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NAIST NLP 19

1551_T

Untitled (Morrison)

Focus on Untitled (Morrison) and analyze the abstract.

Untitled is an outdoor 1977 painted aluminum sculpture by Ivan Morrison, located at Southwest 5th Avenue and Southwest Oak Street in the Transit Mall of Portland, Oregon.

1551_NT

Untitled (Morrison)

Focus on this artwork and analyze the abstract.

Untitled is an outdoor 1977 painted aluminum sculpture by Ivan Morrison, located at Southwest 5th Avenue and Southwest Oak Street in the Transit Mall of Portland, Oregon.

1552_T

Untitled (Morrison)

In Untitled (Morrison), how is the Description discussed?

The sculpture, funded by TriMet and the United States Department of Transportation, measures 7 feet (2.1 m) x 8 feet (2.4 m), 6 inches (15 cm) x 2 feet (0.61 m), 4 inches (10 cm), and appears to blend mediums, "rendering two-dimensional fields of color in a three-dimensional form". Parts are painted blue, red, yellow and white and contains no inscriptions. The Smithsonian Institution categorizes the sculpture as abstract (geometric). Untitled was surveyed and considered "treatment urgent" by Smithsonian's "Save Outdoor Sculpture!" program in 1993.The work is part of the collection of the Regional Arts & Culture Council. It has been included in at least one published walking tour of Portland. The tour's author said the sculpture's panels "form a child-size hiding place".

1552_NT

Untitled (Morrison)

In this artwork, how is the Description discussed?

The sculpture, funded by TriMet and the United States Department of Transportation, measures 7 feet (2.1 m) x 8 feet (2.4 m), 6 inches (15 cm) x 2 feet (0.61 m), 4 inches (10 cm), and appears to blend mediums, "rendering two-dimensional fields of color in a three-dimensional form". Parts are painted blue, red, yellow and white and contains no inscriptions. The Smithsonian Institution categorizes the sculpture as abstract (geometric). Untitled was surveyed and considered "treatment urgent" by Smithsonian's "Save Outdoor Sculpture!" program in 1993.The work is part of the collection of the Regional Arts & Culture Council. It has been included in at least one published walking tour of Portland. The tour's author said the sculpture's panels "form a child-size hiding place".

1553_T

Moontrap (Kelly)

Focus on Moontrap (Kelly) and explore the abstract.

Moontrap (stylized as moontrap) is an outdoor sculpture by Lee Kelly, installed at the base of Oregon City, Oregon's Singer Creek Falls, along the McLoughlin Promenade, in the United States. The abstract stainless steel sculpture was unveiled in November 2011.

1553_NT

Moontrap (Kelly)

Focus on this artwork and explore the abstract.

Moontrap (stylized as moontrap) is an outdoor sculpture by Lee Kelly, installed at the base of Oregon City, Oregon's Singer Creek Falls, along the McLoughlin Promenade, in the United States. The abstract stainless steel sculpture was unveiled in November 2011.

1554_T

Cars (painting)

Focus on Cars (painting) and explain the abstract.

Cars is a series of artworks by the American artist Andy Warhol, commissioned by Mercedes-Benz in 1986. A German art dealer, Hans Meyer, commissioned the first painting, of a 300SL coupe, to celebrate the 1986 centenary of the invention of the motor car. When Mercedes-Benz saw the result, it commissioned the entire series, which was to track the evolution of its designs from the Benz Patent-Motorwagen 1885, Daimler Motor Carriage (1886), and Mercedes 35 hp (1901), to the Mercedes-Benz W125, and the Mercedes-Benz C111.Now part of Mercedes-Benz's corporate art collection, Cars was unfinished at the time of Warhol's death in 1987. Warhol completed 36 silkscreen prints and 13 drawings of eight Mercedes models before his death. Warhol had planned to cover 20 models in 80 pieces. The series was based on photographs of cars, and were the first non-American designed objects that Warhol had portrayed in his work.Cars has been exhibited just twice in its entirety in public: in Tübingen in 1988, and at the Albertina, Vienna from 22 January–16 May 2010. Half of the series was shown in Milton Keynes in September 2001.Cars was Warhol's second automotive art project. In 1979 Warhol was commissioned by BMW to paint a Group 4 race version of the then elite supercar BMW M1 for the fourth installment in the BMW Art Car Project. Unlike the three artists before him, Warhol declined the use of a small scale practice model, instead opting to immediately paint directly onto the full scale automobile. It was indicated that Warhol spent only a total of 23 minutes painting the entire car.Warhol's work for Mercedes-Benz and his similar commissions for Perrier have been criticized as "undistinguished glitz", with critics lamenting Warhol's "passionate avarice", accusing him of crossing the line into advertisements for their subjects.

1554_NT

Cars (painting)

Focus on this artwork and explain the abstract.

Cars is a series of artworks by the American artist Andy Warhol, commissioned by Mercedes-Benz in 1986. A German art dealer, Hans Meyer, commissioned the first painting, of a 300SL coupe, to celebrate the 1986 centenary of the invention of the motor car. When Mercedes-Benz saw the result, it commissioned the entire series, which was to track the evolution of its designs from the Benz Patent-Motorwagen 1885, Daimler Motor Carriage (1886), and Mercedes 35 hp (1901), to the Mercedes-Benz W125, and the Mercedes-Benz C111.Now part of Mercedes-Benz's corporate art collection, Cars was unfinished at the time of Warhol's death in 1987. Warhol completed 36 silkscreen prints and 13 drawings of eight Mercedes models before his death. Warhol had planned to cover 20 models in 80 pieces. The series was based on photographs of cars, and were the first non-American designed objects that Warhol had portrayed in his work.Cars has been exhibited just twice in its entirety in public: in Tübingen in 1988, and at the Albertina, Vienna from 22 January–16 May 2010. Half of the series was shown in Milton Keynes in September 2001.Cars was Warhol's second automotive art project. In 1979 Warhol was commissioned by BMW to paint a Group 4 race version of the then elite supercar BMW M1 for the fourth installment in the BMW Art Car Project. Unlike the three artists before him, Warhol declined the use of a small scale practice model, instead opting to immediately paint directly onto the full scale automobile. It was indicated that Warhol spent only a total of 23 minutes painting the entire car.Warhol's work for Mercedes-Benz and his similar commissions for Perrier have been criticized as "undistinguished glitz", with critics lamenting Warhol's "passionate avarice", accusing him of crossing the line into advertisements for their subjects.

1555_T

Statue of John Sevier

Explore the abstract of this artwork, Statue of John Sevier.

John Sevier is a bronze sculpture depicting the American politician of the same name by Belle Kinney and Leopold Scholz, installed in the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Tennessee in 1931.

1555_NT

Statue of John Sevier

Explore the abstract of this artwork.

John Sevier is a bronze sculpture depicting the American politician of the same name by Belle Kinney and Leopold Scholz, installed in the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Tennessee in 1931.

1556_T

Arbre à palabres (Bonambappe)

Focus on Arbre à palabres (Bonambappe) and discuss the abstract.

L'arbre à palabres is a permanent sculpture located in Douala (Cameroon). Created by the architecte Frédéric Keiff in 2007, it looks like a palaver tree, whose trunk and branches are made of painted iron rods, while attached fragments of colored glass represent leaves.

1556_NT

Arbre à palabres (Bonambappe)

Focus on this artwork and discuss the abstract.

L'arbre à palabres is a permanent sculpture located in Douala (Cameroon). Created by the architecte Frédéric Keiff in 2007, it looks like a palaver tree, whose trunk and branches are made of painted iron rods, while attached fragments of colored glass represent leaves.

1557_T

Arbre à palabres (Bonambappe)

How does Arbre à palabres (Bonambappe) elucidate its The artwork?

The Arbre à Palabre by Frédéric Keiff is a palaver tree whose trunk and branches are made of painted iron rods, while attached fragments of colored glass represent leaves. The installation is more than 5 meters tall with a canopy circumference of 7 meters, and it is equipped with wooden slabs embedded in the trunk, serving as benches. It is a passageway installation. Initially conceived to substitute the former palaver tree of Douala, a huge baobab located in the district of Bonaberi, which fell down in 1993, the symbolic meaning of the installation forced some changes in the process. Traditionally, around the palaver tree, the chief of the village and the council members (the so-called notables) meet and seat in order to take the most important political and social decisions concerning the community, and it is there that tradition values were orally transmitted through generations. This artwork became the subject of a long discussion between the chief of the village and the notables, who finally decided to forbid a foreign artist to place his artwork next to the rest of the former palaver tree. However, it was important that Keiff’s installation was positioned in a public space, easily accessible to inhabitants in order to guarantee that the contemporary palaver tree would keep on holding its symbolic function as a meeting, discussion, and sharing point. The superior chief of Douala, the Prince René Duala Manga Bell, offered one of his properties in Bonanjo for repositioning the Arbre à Palabre that was inaugurated for SUD 2007 and officially donated to the city of Douala. The park where the Arbre à Palabre is located belongs to the Bell family, even if the installation itself is in the public domain. This area is surrounded by three historical monuments of Douala: to the North, the Vault of kings Bell, where today the same René Douala Manga Bell lies; to the South, the Espace doual'art (funding agency of the project) from which one can clearly see the Palace of the Kings Bell, commonly known as “La Pagode”, built in 1905 by German colonizers for the king Auguste Manga Ndoumbe; and, finally, to the West, the Old law court building.

