing over Warren and holding a musket Lieutenant-Colonel Moses Parker of Chelmsford is depicted sitting wounded to the left of Warren Colonel Thomas Gardner lying on ground lower right. Both Gardner and Parker were taken prisoner, and both died in early July in Boston. Colonel William Prescott, who allegedly ordered his soldiers not to fire until "you see the whites of their eyes".

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The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

In this artwork, how is the Colonists of the People depicted elucidated?

Joseph Warren Thomas Grosvenor, soldier to the far right An African-American slave of Grosvenor, shown behind the officer Major Andrew McClary A black freeman, possibly Peter Salem, head visible below the flags on the left side of the painting General Israel Putnam, colonial officer on the far left of the painting Thomas Knowlton, standing over Warren and holding a musket Lieutenant-Colonel Moses Parker of Chelmsford is depicted sitting wounded to the left of Warren Colonel Thomas Gardner lying on ground lower right. Both Gardner and Parker were taken prisoner, and both died in early July in Boston. Colonel William Prescott, who allegedly ordered his soldiers not to fire until "you see the whites of their eyes".

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The Bohemian (Bouguereau)

Focus on The Bohemian (Bouguereau) and analyze the abstract.

The Bohemian is a painting by William-Adolphe Bouguereau completed in 1890. It depicts a barefooted young woman sitting on a concrete bench on the south bank of the Seine across from Notre Dame de Paris resting a violin in her lap. Her right arm is resting on her thigh while the palm of her left hand is pressed down on her left knee so that she does not lean on the violin. Her hands are clasped with the fingers pointing forward while her shoulders are wrapped in a shawl dyed maroon and light green, and she is wearing a gray dress that extends to her ankles. The bow of the violin has been stuck through diagonally under the fingerboard. To her right is a maple tree. The subject is a model employed by Bouguereau for this and other paintings, including The Shepherdess. It was owned by the Minneapolis Institute of Art until 2004 when it was auctioned by Christie's to benefit the acquisition fund.

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The Bohemian (Bouguereau)

Focus on this artwork and analyze the abstract.

The Bohemian is a painting by William-Adolphe Bouguereau completed in 1890. It depicts a barefooted young woman sitting on a concrete bench on the south bank of the Seine across from Notre Dame de Paris resting a violin in her lap. Her right arm is resting on her thigh while the palm of her left hand is pressed down on her left knee so that she does not lean on the violin. Her hands are clasped with the fingers pointing forward while her shoulders are wrapped in a shawl dyed maroon and light green, and she is wearing a gray dress that extends to her ankles. The bow of the violin has been stuck through diagonally under the fingerboard. To her right is a maple tree. The subject is a model employed by Bouguereau for this and other paintings, including The Shepherdess. It was owned by the Minneapolis Institute of Art until 2004 when it was auctioned by Christie's to benefit the acquisition fund.

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Young Men by the Sea

In Young Men by the Sea, how is the abstract discussed?

Young Men by the Sea is an oil on canvas painting by Max Beckmann, executed in 1905. It his held at the Schloss Weimar, Klassik Stiftung, in Weimar.

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Young Men by the Sea

In this artwork, how is the abstract discussed?

Young Men by the Sea is an oil on canvas painting by Max Beckmann, executed in 1905. It his held at the Schloss Weimar, Klassik Stiftung, in Weimar.

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Young Men by the Sea

Focus on Young Men by the Sea and explore the Description.

The painting, executed when the painter was 21 years old, reflects his academic training, and at the same time, the influence of contemporary post-impressionist painters, like Paul Cézanne and Vincent van Gogh. Beckmann had visited France the previous year and had the chance of knowing personally the work of several contemporary French painters. The large painting depicts several nude young men, near the sea, of which six appear in the foreground. Four of them are up and two seated in the ground. The boy to the right seems to be playing a musical instrument. Other youngsters at the background seem to be engaging in playful activity and swimming. The work seems to reflect an ideal of male classical beauty, with the boys in the foreground appearing in several poses, giving it the resemblance of an anatomic study, and at the same time illustrates his interest by the sea. The academic training of the young painter is connected to his still recent knowledge of more contemporary artistic tendencies, that would influence him greatly in the future.

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Young Men by the Sea

Focus on this artwork and explore the Description.

The painting, executed when the painter was 21 years old, reflects his academic training, and at the same time, the influence of contemporary post-impressionist painters, like Paul Cézanne and Vincent van Gogh. Beckmann had visited France the previous year and had the chance of knowing personally the work of several contemporary French painters. The large painting depicts several nude young men, near the sea, of which six appear in the foreground. Four of them are up and two seated in the ground. The boy to the right seems to be playing a musical instrument. Other youngsters at the background seem to be engaging in playful activity and swimming. The work seems to reflect an ideal of male classical beauty, with the boys in the foreground appearing in several poses, giving it the resemblance of an anatomic study, and at the same time illustrates his interest by the sea. The academic training of the young painter is connected to his still recent knowledge of more contemporary artistic tendencies, that would influence him greatly in the future.

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Young Men by the Sea

Focus on Young Men by the Sea and explain the Reception.

The painting was highly appreciated at his time. Beckmann was awarded the Villa Prize and the painting was acquired by the Schloss Weimar, in Weimar, where it still hangs. Karl Scheffler stated back then that Young Men at the Sea, demonstrated "an extraordinary sensitive for the musical human dynamism in older pictures." In 1908, Beckmann admitted that the painting wasn't sufficiently original, because it lacked his own personal stamp.

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Young Men by the Sea

Focus on this artwork and explain the Reception.

The painting was highly appreciated at his time. Beckmann was awarded the Villa Prize and the painting was acquired by the Schloss Weimar, in Weimar, where it still hangs. Karl Scheffler stated back then that Young Men at the Sea, demonstrated "an extraordinary sensitive for the musical human dynamism in older pictures." In 1908, Beckmann admitted that the painting wasn't sufficiently original, because it lacked his own personal stamp.

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Courre Merlan (Whiting Chase)

Explore the abstract of this artwork, Courre Merlan (Whiting Chase).

Courre Merlan (Whiting Chase) is an oil painting by French artist Jean Dubuffet. It has been part of the permanent collection of the Indianapolis Museum of Art since 1992.

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Courre Merlan (Whiting Chase)

Explore the abstract of this artwork.

Courre Merlan (Whiting Chase) is an oil painting by French artist Jean Dubuffet. It has been part of the permanent collection of the Indianapolis Museum of Art since 1992.

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Courre Merlan (Whiting Chase)

Focus on Courre Merlan (Whiting Chase) and discuss the Description.

Courre Merlan (Whiting Chase) appears abstract. It consists of a large free-form shape that nearly fills the canvas and is placed on a dark, textured background. This large shape contains smaller, neatly outlined, puzzle-like shapes, most of which are white and filled with parallel lines. The main colors in the work are limited to red, white, blue, and black. These features are all characteristic of Dubuffet's style at the time. Although the shapes are abstracted, a boat or ship and fishermen can be seen, and the title suggests they are fishing for whiting. In contrast with the foreground image, the background is dark and heavily textured with brushwork.

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Courre Merlan (Whiting Chase)

Focus on this artwork and discuss the Description.

Courre Merlan (Whiting Chase) appears abstract. It consists of a large free-form shape that nearly fills the canvas and is placed on a dark, textured background. This large shape contains smaller, neatly outlined, puzzle-like shapes, most of which are white and filled with parallel lines. The main colors in the work are limited to red, white, blue, and black. These features are all characteristic of Dubuffet's style at the time. Although the shapes are abstracted, a boat or ship and fishermen can be seen, and the title suggests they are fishing for whiting. In contrast with the foreground image, the background is dark and heavily textured with brushwork.

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Courre Merlan (Whiting Chase)

How does Courre Merlan (Whiting Chase) elucidate its Historical information?

Throughout his career, Dubuffet created his works as parts of distinct, self-contained series or cycles. Courre Merlan was a part of his Hourloupe cycle, which was the longest-running series, from July 1962 to 1974. Paintings in the Hourloupe are marked by flattened shapes, delineated with dark or black outlines, and a mostly limited color palette--red, white, blue and black. Dubuffet was initially inspired by ballpoint pen doodles he created while talking on the telephone. He believed this style reflected the way objects are seen in the mind. In the Hourloupe series, Dubuffet also veered into three-dimensional sculptures and installations. The Hourloupe cycle, and this work, also reflect Dubuffet's affinity for “art brut”—art produced by children, psychiatric patients, and other untrained artists. In addition, although Dubuffet did not consider himself a Surrealist, he was influenced by the surrealist interest in the unconscious.Dubuffet believed that art addressed itself to the mind and not the physical world. With works such as Courre Merlan that portray objects with little or no reference to their actual colors or dimensions, he intended to prove that the world within the painting might be just as real as the physical world. Dubuffet argued that individuals could create their own versions of reality.