1557_NT

Arbre à palabres (Bonambappe)

How does this artwork elucidate its The artwork?

The Arbre à Palabre by Frédéric Keiff is a palaver tree whose trunk and branches are made of painted iron rods, while attached fragments of colored glass represent leaves. The installation is more than 5 meters tall with a canopy circumference of 7 meters, and it is equipped with wooden slabs embedded in the trunk, serving as benches. It is a passageway installation. Initially conceived to substitute the former palaver tree of Douala, a huge baobab located in the district of Bonaberi, which fell down in 1993, the symbolic meaning of the installation forced some changes in the process. Traditionally, around the palaver tree, the chief of the village and the council members (the so-called notables) meet and seat in order to take the most important political and social decisions concerning the community, and it is there that tradition values were orally transmitted through generations. This artwork became the subject of a long discussion between the chief of the village and the notables, who finally decided to forbid a foreign artist to place his artwork next to the rest of the former palaver tree. However, it was important that Keiff’s installation was positioned in a public space, easily accessible to inhabitants in order to guarantee that the contemporary palaver tree would keep on holding its symbolic function as a meeting, discussion, and sharing point. The superior chief of Douala, the Prince René Duala Manga Bell, offered one of his properties in Bonanjo for repositioning the Arbre à Palabre that was inaugurated for SUD 2007 and officially donated to the city of Douala. The park where the Arbre à Palabre is located belongs to the Bell family, even if the installation itself is in the public domain. This area is surrounded by three historical monuments of Douala: to the North, the Vault of kings Bell, where today the same René Douala Manga Bell lies; to the South, the Espace doual'art (funding agency of the project) from which one can clearly see the Palace of the Kings Bell, commonly known as “La Pagode”, built in 1905 by German colonizers for the king Auguste Manga Ndoumbe; and, finally, to the West, the Old law court building.

1558_T

Statue of Oscar Peterson

Focus on Statue of Oscar Peterson and analyze the abstract.

A statue of the Canadian jazz pianist Oscar Peterson is located at the corner of Elgin and Albert streets in Ottawa, Ontario, Canada, outside Canada's National Arts Centre.

1558_NT

Statue of Oscar Peterson

Focus on this artwork and analyze the abstract.

A statue of the Canadian jazz pianist Oscar Peterson is located at the corner of Elgin and Albert streets in Ottawa, Ontario, Canada, outside Canada's National Arts Centre.

1559_T

Statue of Oscar Peterson

In Statue of Oscar Peterson, how is the Description discussed?

The life size statue depicts Peterson sitting on a bench at a piano, smiling, and includes a space for visitors to sit next to him. The statue was intended to depict Peterson as if he had just finished playing and had turned toward his audience. The statue is made from bronze, and was created by the Canadian sculptor Ruth Abernethy. Abernathy said the statue was designed so that Peterson was "...very accessible to people who love him and that is an unabashed set-up to just have a moment with Oscar". The piano has 97 keys as opposed to the 88 keys on a standard piano, and is based on an Austrian piano that Peterson favoured. Abernethy intended the extra keys to represent a "metaphor for his musical inventiveness" as Peterson was a "...man who asked to reimagine the piano". Abernathy had previously created a sculpture the Canadian classical pianist, Glenn Gould, situated outside the Canadian Broadcasting Centre in Toronto. The statue cost $300,000 and was funded by private donations. Major donors included Allan Slaight's charitable foundation, Fred and Anne Ketchen of Mississauga, the Toronto-Dominion Bank and the Mayor of Mississauga's Foundation for Arts, Culture and Heritage.

1559_NT

Statue of Oscar Peterson

In this artwork, how is the Description discussed?

The life size statue depicts Peterson sitting on a bench at a piano, smiling, and includes a space for visitors to sit next to him. The statue was intended to depict Peterson as if he had just finished playing and had turned toward his audience. The statue is made from bronze, and was created by the Canadian sculptor Ruth Abernethy. Abernathy said the statue was designed so that Peterson was "...very accessible to people who love him and that is an unabashed set-up to just have a moment with Oscar". The piano has 97 keys as opposed to the 88 keys on a standard piano, and is based on an Austrian piano that Peterson favoured. Abernethy intended the extra keys to represent a "metaphor for his musical inventiveness" as Peterson was a "...man who asked to reimagine the piano". Abernathy had previously created a sculpture the Canadian classical pianist, Glenn Gould, situated outside the Canadian Broadcasting Centre in Toronto. The statue cost $300,000 and was funded by private donations. Major donors included Allan Slaight's charitable foundation, Fred and Anne Ketchen of Mississauga, the Toronto-Dominion Bank and the Mayor of Mississauga's Foundation for Arts, Culture and Heritage.

1560_T

Statue of Oscar Peterson

Focus on Statue of Oscar Peterson and explore the Unveiling.

It was unveiled on 30 June 2010 by Elizabeth II, Queen of Canada. Peterson had performed for Elizabeth in Toronto, during celebrations of her Golden Jubilee in 2002. The Queen met Peterson's wife, Kelly Peterson, and his daughter, Celine, at the unveiling ceremony and the Montreal Jubilation Choir performed his composition "Hymn to Freedom". Kelly Peterson said that her reaction to the statue was, "like walking in and seeing him. It's amazing how it works like that", and that it was, "an overwhelming honour for Oscar. I'm so proud and pleased about that".

1560_NT

Statue of Oscar Peterson

Focus on this artwork and explore the Unveiling.

It was unveiled on 30 June 2010 by Elizabeth II, Queen of Canada. Peterson had performed for Elizabeth in Toronto, during celebrations of her Golden Jubilee in 2002. The Queen met Peterson's wife, Kelly Peterson, and his daughter, Celine, at the unveiling ceremony and the Montreal Jubilation Choir performed his composition "Hymn to Freedom". Kelly Peterson said that her reaction to the statue was, "like walking in and seeing him. It's amazing how it works like that", and that it was, "an overwhelming honour for Oscar. I'm so proud and pleased about that".

1561_T

Statue of Oscar Peterson

Focus on Statue of Oscar Peterson and explain the Recent history.

The statue was vandalized in August 2014 by two people who painted tears with gold paint onto Peterson's eyes. An outdoor concert was held by the statue in August 2015 to celebrate Peterson's 90th birthday.

1561_NT

Statue of Oscar Peterson

Focus on this artwork and explain the Recent history.

The statue was vandalized in August 2014 by two people who painted tears with gold paint onto Peterson's eyes. An outdoor concert was held by the statue in August 2015 to celebrate Peterson's 90th birthday.

1562_T

Donkey Rider

Explore the History and description of this artwork, Donkey Rider.

The sunlight in the cities of Tunis, Hammamet, Kairouan and their surroundings inspired the three painter friends to produce colorful works. No oil paintings were made there, but many sketches, photos and, above all, watercolors. August Macke, like his colleague Franz Marc, had always drawn animals, in the zoo or in nature. A donkey appears in several of the paintings that were created on this trip. Macke himself risked a donkey ride under the guidance of a local. In his photo album there is a photograph that shows a donkey rider in motion, which probably served as a template for the watercolor. Paul Klee and August Macke painted watercolors in the house of the Swiss physician Dr. Jaeggi, who removed the walls of a room to create a studio. While Klee was painting the figures of two Arabs, a man and a woman, Macke made sketches of orange baskets and of a black donkey and of people with red fetters in the background. The watercolor shows a dark-skinned rider in a blue robe with a red cap, in front of the almost abstract fortress wall of Tunis, consisting of square surfaces in the flat background that takes the depth of the painting. Macke also placed flat trees and bushes in the foreground. The picture has no perspective and, in the opinion of the art historian Ernst-Gerhard Güse, deals with Paul Klee's world of forms, which is shown in the "geometrical forms of the city wall". Klee had integrated the cubic architecture of Arab cities into his painting. There are two levels of representation in this watercolor, which only correspond through their color, the wall and the figurative representation of the rider with the donkey. There was no preliminary drawing on the watercolor paper, apparently Macke created the painting based on a photo and adjusted the composition. Even before the trip, Macke had experimented with abstract forms, inspired by the work of Wassily Kandinsky and Robert Delaunay, but without completely ignoring the figurative and representational. With his pictorial means of creation, it was important for him to use the color freely. On April 10, 1914, he wrote to his wife that he felt a great joy in work, as he had never known before, and that he got excited with the thousands of motifs he had found in the African landscape, which he considered "even more beautiful" than Provence. The quick painting of his watercolors was an expression of this found joy in work, and the quick movement of the brush can be seen in each of these sheets. Macke understood the watercolors that he created on the Tunis trip as travel impressions, memorabilia and studies, from which he later wanted to make paintings. But he never achieved his purpose, since he was killed in action few months later at the beginning of the First World War.

1562_NT

Donkey Rider

Explore the History and description of this artwork.

The sunlight in the cities of Tunis, Hammamet, Kairouan and their surroundings inspired the three painter friends to produce colorful works. No oil paintings were made there, but many sketches, photos and, above all, watercolors. August Macke, like his colleague Franz Marc, had always drawn animals, in the zoo or in nature. A donkey appears in several of the paintings that were created on this trip. Macke himself risked a donkey ride under the guidance of a local. In his photo album there is a photograph that shows a donkey rider in motion, which probably served as a template for the watercolor. Paul Klee and August Macke painted watercolors in the house of the Swiss physician Dr. Jaeggi, who removed the walls of a room to create a studio. While Klee was painting the figures of two Arabs, a man and a woman, Macke made sketches of orange baskets and of a black donkey and of people with red fetters in the background. The watercolor shows a dark-skinned rider in a blue robe with a red cap, in front of the almost abstract fortress wall of Tunis, consisting of square surfaces in the flat background that takes the depth of the painting. Macke also placed flat trees and bushes in the foreground. The picture has no perspective and, in the opinion of the art historian Ernst-Gerhard Güse, deals with Paul Klee's world of forms, which is shown in the "geometrical forms of the city wall". Klee had integrated the cubic architecture of Arab cities into his painting. There are two levels of representation in this watercolor, which only correspond through their color, the wall and the figurative representation of the rider with the donkey. There was no preliminary drawing on the watercolor paper, apparently Macke created the painting based on a photo and adjusted the composition. Even before the trip, Macke had experimented with abstract forms, inspired by the work of Wassily Kandinsky and Robert Delaunay, but without completely ignoring the figurative and representational. With his pictorial means of creation, it was important for him to use the color freely. On April 10, 1914, he wrote to his wife that he felt a great joy in work, as he had never known before, and that he got excited with the thousands of motifs he had found in the African landscape, which he considered "even more beautiful" than Provence. The quick painting of his watercolors was an expression of this found joy in work, and the quick movement of the brush can be seen in each of these sheets. Macke understood the watercolors that he created on the Tunis trip as travel impressions, memorabilia and studies, from which he later wanted to make paintings. But he never achieved his purpose, since he was killed in action few months later at the beginning of the First World War.

1563_T

Jinshan Island and West Lake

Focus on Jinshan Island and West Lake and discuss the abstract.

Jinshan Island and West Lake (金山西湖図屏風) is a painting on six Byobu folding screens by Japanese artist Kanō Sanraku, the master of the Kano painting school. The artwork was created with ink, paint, gold and paper. It is part of the collection of the Metropolitan Museum of Art in New York City. Both are created with gold powder.

1563_NT

Jinshan Island and West Lake

Focus on this artwork and discuss the abstract.

Jinshan Island and West Lake (金山西湖図屏風) is a painting on six Byobu folding screens by Japanese artist Kanō Sanraku, the master of the Kano painting school. The artwork was created with ink, paint, gold and paper. It is part of the collection of the Metropolitan Museum of Art in New York City. Both are created with gold powder.

1564_T

Jinshan Island and West Lake

How does Jinshan Island and West Lake elucidate its Contents?

Both parts of the screen depict the image of mountains and islands among the water and fog. They depict two geographically-distant and separate locations of eastern China. On the right side of the screen is Mount Jinshan located on the Yangtze River, near the city of Zhenjiang in southern Jiangsu province. Included in that painting are numerous bridges, roads and paths where people from all walks of life intersect. On the left side is West Lake, outside the city of Hangzhou. Sanraku depicted the walls and gates of this city in the foreground in the left corner. Buddhist monasteries and places of worship were built in the area of the West Lake (some of them can be found on the mural of the screen), which attracted many pilgrims. Many poets, scholars, and artists also lived there. West Lake often appeared on the works of artists from the Southern Song. Sanraku added an iconographic ten species of West Lake for painting, which then became the motive of Chinese poetry and painting during the 12th and 13th centuries. Among Japanese works of art before Sanraku, the most famous was a vertical scroll attributed to Sassu. It later became clear that the author was his student Suugetsu. It is known that Sassu made a trip to West Lake, while Japanese artists of the Muromachi and Edo periods could create their works based solely on the works of their predecessors or on illustrations from books. Only a few images of West Lake by Japanese artists contain ten species.On both parts of the painting, from right to left, the seasons from spring to winter are portrayed. Both parts are combined using gold to create mist, water and parts in the background. Gold is worked to soften the composition of the transition from one type to another.The seals of the artist, standing on the screen, indicate that the artwork was created at around 1630. At that time, Kanō Sanraku worked on murals at the Myoshinji Monastery in Kyoto, along with his adopted son, Kanō Sansetsu.

1564_NT

Jinshan Island and West Lake

How does this artwork elucidate its Contents?

Both parts of the screen depict the image of mountains and islands among the water and fog. They depict two geographically-distant and separate locations of eastern China. On the right side of the screen is Mount Jinshan located on the Yangtze River, near the city of Zhenjiang in southern Jiangsu province. Included in that painting are numerous bridges, roads and paths where people from all walks of life intersect. On the left side is West Lake, outside the city of Hangzhou. Sanraku depicted the walls and gates of this city in the foreground in the left corner. Buddhist monasteries and places of worship were built in the area of the West Lake (some of them can be found on the mural of the screen), which attracted many pilgrims. Many poets, scholars, and artists also lived there. West Lake often appeared on the works of artists from the Southern Song. Sanraku added an iconographic ten species of West Lake for painting, which then became the motive of Chinese poetry and painting during the 12th and 13th centuries. Among Japanese works of art before Sanraku, the most famous was a vertical scroll attributed to Sassu. It later became clear that the author was his student Suugetsu. It is known that Sassu made a trip to West Lake, while Japanese artists of the Muromachi and Edo periods could create their works based solely on the works of their predecessors or on illustrations from books. Only a few images of West Lake by Japanese artists contain ten species.On both parts of the painting, from right to left, the seasons from spring to winter are portrayed. Both parts are combined using gold to create mist, water and parts in the background. Gold is worked to soften the composition of the transition from one type to another.The seals of the artist, standing on the screen, indicate that the artwork was created at around 1630. At that time, Kanō Sanraku worked on murals at the Myoshinji Monastery in Kyoto, along with his adopted son, Kanō Sansetsu.

1565_T

Church Pew with Worshippers

Focus on Church Pew with Worshippers and analyze the abstract.

Church Pew with Worshippers is a watercolor created in September-October 1882 by Vincent van Gogh. A sketch of the painting was included in a letter van Gogh sent to his brother Theo that mentions the work.

1565_NT

Church Pew with Worshippers

Focus on this artwork and analyze the abstract.

Church Pew with Worshippers is a watercolor created in September-October 1882 by Vincent van Gogh. A sketch of the painting was included in a letter van Gogh sent to his brother Theo that mentions the work.

1566_T

The Magpie on the Gallows

In The Magpie on the Gallows, how is the abstract discussed?

The Magpie on the Gallows (German: Die Elster auf dem Galgen) is a 1568 oil-on-wood panel painting by the Netherlandish Renaissance artist Pieter Bruegel the Elder. It is now in the Hessisches Landesmuseum in Darmstadt.

1566_NT

The Magpie on the Gallows

In this artwork, how is the abstract discussed?

The Magpie on the Gallows (German: Die Elster auf dem Galgen) is a 1568 oil-on-wood panel painting by the Netherlandish Renaissance artist Pieter Bruegel the Elder. It is now in the Hessisches Landesmuseum in Darmstadt.

1567_T

The Magpie on the Gallows

Focus on The Magpie on the Gallows and explore the Analysis.