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Courre Merlan (Whiting Chase)

How does this artwork elucidate its Historical information?

Throughout his career, Dubuffet created his works as parts of distinct, self-contained series or cycles. Courre Merlan was a part of his Hourloupe cycle, which was the longest-running series, from July 1962 to 1974. Paintings in the Hourloupe are marked by flattened shapes, delineated with dark or black outlines, and a mostly limited color palette--red, white, blue and black. Dubuffet was initially inspired by ballpoint pen doodles he created while talking on the telephone. He believed this style reflected the way objects are seen in the mind. In the Hourloupe series, Dubuffet also veered into three-dimensional sculptures and installations. The Hourloupe cycle, and this work, also reflect Dubuffet's affinity for “art brut”—art produced by children, psychiatric patients, and other untrained artists. In addition, although Dubuffet did not consider himself a Surrealist, he was influenced by the surrealist interest in the unconscious.Dubuffet believed that art addressed itself to the mind and not the physical world. With works such as Courre Merlan that portray objects with little or no reference to their actual colors or dimensions, he intended to prove that the world within the painting might be just as real as the physical world. Dubuffet argued that individuals could create their own versions of reality.

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Santo Domingo el Antiguo Altarpiece

In Santo Domingo el Antiguo Altarpiece, how is the abstract discussed?

The Santo Domingo el Antiguo Altarpiece is a 1577-1579 altarpiece by El Greco, painted for the Monastery of Santo Domingo el Antiguo in Toledo, Spain. The artist had just arrived in Spain and this was his first major commission there, gained thanks to Diego de Castilla, who he had met in Rome. The total commission was for nine canvases, seven for the high altar and two for side altars. The high altarpiece was made up of an upper main canvas (The Holy Trinity), a lower main canvas (Assumption of the Virgin), four flanking panels of saints (St John the Evangelist, St John the Baptist, St Bernard and St Benedict) and a small painting on the tympanum between the two main paintings (Sudarium). Of these, only the original panels of St John the Baptist and St John the Evangelist remain in situ, along with the painting for the right-hand side altarpiece, Resurrection. Assumption is now in the Art Institute of Chicago and Holy Trinity in the Prado Museum. The rest are replaced in the church by copies.

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Santo Domingo el Antiguo Altarpiece

In this artwork, how is the abstract discussed?

The Santo Domingo el Antiguo Altarpiece is a 1577-1579 altarpiece by El Greco, painted for the Monastery of Santo Domingo el Antiguo in Toledo, Spain. The artist had just arrived in Spain and this was his first major commission there, gained thanks to Diego de Castilla, who he had met in Rome. The total commission was for nine canvases, seven for the high altar and two for side altars. The high altarpiece was made up of an upper main canvas (The Holy Trinity), a lower main canvas (Assumption of the Virgin), four flanking panels of saints (St John the Evangelist, St John the Baptist, St Bernard and St Benedict) and a small painting on the tympanum between the two main paintings (Sudarium). Of these, only the original panels of St John the Baptist and St John the Evangelist remain in situ, along with the painting for the right-hand side altarpiece, Resurrection. Assumption is now in the Art Institute of Chicago and Holy Trinity in the Prado Museum. The rest are replaced in the church by copies.

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Black Iris (painting)

Focus on Black Iris (painting) and explore the abstract.

Black Iris, formerly called Black Iris III, is a 1926 oil painting by Georgia O'Keeffe. Art historian Linda Nochlin interpreted Black Iris as a morphological metaphor for female genitalia. O'Keeffe rejected such interpretations in a 1939 text accompanying an exhibition of her work, in which she wrote: "Well—I made you take time to look at what I saw and when you took time to really notice my flower you hung all your own associations with flowers on my flower and you write about my flower as if I think and see what you think and see of the flower—and I don't." She attempted to do away with sexualized readings of her work by adding a lot of detail.It was first exhibited at the Intimate Gallery, New York from January 11 to February 27, 1927, where it was catalogued as DARK IRIS NO. 3. Unlike her previous shows, this show was largely devoid of the colourful paintings for which she had received critical acclaim. Lewis Mumford commented: "Yesterday O'Keeffe's exhibition opened … the show is strong: one long, loud blast of sex, sex in youth, sex in adolescence, sex in maturity, sex as gaudy as "Ten Nights in a Whorehouse," and sex as pure as the vigils of the vestal virgins, sex bulging, sex tumescent, sex deflated. After this description you'd better not visit the show: inevitably you'll be a little disappointed. For perhaps only half the sex is on the walls; the rest is probably in me." The painting remained in the collection of the artist from 1926 to 1969. It was on extended loan to the Metropolitan Museum of Art from 1949 to 1969, when it was donated as part of the Alfred Stieglitz Collection to the Metropolitan Museum of Art. The painting's title changed in 1991 from Black Iris III to Black Iris when the list of her works was revised.The picture was in use on several episodes of The Handmaid's Tale in season 3. (Source: End credits of the show)

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Black Iris (painting)

Focus on this artwork and explore the abstract.

Black Iris, formerly called Black Iris III, is a 1926 oil painting by Georgia O'Keeffe. Art historian Linda Nochlin interpreted Black Iris as a morphological metaphor for female genitalia. O'Keeffe rejected such interpretations in a 1939 text accompanying an exhibition of her work, in which she wrote: "Well—I made you take time to look at what I saw and when you took time to really notice my flower you hung all your own associations with flowers on my flower and you write about my flower as if I think and see what you think and see of the flower—and I don't." She attempted to do away with sexualized readings of her work by adding a lot of detail.It was first exhibited at the Intimate Gallery, New York from January 11 to February 27, 1927, where it was catalogued as DARK IRIS NO. 3. Unlike her previous shows, this show was largely devoid of the colourful paintings for which she had received critical acclaim. Lewis Mumford commented: "Yesterday O'Keeffe's exhibition opened … the show is strong: one long, loud blast of sex, sex in youth, sex in adolescence, sex in maturity, sex as gaudy as "Ten Nights in a Whorehouse," and sex as pure as the vigils of the vestal virgins, sex bulging, sex tumescent, sex deflated. After this description you'd better not visit the show: inevitably you'll be a little disappointed. For perhaps only half the sex is on the walls; the rest is probably in me." The painting remained in the collection of the artist from 1926 to 1969. It was on extended loan to the Metropolitan Museum of Art from 1949 to 1969, when it was donated as part of the Alfred Stieglitz Collection to the Metropolitan Museum of Art. The painting's title changed in 1991 from Black Iris III to Black Iris when the list of her works was revised.The picture was in use on several episodes of The Handmaid's Tale in season 3. (Source: End credits of the show)

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Black Iris (painting)

Focus on Black Iris (painting) and explain the Exhibition history.

1927 Intimate Gallery, New York, Georgia O’Keeffe: Paintings, 1926 as The Dark Iris No. III 1933 at An American Place as Black Iris 1943 in Chicago 1946 at MoMA, New York 1948 at MoMA, New York 1950 at the Metropolitan Museum, New York 1957 Downtown – Ten, New York 1961 Dallas 1963 Minneapolis 1965 Metropolitan Museum, New York 1966 Albuquerque 1966 Amon Carter Museum of Western Art, Fort Worth, Texas, Georgia O'Keeffe: An Exhibition of the Work of the Artist from 1915 to 1966 1970 Whitney Museum of American Art, New York, Georgia O'Keeffe as Black Iris. 1987 Washington

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Black Iris (painting)

Focus on this artwork and explain the Exhibition history.

1927 Intimate Gallery, New York, Georgia O’Keeffe: Paintings, 1926 as The Dark Iris No. III 1933 at An American Place as Black Iris 1943 in Chicago 1946 at MoMA, New York 1948 at MoMA, New York 1950 at the Metropolitan Museum, New York 1957 Downtown – Ten, New York 1961 Dallas 1963 Minneapolis 1965 Metropolitan Museum, New York 1966 Albuquerque 1966 Amon Carter Museum of Western Art, Fort Worth, Texas, Georgia O'Keeffe: An Exhibition of the Work of the Artist from 1915 to 1966 1970 Whitney Museum of American Art, New York, Georgia O'Keeffe as Black Iris. 1987 Washington

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Black Iris (painting)

Explore the Formal analysis of this artwork, Black Iris (painting).