Bruegel's painting was created the year after Fernando Álvarez de Toledo, 3rd Duke of Alba, arrived in the Netherlands, sent by the Spanish king, Philip II to suppress the Dutch Revolt. The gallows may represent the threat of execution of those preaching the new Protestant doctrine, and the painting may allude to several Netherlandish proverbs. There is a direct allusion to the Netherlandish proverbs of dancing on the gallows or shitting on the gallows, meaning a mocking of the state. It also alludes to the belief that magpies are gossips, and that gossip leads to hangings—and that the way to the gallows leads through pleasant meadows.It is not known why or for whom the picture was painted. Its date of 1568 makes this painting one of Bruegel's last works before his death in 1569; indeed, perhaps his final work. Bruegel asked his wife to burn some of his pictures on his death, but told her to keep the Magpie on the Gallows for herself.

1567_NT

The Magpie on the Gallows

Focus on this artwork and explore the Analysis.

Bruegel's painting was created the year after Fernando Álvarez de Toledo, 3rd Duke of Alba, arrived in the Netherlands, sent by the Spanish king, Philip II to suppress the Dutch Revolt. The gallows may represent the threat of execution of those preaching the new Protestant doctrine, and the painting may allude to several Netherlandish proverbs. There is a direct allusion to the Netherlandish proverbs of dancing on the gallows or shitting on the gallows, meaning a mocking of the state. It also alludes to the belief that magpies are gossips, and that gossip leads to hangings—and that the way to the gallows leads through pleasant meadows.It is not known why or for whom the picture was painted. Its date of 1568 makes this painting one of Bruegel's last works before his death in 1569; indeed, perhaps his final work. Bruegel asked his wife to burn some of his pictures on his death, but told her to keep the Magpie on the Gallows for herself.

1568_T

Marforio

Focus on Marforio and explain the abstract.

Marphurius or Marforio (Italian: Marforio; Medieval Latin: Marphurius, Marforius) is one of the talking statues of Rome. Marforio maintained a friendly rivalry with his most prominent rival, Pasquin. As at the other five "talking statues", pasquinades—irreverent satires poking fun at public figures—were posted beside Marforio in the 16th and 17th centuries.

1568_NT

Marforio

Focus on this artwork and explain the abstract.

Marphurius or Marforio (Italian: Marforio; Medieval Latin: Marphurius, Marforius) is one of the talking statues of Rome. Marforio maintained a friendly rivalry with his most prominent rival, Pasquin. As at the other five "talking statues", pasquinades—irreverent satires poking fun at public figures—were posted beside Marforio in the 16th and 17th centuries.

1569_T

Marforio

Explore the The statue and its location of this artwork, Marforio.

Marforio is a large 1st century Roman marble sculpture of a reclining bearded river god or Oceanus, which in the past has been variously identified as a depiction of Jupiter, Neptune, or the Tiber. It was the humanist and antiquarian Andrea Fulvio who first identified it as a river god, in 1527. The Marfoi was a landmark in Rome from the late 12th century. Poggio Bracciolini wrote of it as one of the sculptures surviving from Antiquity, and in the early 16th century it was still near the Arch of Septimius Severus, where the various authors reported it.The origin of its name is a matter of some debate. It was discovered with a granite basin bearing the inscription mare in foro, but may take its name from the Latin name for the area in which it was discovered (Martis Forum), or from the Marioli (or Marfuoli) family who owned property near the Mamertine Prison, also near the forum, where the statue was sat until 1588. Pope Sixtus V had the statue moved to the Piazza San Marco, (in Rome) in 1588, and then to the piazza del Campidoglio in 1592, where it decorates a fountain designed by Giacomo della Porta on a wall of the Basilica di Santa Maria in Ara Coeli, facing the Palazzo dei Conservatori. Part of the face, the right foot, and the left hand holding a shell were restored in 1594. In 1645, the building of the Palazzo Nuovo enclosed the fountain in its courtyard.

1569_NT

Marforio

Explore the The statue and its location of this artwork.

Marforio is a large 1st century Roman marble sculpture of a reclining bearded river god or Oceanus, which in the past has been variously identified as a depiction of Jupiter, Neptune, or the Tiber. It was the humanist and antiquarian Andrea Fulvio who first identified it as a river god, in 1527. The Marfoi was a landmark in Rome from the late 12th century. Poggio Bracciolini wrote of it as one of the sculptures surviving from Antiquity, and in the early 16th century it was still near the Arch of Septimius Severus, where the various authors reported it.The origin of its name is a matter of some debate. It was discovered with a granite basin bearing the inscription mare in foro, but may take its name from the Latin name for the area in which it was discovered (Martis Forum), or from the Marioli (or Marfuoli) family who owned property near the Mamertine Prison, also near the forum, where the statue was sat until 1588. Pope Sixtus V had the statue moved to the Piazza San Marco, (in Rome) in 1588, and then to the piazza del Campidoglio in 1592, where it decorates a fountain designed by Giacomo della Porta on a wall of the Basilica di Santa Maria in Ara Coeli, facing the Palazzo dei Conservatori. Part of the face, the right foot, and the left hand holding a shell were restored in 1594. In 1645, the building of the Palazzo Nuovo enclosed the fountain in its courtyard.

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Elephant statue

Focus on Elephant statue and discuss the abstract.

The Elephant statue, also known as the Thai Elephant, is a bronze sculpture in front of The Arts House along High Street of the Downtown Core area in Singapore.

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Elephant statue

Focus on this artwork and discuss the abstract.

The Elephant statue, also known as the Thai Elephant, is a bronze sculpture in front of The Arts House along High Street of the Downtown Core area in Singapore.

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Tabán Christ

How does Tabán Christ elucidate its abstract?

The Tabán Christ (Hungarian: Tabáni Krisztus) is a 12th-century Maiestas Domini relief from Budapest. Originally part of a larger composition, the fragment is an important work of Romanesque sculpture from the territory of the medieval Kingdom of Hungary. The relief was discovered in a secondary position in the Church of Saint Catherine, the Baroque parish church of the Tabán neighbourhood in Buda. It has been located in the Budapest History Museum since 1952.

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Tabán Christ

How does this artwork elucidate its abstract?

The Tabán Christ (Hungarian: Tabáni Krisztus) is a 12th-century Maiestas Domini relief from Budapest. Originally part of a larger composition, the fragment is an important work of Romanesque sculpture from the territory of the medieval Kingdom of Hungary. The relief was discovered in a secondary position in the Church of Saint Catherine, the Baroque parish church of the Tabán neighbourhood in Buda. It has been located in the Budapest History Museum since 1952.

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Tabán Christ

Focus on Tabán Christ and analyze the Description.

The youthful, beardless Christ is depicted seated on a throne, wearing a tunic, with a cruciform halo around his head. In his left he holds a small object which has been interpreted as a scroll, the object in his right hand is unrecognizable. The figure is set in a round medallion that bears an inscription on its rim. Only smaller fragments survived from the other elements of the composition: the upper part of a circular frame, which was significantly larger than the central medallion, and heavily damaged traces of decorative carvings around the medallion. A feathered wing is discernible with long quills and coverts on the upper right corner. The fragmentary Latin inscription with Roman square capitals on the rim of the central medallion reads: ORBITA TOLLITVR .... O GRADIVNTVR The relief is interpreted as Christ in Majesty (Maiestas Domini), and it was supposedly part of the tympanum carving of a Romanesque church portal. The feathered wing may have belonged to an angel, the symbol of Matthew the Apostle, in that case the symbol of John the Evangelist was carved on the other side according to the traditional iconography.

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Tabán Christ

Focus on this artwork and analyze the Description.

The youthful, beardless Christ is depicted seated on a throne, wearing a tunic, with a cruciform halo around his head. In his left he holds a small object which has been interpreted as a scroll, the object in his right hand is unrecognizable. The figure is set in a round medallion that bears an inscription on its rim. Only smaller fragments survived from the other elements of the composition: the upper part of a circular frame, which was significantly larger than the central medallion, and heavily damaged traces of decorative carvings around the medallion. A feathered wing is discernible with long quills and coverts on the upper right corner. The fragmentary Latin inscription with Roman square capitals on the rim of the central medallion reads: ORBITA TOLLITVR .... O GRADIVNTVR The relief is interpreted as Christ in Majesty (Maiestas Domini), and it was supposedly part of the tympanum carving of a Romanesque church portal. The feathered wing may have belonged to an angel, the symbol of Matthew the Apostle, in that case the symbol of John the Evangelist was carved on the other side according to the traditional iconography.

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Tabán Christ

In Tabán Christ, how is the History discussed?