O'Keeffe uses a variety of colors in order to create Black Iris, although her focus is on darker shades. She implements black, purple, and maroon to detail the center and lower petals of the iris, while using pink, gray, and white when detailing the upper petals of the flower. O'Keeffe blends outwardly in order to soften the outer edges of the painting. With the use of white and other bright colors, she is able to bring light into the image, despite the lack of a light source. O'Keeffe was intent on light and its importance in presenting the organic beauty of her subjects. Her art demonstrates her belief in the inner vitalism of nature and her association of this force with light.

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Black Iris (painting)

Explore the Formal analysis of this artwork.

O'Keeffe uses a variety of colors in order to create Black Iris, although her focus is on darker shades. She implements black, purple, and maroon to detail the center and lower petals of the iris, while using pink, gray, and white when detailing the upper petals of the flower. O'Keeffe blends outwardly in order to soften the outer edges of the painting. With the use of white and other bright colors, she is able to bring light into the image, despite the lack of a light source. O'Keeffe was intent on light and its importance in presenting the organic beauty of her subjects. Her art demonstrates her belief in the inner vitalism of nature and her association of this force with light.

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Black Iris (painting)

Focus on Black Iris (painting) and discuss the Related paintings.

O'Keeffe began painting the centres of flowers in 1924. The first show of her enlarged flowers was at the Anderson Galleries in 1926. The black irises were a recurring subject: She painted another oil called The Black Iris (CR 558), also known as The Dark Iris No. II and Dark Iris, a small (9x7") oil in 1926. In 1927, she also created Dark Iris No. III, a pastel on paper. Iris, from 1929 is a 32x12" is in the Colorado Springs Fine Arts Center. She returned to the black iris in 1936, with Black Iris II [Black Iris VI, 1936] (36x24").

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Black Iris (painting)

Focus on this artwork and discuss the Related paintings.

O'Keeffe began painting the centres of flowers in 1924. The first show of her enlarged flowers was at the Anderson Galleries in 1926. The black irises were a recurring subject: She painted another oil called The Black Iris (CR 558), also known as The Dark Iris No. II and Dark Iris, a small (9x7") oil in 1926. In 1927, she also created Dark Iris No. III, a pastel on paper. Iris, from 1929 is a 32x12" is in the Colorado Springs Fine Arts Center. She returned to the black iris in 1936, with Black Iris II [Black Iris VI, 1936] (36x24").

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Black Iris (painting)

In Black Iris (painting), how is the List of related paintings of the Related paintings elucidated?

Black Iris; The Dark Iris No. 1, 1926, (CR 556), Oil on Canvas, 16x12" (40.6x30.5), private collection, 1994 Black Iris; The Dark Iris No. 3, 1926, (CR 557), Oil on Canvas, 36x29 7/8 (91.4x75.9), Metropolitan Museum of Art, 1969 The Black Iris; The Dark Iris No. II; Dark Iris, 1926, (CR 558), 9x7" (22.9x17.8), Collection of Aaron I. Fleischman, 1991 Dark Iris; Dark Iris No. 1 1927, (CR 583) 32x12 (81.3x30.5), Colorado Springs Fine Arts Center (FA 1954.4) Dark Iris No. III; Dark Iris No. 3; Dark Iris, No. 3, 1927 (CR 602), Pastel on wove paper, Georgia O'Keeffe Museum (1997.04.07) Black Iris; Black Iris – VII; Small Black Iris, (CR 883), 1936 Oil on Canvas (19 1/2 x 16"), private collection, 1996 Untitled (Iris), 1936 (CR 884), Graphite on wove paper 9x6 (22.9x15.2), private collection, 1987 Black Iris VI; Black Iris II, 1936, (CR 885), Oil on Canvas (36 x 24) Collection: Curtis Galleries, Minneapolis, Minnesota, 1998

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Black Iris (painting)

In this artwork, how is the List of related paintings of the Related paintings elucidated?

Black Iris; The Dark Iris No. 1, 1926, (CR 556), Oil on Canvas, 16x12" (40.6x30.5), private collection, 1994 Black Iris; The Dark Iris No. 3, 1926, (CR 557), Oil on Canvas, 36x29 7/8 (91.4x75.9), Metropolitan Museum of Art, 1969 The Black Iris; The Dark Iris No. II; Dark Iris, 1926, (CR 558), 9x7" (22.9x17.8), Collection of Aaron I. Fleischman, 1991 Dark Iris; Dark Iris No. 1 1927, (CR 583) 32x12 (81.3x30.5), Colorado Springs Fine Arts Center (FA 1954.4) Dark Iris No. III; Dark Iris No. 3; Dark Iris, No. 3, 1927 (CR 602), Pastel on wove paper, Georgia O'Keeffe Museum (1997.04.07) Black Iris; Black Iris – VII; Small Black Iris, (CR 883), 1936 Oil on Canvas (19 1/2 x 16"), private collection, 1996 Untitled (Iris), 1936 (CR 884), Graphite on wove paper 9x6 (22.9x15.2), private collection, 1987 Black Iris VI; Black Iris II, 1936, (CR 885), Oil on Canvas (36 x 24) Collection: Curtis Galleries, Minneapolis, Minnesota, 1998

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Mary Magdalene (Artemisia Gentileschi)

Describe the characteristics of the Iconography in Mary Magdalene (Artemisia Gentileschi)'s Interpretation.

This depiction blends elements from two different biblical women: Mary, the sister of Lazarus (as referenced by the engraving on the mirror) and Mary Magdalene, signified by the jar of ointment at her feet. The combination of the two biblical characters to form Mary Magdalene was to be expected, as they were considered the same person in the sixth century. Though Mary Magdalene's dress has slipped offer her shoulder, it does not reveal her body, alluding to Mary Magdalene's eroticized past, as she is often depicted. Mary Magdalene was a commonly depicted figure at this time due to her relatable story: Mary Magdalene underwent a transition from a sinner to a repentant sinner.Her devotion is expressed in the upward glance toward heaven, and her intenseness as she leaves behind her erotic past. This scene is further supported as a moment of conversion as Mary pushes away a mirror (a symbol of vanity) inscribed with the words Optimam partem elegit (“You have chosen the best part”). The quote is from the Bible, Luke 10: 41–42, in which Jesus teaches Martha that her sister Mary has made a better choice in embracing a spiritual life. It is improbable that this phrase was added by Gentileschi, but at a later point in time, as is suggested by the words appearing in the gloss of the canvas.Mary Magdalene's expensive clothing and her sensual appearance do not contradict the spiritual meaning of this piece. The exaggerated gesture of Mary's left arm and her turning away from the jewelry box next to her together indicate that she is refusing vanity.

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Mary Magdalene (Artemisia Gentileschi)

Describe the characteristics of the Iconography in this artwork's Interpretation.

This depiction blends elements from two different biblical women: Mary, the sister of Lazarus (as referenced by the engraving on the mirror) and Mary Magdalene, signified by the jar of ointment at her feet. The combination of the two biblical characters to form Mary Magdalene was to be expected, as they were considered the same person in the sixth century. Though Mary Magdalene's dress has slipped offer her shoulder, it does not reveal her body, alluding to Mary Magdalene's eroticized past, as she is often depicted. Mary Magdalene was a commonly depicted figure at this time due to her relatable story: Mary Magdalene underwent a transition from a sinner to a repentant sinner.Her devotion is expressed in the upward glance toward heaven, and her intenseness as she leaves behind her erotic past. This scene is further supported as a moment of conversion as Mary pushes away a mirror (a symbol of vanity) inscribed with the words Optimam partem elegit (“You have chosen the best part”). The quote is from the Bible, Luke 10: 41–42, in which Jesus teaches Martha that her sister Mary has made a better choice in embracing a spiritual life. It is improbable that this phrase was added by Gentileschi, but at a later point in time, as is suggested by the words appearing in the gloss of the canvas.Mary Magdalene's expensive clothing and her sensual appearance do not contradict the spiritual meaning of this piece. The exaggerated gesture of Mary's left arm and her turning away from the jewelry box next to her together indicate that she is refusing vanity.