The relief was first described by art historian Kornél Divald in 1901. At the time it was set in the wall under the organ loft in the Church of Saint Catherine in an obviously secondary position because the church was only built in the 18th century. In a passing reference Divald presumed the fragment came from the early medieval predecessor of the church which was dedicated to Saint Gerard of Csanád and established after 1083. The exact location of this church, which served the town of Kispest, a medieval settlement in the Tabán area, remains unknown.A few years later László Éber gave a detailed description, and called the relief "probably the oldest surviving [medieval] sculptural work" in the territory of Budapest. He identified it as part of a tympanum relief depicting the Last Judgement from the 12th century, belonging to an unknown church. Éber published a photograph that shows the relief in the Church of Saint Catherine where it was set in a recess of the wall, preserved as a historical relic. The fragmentary inscription was reconstructed by Éber as "Orbis terrarum tollitur, pauci cum eo gradiuntur". Nonetheless the reading of the inscription is disputed, and its meaning remains enigmatic.In 1932 Henrik Horváth cast doubt on the traditional interpretation that the sculpture originally belonged to a tympanum relief, and claimed that size of the fragment was too small. He observed that the central medallion might have been surrounded by the symbols of the Evangelists. Three years later József Csemegi jr. connected the fragment to the decorated Romanesque church facades of France and Italy in a detailed art historical analysis noting the obvious similarities in style, iconography and spirit. Csemegi claimed that the Romanesque art of Southern France and Central Italy offered very close analogies to the Tabán relief especially regarding the folds of the tunic, the beardless face of Christ and other discernible elements of the Late Antique sculptural tradition. He dated the sculpture to the last decades of the 12th century, and suggested that it was part of a tympanum relief located above the carved lintel of a church portal. The structure might have been similar to the Romanesque portal of the Santa Fede Abbey in Cavagnolo, and the Christ medallion was only flanked by two symbols, the eagle of John and the angel of Matthew.In a new analysis, Tibor Gerevich dated the relief to around 1130, and claimed that it might have been created by a Hungarian sculptor, trained in the French and Italian Romanesque sculptural tradition. He compared the sculpture to the Christ medallion on the south side portal of the San Michele Maggiore in Pavia but noted that the folds of the tunic are more similar to the stylized sculptural style inspired by the reliefs of the Basilica of Saint-Sernin in Toulouse.The sculpture was removed from the Church of Saint Catherine after the building had been seriously damaged in the siege of Budapest. In 1946 the relief was first exhibited at a representative exhibition about the history of Budapest among other medieval artefacts in the Károlyi Palace. Two years later the relief became part of the permanent exhibition of medieval Hungarian sculpture in the Középkori Kőemléktár, a municipal lapidary museum which was reopened in 1948 in the northern tower of Fisherman's Bastion. In 1952 the sculpture was moved to the new Vármúzeum established in the Old Town Hall of Buda where an exhibition presented the history of Budapest. This museum was transferred to Building E of Buda Castle after the reconstruction of the former Royal Palace where the Budapest History Museum opened a representative exhibition about the history of Budapest in 1968. The Tabán Christ has been part of the permanent exhibition of the museum ever since. In 1978 the most influential expert on medieval Hungarian art, Ernő Marosi proposed a wholly new explanation about the origin of the fragment based on technical and stylistic analysis. He claimed that the relief belongs to a group of high quality sculptural works originating from the Provostry Church of Saint Peter in Óbuda dated to around 1150. The fragments of this ensemble were scattered in the territory in Buda and even further. Marosi suggested that the Tabán Christ was probably part of a sculpture relief that decorated the chancel screen, and criticised the Budapest History Museum which still presented the sculpture as a portal relief on its new permanent exhibition in 1993. The hypothesis was accepted by a number of art historians, and later it was proposed that the relief might have belonged to a smaller portal together with another figural fragment.

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Tabán Christ

In this artwork, how is the History discussed?

The relief was first described by art historian Kornél Divald in 1901. At the time it was set in the wall under the organ loft in the Church of Saint Catherine in an obviously secondary position because the church was only built in the 18th century. In a passing reference Divald presumed the fragment came from the early medieval predecessor of the church which was dedicated to Saint Gerard of Csanád and established after 1083. The exact location of this church, which served the town of Kispest, a medieval settlement in the Tabán area, remains unknown.A few years later László Éber gave a detailed description, and called the relief "probably the oldest surviving [medieval] sculptural work" in the territory of Budapest. He identified it as part of a tympanum relief depicting the Last Judgement from the 12th century, belonging to an unknown church. Éber published a photograph that shows the relief in the Church of Saint Catherine where it was set in a recess of the wall, preserved as a historical relic. The fragmentary inscription was reconstructed by Éber as "Orbis terrarum tollitur, pauci cum eo gradiuntur". Nonetheless the reading of the inscription is disputed, and its meaning remains enigmatic.In 1932 Henrik Horváth cast doubt on the traditional interpretation that the sculpture originally belonged to a tympanum relief, and claimed that size of the fragment was too small. He observed that the central medallion might have been surrounded by the symbols of the Evangelists. Three years later József Csemegi jr. connected the fragment to the decorated Romanesque church facades of France and Italy in a detailed art historical analysis noting the obvious similarities in style, iconography and spirit. Csemegi claimed that the Romanesque art of Southern France and Central Italy offered very close analogies to the Tabán relief especially regarding the folds of the tunic, the beardless face of Christ and other discernible elements of the Late Antique sculptural tradition. He dated the sculpture to the last decades of the 12th century, and suggested that it was part of a tympanum relief located above the carved lintel of a church portal. The structure might have been similar to the Romanesque portal of the Santa Fede Abbey in Cavagnolo, and the Christ medallion was only flanked by two symbols, the eagle of John and the angel of Matthew.In a new analysis, Tibor Gerevich dated the relief to around 1130, and claimed that it might have been created by a Hungarian sculptor, trained in the French and Italian Romanesque sculptural tradition. He compared the sculpture to the Christ medallion on the south side portal of the San Michele Maggiore in Pavia but noted that the folds of the tunic are more similar to the stylized sculptural style inspired by the reliefs of the Basilica of Saint-Sernin in Toulouse.The sculpture was removed from the Church of Saint Catherine after the building had been seriously damaged in the siege of Budapest. In 1946 the relief was first exhibited at a representative exhibition about the history of Budapest among other medieval artefacts in the Károlyi Palace. Two years later the relief became part of the permanent exhibition of medieval Hungarian sculpture in the Középkori Kőemléktár, a municipal lapidary museum which was reopened in 1948 in the northern tower of Fisherman's Bastion. In 1952 the sculpture was moved to the new Vármúzeum established in the Old Town Hall of Buda where an exhibition presented the history of Budapest. This museum was transferred to Building E of Buda Castle after the reconstruction of the former Royal Palace where the Budapest History Museum opened a representative exhibition about the history of Budapest in 1968. The Tabán Christ has been part of the permanent exhibition of the museum ever since. In 1978 the most influential expert on medieval Hungarian art, Ernő Marosi proposed a wholly new explanation about the origin of the fragment based on technical and stylistic analysis. He claimed that the relief belongs to a group of high quality sculptural works originating from the Provostry Church of Saint Peter in Óbuda dated to around 1150. The fragments of this ensemble were scattered in the territory in Buda and even further. Marosi suggested that the Tabán Christ was probably part of a sculpture relief that decorated the chancel screen, and criticised the Budapest History Museum which still presented the sculpture as a portal relief on its new permanent exhibition in 1993. The hypothesis was accepted by a number of art historians, and later it was proposed that the relief might have belonged to a smaller portal together with another figural fragment.

1574_T

Statue of Jackie Robinson

Focus on Statue of Jackie Robinson and explore the Statue.

The work was conceived by Susan Wagner and was dedicated on February 26, 1998.The statue depicts Jackie Robinson with both arms outstretched, his catching hand gloved. It is 14 feet (4.3 m) tall, and consists of quarter inch thick bronze, 1,500 lb (680 kg) of bronze reinforced with 1,000 lb (450 kg) of stainless steel armature and mounting plate. The inscription on the plaque at its foot uses the name Jack Roosevelt Robinson (1919 - 1972) and quotes the player himself: "A life is not important except in the impact it has on other lives.”The work was commissioned the Jackie Robinson Foundation, and installed in partnership with the Port Authority of New York & New Jersey, the City of Jersey City, the New Jersey Sports History Commission, and others.

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Statue of Jackie Robinson

Focus on this artwork and explore the Statue.