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Mary Magdalene (Artemisia Gentileschi)

In the context of Mary Magdalene (Artemisia Gentileschi), explore the Artemisia as Mary Magdalene of the Interpretation.

Scholars like Mary Garrard interpret Artemisia's works, such as the Penitent Magdalene, to be representing Gentileschi. This interpretation is often understood because both the saint and painter faced stigmatization for being sexually promiscuous. The situations between the two figures of Mary Magdalene and Artemisia differ, however, because Mary Magdalene's stigma derives from her background as a prostitute, while Gentileschi's stigma stems from her rape trial in 1612. This interpretation is made due to the inscription, "Optimam partem elegit," (“you have chosen the best part”), which is interpreted as Gentileschi making the most of her assault by placing herself in Mary Magdalene's position. This interpretation could be applied to her professional success though, rather than making the most of her assault.In more recent scholarship academics such as Rebecca Mead have responded to the interpretation of Gentileschi's painting through the lens of her sexual assault, and subsequent understanding of Gentileschi's paintings as a channel for revenge, has been challenged. This perspective has been challenged because researchers want to view Gentileschi through multiple facets of her life; not just through her assault, but through her perspectives as a mother, as a successful business woman, and her “erotic passion”. Rather than see Gentileschi's paintings, such as the Penitent Magdalene, as a self portrait of Gentileschi for her similar features, one should view the Penitent Magdalene and think of the access Gentileschi had to source materials other than herself.

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Mary Magdalene (Artemisia Gentileschi)

In the context of this artwork, explore the Artemisia as Mary Magdalene of the Interpretation.

Scholars like Mary Garrard interpret Artemisia's works, such as the Penitent Magdalene, to be representing Gentileschi. This interpretation is often understood because both the saint and painter faced stigmatization for being sexually promiscuous. The situations between the two figures of Mary Magdalene and Artemisia differ, however, because Mary Magdalene's stigma derives from her background as a prostitute, while Gentileschi's stigma stems from her rape trial in 1612. This interpretation is made due to the inscription, "Optimam partem elegit," (“you have chosen the best part”), which is interpreted as Gentileschi making the most of her assault by placing herself in Mary Magdalene's position. This interpretation could be applied to her professional success though, rather than making the most of her assault.In more recent scholarship academics such as Rebecca Mead have responded to the interpretation of Gentileschi's painting through the lens of her sexual assault, and subsequent understanding of Gentileschi's paintings as a channel for revenge, has been challenged. This perspective has been challenged because researchers want to view Gentileschi through multiple facets of her life; not just through her assault, but through her perspectives as a mother, as a successful business woman, and her “erotic passion”. Rather than see Gentileschi's paintings, such as the Penitent Magdalene, as a self portrait of Gentileschi for her similar features, one should view the Penitent Magdalene and think of the access Gentileschi had to source materials other than herself.

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Mary Magdalene (Artemisia Gentileschi)

Explore the Historical Context about the History of this artwork, Mary Magdalene (Artemisia Gentileschi).

Artemisia Gentileschi was born and grew up in Rome in 1593, she is considered one of the most important painters of the Baroque and seventeenth century's styles, being credited for surpassing her artist father, Orazio Gentileschi in talent. She may have met Caravaggio when she was a child, whose use of light and shadow she derived her style from. Their interactions likely occurred before 1606, because Caravaggio was acquaintances with Artemisia's father, Orazio Gentileschi, and Caravaggio would flee Rome that same year. Though Gentileschi was not allowed to travel freely due to her gender and regard for her well-being, she had access to paintings by Caravaggio later in life through her local church, Santa Maria del Popolo, where she could view the Crucifixion of St. Peter and Conversion on the Way to Damascus. Because Artemisia did not create this form of rendering herself, she is considered an adopter of a style rather than a trend setter within the Baroque style. From the years 1614 to 1620, Gentileschi went through her Florentine period: She became a member of the Accademia del Disegno in 1616. When in Florence, Gentileschi had begun using the last name "Lomi." The Penitent Magdalene was signed as “Artemisia Lomi,” rather than "Artemisia Gentileschi" because she was in Florence at the time. She may have chosen to use the name Lomi over her actual last name, Gentileschi, and over her husband's last name, Stiattesi, because Lomi was the last name of Aurelio Lomi, an artist who had more name recognition than either of her other options. In 1620, Gentileschi returned to the town where her father Orazio lived, Genoa, making her stay at the academy between the years 1616 and 1620, when the Penitent Magdalene was painted. A similar work was created by Artemisia in the years 1620-1622, Mary Magdalene in Ecstasy. Other works from Gentileschi's Florentine period include: Female Martyr, Saint Catherine of Alexandria, and the Jael and Sisera in the same period in which the Penitent Magdalen was created. The inclusion of women in workshops and academies was not common practice at this time. Despite this, and being illiterate, Gentileschi learned to read, and maintained correspondences with the like of Don Antonio Ruffo, Cassiano dal Pozzo, Duke Francesco I d’Este and Galileo Galilei. Her letters are mostly addressed to patrons of remarkable social standing, as she ran her own successful workshop.

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Mary Magdalene (Artemisia Gentileschi)

Explore the Historical Context about the History of this artwork.

Artemisia Gentileschi was born and grew up in Rome in 1593, she is considered one of the most important painters of the Baroque and seventeenth century's styles, being credited for surpassing her artist father, Orazio Gentileschi in talent. She may have met Caravaggio when she was a child, whose use of light and shadow she derived her style from. Their interactions likely occurred before 1606, because Caravaggio was acquaintances with Artemisia's father, Orazio Gentileschi, and Caravaggio would flee Rome that same year. Though Gentileschi was not allowed to travel freely due to her gender and regard for her well-being, she had access to paintings by Caravaggio later in life through her local church, Santa Maria del Popolo, where she could view the Crucifixion of St. Peter and Conversion on the Way to Damascus. Because Artemisia did not create this form of rendering herself, she is considered an adopter of a style rather than a trend setter within the Baroque style. From the years 1614 to 1620, Gentileschi went through her Florentine period: She became a member of the Accademia del Disegno in 1616. When in Florence, Gentileschi had begun using the last name "Lomi." The Penitent Magdalene was signed as “Artemisia Lomi,” rather than "Artemisia Gentileschi" because she was in Florence at the time. She may have chosen to use the name Lomi over her actual last name, Gentileschi, and over her husband's last name, Stiattesi, because Lomi was the last name of Aurelio Lomi, an artist who had more name recognition than either of her other options. In 1620, Gentileschi returned to the town where her father Orazio lived, Genoa, making her stay at the academy between the years 1616 and 1620, when the Penitent Magdalene was painted. A similar work was created by Artemisia in the years 1620-1622, Mary Magdalene in Ecstasy. Other works from Gentileschi's Florentine period include: Female Martyr, Saint Catherine of Alexandria, and the Jael and Sisera in the same period in which the Penitent Magdalen was created. The inclusion of women in workshops and academies was not common practice at this time. Despite this, and being illiterate, Gentileschi learned to read, and maintained correspondences with the like of Don Antonio Ruffo, Cassiano dal Pozzo, Duke Francesco I d’Este and Galileo Galilei. Her letters are mostly addressed to patrons of remarkable social standing, as she ran her own successful workshop.

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Mary Magdalene (Artemisia Gentileschi)

In the context of Mary Magdalene (Artemisia Gentileschi), discuss the Patronage of the History.

The work was likely commissioned by the Grand Duchess Maria Maddalena, wife of Cosimo II de Medici. The patron likely ordered this scene specifically, for the similarities between Maddalena's name and Magdalen, so the saint's attributes of piety and penitence would be associated with her too. The luxuriousness of the women's clothing is thought to signal the artist's willingness to adapt her work to the tastes of her patrons. The painting is first mentioned as part of the Pitti Collection in 1826. The painting was restored in 1970 prior to an exhibition.

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Mary Magdalene (Artemisia Gentileschi)

In the context of this artwork, discuss the Patronage of the History.

The work was likely commissioned by the Grand Duchess Maria Maddalena, wife of Cosimo II de Medici. The patron likely ordered this scene specifically, for the similarities between Maddalena's name and Magdalen, so the saint's attributes of piety and penitence would be associated with her too. The luxuriousness of the women's clothing is thought to signal the artist's willingness to adapt her work to the tastes of her patrons. The painting is first mentioned as part of the Pitti Collection in 1826. The painting was restored in 1970 prior to an exhibition.