The work was conceived by Susan Wagner and was dedicated on February 26, 1998.The statue depicts Jackie Robinson with both arms outstretched, his catching hand gloved. It is 14 feet (4.3 m) tall, and consists of quarter inch thick bronze, 1,500 lb (680 kg) of bronze reinforced with 1,000 lb (450 kg) of stainless steel armature and mounting plate. The inscription on the plaque at its foot uses the name Jack Roosevelt Robinson (1919 - 1972) and quotes the player himself: "A life is not important except in the impact it has on other lives.”The work was commissioned the Jackie Robinson Foundation, and installed in partnership with the Port Authority of New York & New Jersey, the City of Jersey City, the New Jersey Sports History Commission, and others.

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Statue of Jackie Robinson

Focus on Statue of Jackie Robinson and explain the Significance.

On April 18, 1946 — opening day of the International League season — Robinson, the 26-year-old second baseman, took the field for the Montreal Royals against the Jersey City Giants, a Class AAA affiliate of the New York Giants, thus becoming the first African American player to break the baseball color line in the modern era of segregated professional baseball. The game took place at Jersey City's since-demolished Roosevelt Stadium (Droyer's Point at the foot of Danforth Avenue at Route 440). The Giants sold 52,000 tickets (more than double the stadium's capacity of 23,000). Robinson was heckled mercilessly during his first plate appearance, but went on to have four hits including a 3-run homer, with 4 RBI, 4 runs scored, and 2 stolen bases in Montreal's 14–1 win. A year later, Robinson would again break the color line when he debuted with the Major League Baseball's Brooklyn Dodgers on April 15, 1947.

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Statue of Jackie Robinson

Focus on this artwork and explain the Significance.

On April 18, 1946 — opening day of the International League season — Robinson, the 26-year-old second baseman, took the field for the Montreal Royals against the Jersey City Giants, a Class AAA affiliate of the New York Giants, thus becoming the first African American player to break the baseball color line in the modern era of segregated professional baseball. The game took place at Jersey City's since-demolished Roosevelt Stadium (Droyer's Point at the foot of Danforth Avenue at Route 440). The Giants sold 52,000 tickets (more than double the stadium's capacity of 23,000). Robinson was heckled mercilessly during his first plate appearance, but went on to have four hits including a 3-run homer, with 4 RBI, 4 runs scored, and 2 stolen bases in Montreal's 14–1 win. A year later, Robinson would again break the color line when he debuted with the Major League Baseball's Brooklyn Dodgers on April 15, 1947.

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Miracles of St. Francis Xavier (Rubens)

Explore the abstract of this artwork, Miracles of St. Francis Xavier (Rubens).

The Miracles of St. Francis Xavier is a large altarpiece painted by Peter Paul Rubens in 1617 or 1618. It was originally commissioned by the Jesuits in Antwerp for their church, now known as the St. Charles Borromeo Church. It is now in the Kunsthistorisches Museum in Vienna. The painting depicts the miracles worked by St. Francis Xavier during his mission to Asia and includes a large variety of figures from Asia and Africa, as well as the destruction of a Hindu idol in the background. Rubens also painted a companion piece, The Miracles of St. Ignatius of Loyola.

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Miracles of St. Francis Xavier (Rubens)

Explore the abstract of this artwork.

The Miracles of St. Francis Xavier is a large altarpiece painted by Peter Paul Rubens in 1617 or 1618. It was originally commissioned by the Jesuits in Antwerp for their church, now known as the St. Charles Borromeo Church. It is now in the Kunsthistorisches Museum in Vienna. The painting depicts the miracles worked by St. Francis Xavier during his mission to Asia and includes a large variety of figures from Asia and Africa, as well as the destruction of a Hindu idol in the background. Rubens also painted a companion piece, The Miracles of St. Ignatius of Loyola.

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Miracles of St. Francis Xavier (Rubens)

Focus on Miracles of St. Francis Xavier (Rubens) and discuss the History.

A contract was created between Rubens and Jacobus Tirinus, the head of the Antwerp Jesuits in 1620. The contract stated that Rubens must create at least thirty-nine ceiling paintings and two large paintings for the church, in which he will be rewarded with ten thousand florins. The two large paintings would then be displayed in rotation. This painting and The Miracles of St. Ignatius of Loyola became the two altarpieces for the church. By the time the contract was signed, the two altarpieces were already completed. This altarpiece was completed before St. Francis Xavier became a saint in 1622.This painting, along with The Miracles of St. Ignatius of Loyola, were purchased by the Austrian Empress Maria Theresa after a fire caused the St. Charles Borromeo Church to close in 1773. They are currently in the Kunsthistorisches Museum located in Vienna.

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Miracles of St. Francis Xavier (Rubens)

Focus on this artwork and discuss the History.

A contract was created between Rubens and Jacobus Tirinus, the head of the Antwerp Jesuits in 1620. The contract stated that Rubens must create at least thirty-nine ceiling paintings and two large paintings for the church, in which he will be rewarded with ten thousand florins. The two large paintings would then be displayed in rotation. This painting and The Miracles of St. Ignatius of Loyola became the two altarpieces for the church. By the time the contract was signed, the two altarpieces were already completed. This altarpiece was completed before St. Francis Xavier became a saint in 1622.This painting, along with The Miracles of St. Ignatius of Loyola, were purchased by the Austrian Empress Maria Theresa after a fire caused the St. Charles Borromeo Church to close in 1773. They are currently in the Kunsthistorisches Museum located in Vienna.

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Miracles of St. Francis Xavier (Rubens)

How does Miracles of St. Francis Xavier (Rubens) elucidate its Description?

The main figure, St. Francis Xavier, is on the right side of the altarpiece, standing on a platform. Different events are combined and used to display St. Francis Xavier performing many miracles. On the left side of the altarpiece, a baby is being held by the mother. The baby has water coming from his mouth. There are people rising from the dead. Next to the mother and baby is a male figure that looks similar to a figure in another art piece created by Rubens, The Great Last Judgement. Near the upper left corner of the altarpiece between the two columns, there is statue that wears a crown and has an open mouth at the middle portion of the body. The figure is positioned like it is in the motion of falling. On the right side, there is a blind man that is reaching out with his arms.

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Miracles of St. Francis Xavier (Rubens)

How does this artwork elucidate its Description?

The main figure, St. Francis Xavier, is on the right side of the altarpiece, standing on a platform. Different events are combined and used to display St. Francis Xavier performing many miracles. On the left side of the altarpiece, a baby is being held by the mother. The baby has water coming from his mouth. There are people rising from the dead. Next to the mother and baby is a male figure that looks similar to a figure in another art piece created by Rubens, The Great Last Judgement. Near the upper left corner of the altarpiece between the two columns, there is statue that wears a crown and has an open mouth at the middle portion of the body. The figure is positioned like it is in the motion of falling. On the right side, there is a blind man that is reaching out with his arms.

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Miracles of St. Francis Xavier (Rubens)

In the context of Miracles of St. Francis Xavier (Rubens), analyze the Figure Studies of the Description.

Rubens drew numerous life studies before the altarpiece was completed. The majority of changes that were made focused on the forms and gestures of the figures. Rubens created studies of St. Francis Xavier's gestures to give him a pose that shows that he is healing people. There were studies created of the people that St. Francis Xavier is performing miracles on. Rubens took perspective into account by softening the altarpiece after thinking about how the painting would look from far away.

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Miracles of St. Francis Xavier (Rubens)

In the context of this artwork, analyze the Figure Studies of the Description.

Rubens drew numerous life studies before the altarpiece was completed. The majority of changes that were made focused on the forms and gestures of the figures. Rubens created studies of St. Francis Xavier's gestures to give him a pose that shows that he is healing people. There were studies created of the people that St. Francis Xavier is performing miracles on. Rubens took perspective into account by softening the altarpiece after thinking about how the painting would look from far away.

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Miracles of St. Francis Xavier (Rubens)

In Miracles of St. Francis Xavier (Rubens), how is the Counter-Reformation discussed?

As a result of the Counter-Reformation, Rubens' paintings focused strongly on Catholic doctrine. The paintings contained a lot of dynamic movement, barely visible outlines, and variety of tones. The theme of miracles is a key component to the altarpiece. This was used to show that St. Francis Xavier had the ability to perform miracles and restore faith to the Roman Catholic Church. St. Francis Xavier's abilities in this painting were used as propaganda as a part of his canonization trials. His ability to resurrect the dead made him closer to heavenly figures.

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Miracles of St. Francis Xavier (Rubens)

In this artwork, how is the Counter-Reformation discussed?

As a result of the Counter-Reformation, Rubens' paintings focused strongly on Catholic doctrine. The paintings contained a lot of dynamic movement, barely visible outlines, and variety of tones. The theme of miracles is a key component to the altarpiece. This was used to show that St. Francis Xavier had the ability to perform miracles and restore faith to the Roman Catholic Church. St. Francis Xavier's abilities in this painting were used as propaganda as a part of his canonization trials. His ability to resurrect the dead made him closer to heavenly figures.

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Miracles of St. Francis Xavier (Rubens)

Focus on Miracles of St. Francis Xavier (Rubens) and explore the Interpretation.

It is suggested that the setting of the painting focuses on St. Francis Xavier's missionary actions in Asia. These actions caused people to spread word about his miracles. Researchers know that Rubens received information about the geography and history of Asian culture from Theodore de Bry. Rubens used this information and information he knew about European culture, which resulted in a setting that combined aspects of both cultures. It is known that the baby being held by the mother symbolizes the event when St. Francis Xavier resurrected a baby from drowning in India. In the middle of the painting, there are men in Korean outfits who symbolize people who initially questioned St. Francis Xavier's ability to perform his miracles. They were eventually convinced of St. Francis Xavier's ability.

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Miracles of St. Francis Xavier (Rubens)

Focus on this artwork and explore the Interpretation.

It is suggested that the setting of the painting focuses on St. Francis Xavier's missionary actions in Asia. These actions caused people to spread word about his miracles. Researchers know that Rubens received information about the geography and history of Asian culture from Theodore de Bry. Rubens used this information and information he knew about European culture, which resulted in a setting that combined aspects of both cultures. It is known that the baby being held by the mother symbolizes the event when St. Francis Xavier resurrected a baby from drowning in India. In the middle of the painting, there are men in Korean outfits who symbolize people who initially questioned St. Francis Xavier's ability to perform his miracles. They were eventually convinced of St. Francis Xavier's ability.

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Miracles of St. Francis Xavier (Rubens)

In the context of Miracles of St. Francis Xavier (Rubens), explain the Hindu Idol of the Interpretation.

The figure that wears a crown is interpreted as a Hindu idol. Rubens drew this figure based on the information he received from sculptures and travel accounts about Indian culture. Another way Rubens received information about Indian culture was through goods from India that were traded in Antwerp. Specifically, the idol was based on the Western interpretation of Indian gods. In the Western interpretation, Hindu idols were shown as demonic figures. The figure has an open mouth on its body because this concept in Western art represented the devil. The figure's position and St. Francis Xavier's gesture show that St. Francis Xavier is directing the heavenly vision that is attacking the figure. This interpretation follows St. Francis Xavier's time in India in which he persuaded people to follow the Church and get rid of any depictions of their previous religion.

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Miracles of St. Francis Xavier (Rubens)

In the context of this artwork, explain the Hindu Idol of the Interpretation.

The figure that wears a crown is interpreted as a Hindu idol. Rubens drew this figure based on the information he received from sculptures and travel accounts about Indian culture. Another way Rubens received information about Indian culture was through goods from India that were traded in Antwerp. Specifically, the idol was based on the Western interpretation of Indian gods. In the Western interpretation, Hindu idols were shown as demonic figures. The figure has an open mouth on its body because this concept in Western art represented the devil. The figure's position and St. Francis Xavier's gesture show that St. Francis Xavier is directing the heavenly vision that is attacking the figure. This interpretation follows St. Francis Xavier's time in India in which he persuaded people to follow the Church and get rid of any depictions of their previous religion.

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Miracles of St. Francis Xavier (Rubens)

Explore the Plague Victim about the Interpretation of this artwork, Miracles of St. Francis Xavier (Rubens).

Researchers are not sure how Rubens received information about the bubonic plague, a deadly disease, because he never had the disease. There is a possibility that Rubens received information about the disease through plague treatises. Another possibility is that Rubens was inspired by an art piece created by Jacopo Tintoretto, called St. Roch Healing Plague Victims. The art piece has figures that have postures similar to the male figure in this painting. It is theorized that the male figure in the lower left corner of the altarpiece is to have been a victim of the plague. It is suggested that the male figure's posture has been referenced from other paintings that depict the plague. Among these plague paintings include St. Francis of Paola, another painting created by Rubens. Researchers have theorized that the plague is symbolized by the figure's exposed underarm.

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Miracles of St. Francis Xavier (Rubens)

Explore the Plague Victim about the Interpretation of this artwork.

Researchers are not sure how Rubens received information about the bubonic plague, a deadly disease, because he never had the disease. There is a possibility that Rubens received information about the disease through plague treatises. Another possibility is that Rubens was inspired by an art piece created by Jacopo Tintoretto, called St. Roch Healing Plague Victims. The art piece has figures that have postures similar to the male figure in this painting. It is theorized that the male figure in the lower left corner of the altarpiece is to have been a victim of the plague. It is suggested that the male figure's posture has been referenced from other paintings that depict the plague. Among these plague paintings include St. Francis of Paola, another painting created by Rubens. Researchers have theorized that the plague is symbolized by the figure's exposed underarm.

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Miracles of St. Francis Xavier (Rubens)

In the context of Miracles of St. Francis Xavier (Rubens), discuss the Chinese Figure of the Interpretation.

There is a figure wearing a Korean attire in the center of the painting. This figure resembles the subject of one Rubens's drawings, Man in Korean Costume. Rubens used foreign attire in his paintings to add dramatic effects. The figure was originally going to wear Turkish attire, but the Jesuits wanted a variety of clothing to represent their activity in Asia. They did not have a direct relationship with Korea during the seventeenth century, but they learned about the country through their activities in China. The Jesuits displayed their victories and activities outside the country by displaying foreign attire in art pieces. The Korean attire in this painting symbolizes the belief that Catholicism was superior while demoting paganism to a primitive status. Recent research has demonstrated that the man is actually a Chinese Catholic from the Ming period. The confusion was made because of the similarities in clothing.

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Miracles of St. Francis Xavier (Rubens)

In the context of this artwork, discuss the Chinese Figure of the Interpretation.

There is a figure wearing a Korean attire in the center of the painting. This figure resembles the subject of one Rubens's drawings, Man in Korean Costume. Rubens used foreign attire in his paintings to add dramatic effects. The figure was originally going to wear Turkish attire, but the Jesuits wanted a variety of clothing to represent their activity in Asia. They did not have a direct relationship with Korea during the seventeenth century, but they learned about the country through their activities in China. The Jesuits displayed their victories and activities outside the country by displaying foreign attire in art pieces. The Korean attire in this painting symbolizes the belief that Catholicism was superior while demoting paganism to a primitive status. Recent research has demonstrated that the man is actually a Chinese Catholic from the Ming period. The confusion was made because of the similarities in clothing.

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The Founders Memorial

How does The Founders Memorial elucidate its abstract?

The Founders Memorial, also known as Founding of Boston, is a 1930 sculpture by John Francis Paramino in Boston Common, in Boston, Massachusetts.

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The Founders Memorial

How does this artwork elucidate its abstract?

The Founders Memorial, also known as Founding of Boston, is a 1930 sculpture by John Francis Paramino in Boston Common, in Boston, Massachusetts.

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The Founders Memorial

Focus on The Founders Memorial and analyze the Description.

The memorial features a bronze relief set in granite. The relief is approximately 5.5 ft. tall and 11 ft. wide. It depicts William Blaxton (left) greeting John Winthrop (right) and others, including Ann Pollard, two Native Americans, and an allegorical female representing Boston. The slate and cast iron base measures approximately 15x 45 x 20 ft.

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The Founders Memorial

Focus on this artwork and analyze the Description.

The memorial features a bronze relief set in granite. The relief is approximately 5.5 ft. tall and 11 ft. wide. It depicts William Blaxton (left) greeting John Winthrop (right) and others, including Ann Pollard, two Native Americans, and an allegorical female representing Boston. The slate and cast iron base measures approximately 15x 45 x 20 ft.

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The Founders Memorial

In The Founders Memorial, how is the History discussed?

The memorial was commissioned by the city to commemorate Boston's 300th anniversary. It was installed in 1930 and dedicated on September 17 of that year. The work was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.

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The Founders Memorial

In this artwork, how is the History discussed?

The memorial was commissioned by the city to commemorate Boston's 300th anniversary. It was installed in 1930 and dedicated on September 17 of that year. The work was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.

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Mars Resting

Focus on Mars Resting and explore the abstract.

Mars or Resting Mars (Descanso de Marte, literally The Rest of Mars) is a 1640 painting by Diego Velázquez. It is now in the Prado Museum. The painting was inspired by Il Pensieroso, one of Michelangelo's sculptures for the Medici in the new sacristy of the Basilica of San Lorenzo. This painting is a satirical depiction of the god Mars. It is thought to have been finished around 1639–1640.

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Mars Resting

Focus on this artwork and explore the abstract.

Mars or Resting Mars (Descanso de Marte, literally The Rest of Mars) is a 1640 painting by Diego Velázquez. It is now in the Prado Museum. The painting was inspired by Il Pensieroso, one of Michelangelo's sculptures for the Medici in the new sacristy of the Basilica of San Lorenzo. This painting is a satirical depiction of the god Mars. It is thought to have been finished around 1639–1640.

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Casey Stengel (Sherbell)

Focus on Casey Stengel (Sherbell) and explain the abstract.

Casey Stengel a public sculpture by American artist, Rhoda Sherbell, is located on the Indiana University-Purdue University Indianapolis campus, which is near downtown Indianapolis, Indiana. The sculpture can be found in the courtyard of the University Place Hotel. Installed in 2000, the sculpture was cast in bronze with a height of 43 inches.

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Casey Stengel (Sherbell)

Focus on this artwork and explain the abstract.

Casey Stengel a public sculpture by American artist, Rhoda Sherbell, is located on the Indiana University-Purdue University Indianapolis campus, which is near downtown Indianapolis, Indiana. The sculpture can be found in the courtyard of the University Place Hotel. Installed in 2000, the sculpture was cast in bronze with a height of 43 inches.

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Casey Stengel (Sherbell)

Explore the Description of this artwork, Casey Stengel (Sherbell).

Casey Stengel depicts the legendary baseball player cast in bronze by Rhoda Sherbell. Located in the courtyard of University Place, the sculpture stands 43" tall facing north. He is standing with his hands on his hips and head forward with a baseball cap. There is a baseball on the foot of the base lying next the player's left foot. Stengel is wearing his baseball uniform with the number 23 engraved on the back side. His age is shown through the wrinkles engraved on his face as well as his posture. The sculpture is located next to the National Art Museum of Sport in the courtyard of University Place. It is based on the legendary baseball player and later manager of the New York Yankees and Mets.

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Casey Stengel (Sherbell)

Explore the Description of this artwork.

Casey Stengel depicts the legendary baseball player cast in bronze by Rhoda Sherbell. Located in the courtyard of University Place, the sculpture stands 43" tall facing north. He is standing with his hands on his hips and head forward with a baseball cap. There is a baseball on the foot of the base lying next the player's left foot. Stengel is wearing his baseball uniform with the number 23 engraved on the back side. His age is shown through the wrinkles engraved on his face as well as his posture. The sculpture is located next to the National Art Museum of Sport in the courtyard of University Place. It is based on the legendary baseball player and later manager of the New York Yankees and Mets.

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Casey Stengel (Sherbell)

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Rhoda Sherbell is best known for sculpting historical figures such as Casey Stengel as public sculptures along with Portrait Bust-Sculpture, Portrait-Full Length, Portrait, Society/Celebrity/Notables, Sport Figure/Genre. Her chosen medium is clay, which she casts in bronze. Along with displaying work in museums, she also has work in the Baseball Hall of Fame, Cooperstown, New York Sherbell has received nineteen solo museum and gallery exhibitions along with more than fifty awards, including those from the American Academy and Institute of Arts and Letters, the Ford Foundation, the Louis Comfort Tiffany Foundation, the Pennsylvania Academy of Fine Arts and the National Sculpture Society (gold medal). Sherbell now lives in Long Island and her sculptures are found in museums including the National Museum of Art, the National Portrait Gallery-Smithsonian Institution, Washington, DC, Baseball Hall of Fame, Cooperstown, NY, Brooklyn Museum, NY, and the National Museum of Sport, New York, NY.

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Casey Stengel (Sherbell)

Focus on this artwork and discuss the Artist.

Rhoda Sherbell is best known for sculpting historical figures such as Casey Stengel as public sculptures along with Portrait Bust-Sculpture, Portrait-Full Length, Portrait, Society/Celebrity/Notables, Sport Figure/Genre. Her chosen medium is clay, which she casts in bronze. Along with displaying work in museums, she also has work in the Baseball Hall of Fame, Cooperstown, New York Sherbell has received nineteen solo museum and gallery exhibitions along with more than fifty awards, including those from the American Academy and Institute of Arts and Letters, the Ford Foundation, the Louis Comfort Tiffany Foundation, the Pennsylvania Academy of Fine Arts and the National Sculpture Society (gold medal). Sherbell now lives in Long Island and her sculptures are found in museums including the National Museum of Art, the National Portrait Gallery-Smithsonian Institution, Washington, DC, Baseball Hall of Fame, Cooperstown, NY, Brooklyn Museum, NY, and the National Museum of Sport, New York, NY.

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Jan Kupecký self portrait (Slovak National Gallery)

How does Jan Kupecký self portrait (Slovak National Gallery) elucidate its abstract?

Portrait of a Man (in Slovak: Portrét muža) or Self-portrait (in Slovak: Autoportrét) is believed to be a self-portrait of Slovak painter Jan Kupecký created in the period 1700 to 1709. The picture is painted in oil on canvas with dimensions of 68.2 x 56 cm and is part of the collection of the Slovak National Gallery in Bratislava, Slovakia.Kupiecký was one of the leading representatives of the Central European Baroque period and particularly known for his portraits. This work is unusual in that it highlights the facial features of the subject against an otherwise dark featureless background. Based on comparisons with his other subsequent works it was later signed and dated, somewhat indistinctly, as being by Kupecký in 1709 and considered for many years to be the only genuine work by Kupecký in the Slovak collection. It would have been created during the artist's time in Italy and the only known example of his work from that time.However in a monograph by Eduard A. Safarik, a noted Italian art historian of Czech descent, it is suggested that the painting is actually a self-portrait by the younger artist Franz Anton Palko.

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Jan Kupecký self portrait (Slovak National Gallery)

How does this artwork elucidate its abstract?

Portrait of a Man (in Slovak: Portrét muža) or Self-portrait (in Slovak: Autoportrét) is believed to be a self-portrait of Slovak painter Jan Kupecký created in the period 1700 to 1709. The picture is painted in oil on canvas with dimensions of 68.2 x 56 cm and is part of the collection of the Slovak National Gallery in Bratislava, Slovakia.Kupiecký was one of the leading representatives of the Central European Baroque period and particularly known for his portraits. This work is unusual in that it highlights the facial features of the subject against an otherwise dark featureless background. Based on comparisons with his other subsequent works it was later signed and dated, somewhat indistinctly, as being by Kupecký in 1709 and considered for many years to be the only genuine work by Kupecký in the Slovak collection. It would have been created during the artist's time in Italy and the only known example of his work from that time.However in a monograph by Eduard A. Safarik, a noted Italian art historian of Czech descent, it is suggested that the painting is actually a self-portrait by the younger artist Franz Anton Palko.

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Adoration of the Magi with Saint Helena

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The Adoration of the Magi with Saint Helena is an oil painting on canvas of c. 1525–1526 by Palma Vecchio in the Pinacoteca di Brera, Milan.

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Adoration of the Magi with Saint Helena

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The Adoration of the Magi with Saint Helena is an oil painting on canvas of c. 1525–1526 by Palma Vecchio in the Pinacoteca di Brera, Milan.

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Adoration of the Magi with Saint Helena

In Adoration of the Magi with Saint Helena, how is the Provenance discussed?

The work was commissioned for the Venetian church of Sant'Elena by Lady Orsa, the widow of Simone Malipiero.The canvas depicts the Gospel story of the adoration of the Christ Child by the Magi, with Saint Helena, who can be identified by her attribute the True Cross, anachronistically shown as being present at the scene. The inclusion of the saint to whom the church was dedicated indicates that the work's original location was at the high altar.The positioning of Helena's cross above the figures of the Virgin and Child is a clear prefiguration of Christ's fate. According to some critics the saint, prominently placed in the centre of the group of figures, is a representation of Lady Orsa who had commissioned the work.With the Napoleonic suppressions the canvas, like many other works, was removed from its original location and assigned to the Pinacoteca di Brera in Milan.According to some critics, the canvas is not entirely the work of Palma Vecchio but was completed by his pupils; Giovanni Morelli wrote that Palma "had to leave the execution entirely to one of his assistants".

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Adoration of the Magi with Saint Helena

In this artwork, how is the Provenance discussed?

The work was commissioned for the Venetian church of Sant'Elena by Lady Orsa, the widow of Simone Malipiero.The canvas depicts the Gospel story of the adoration of the Christ Child by the Magi, with Saint Helena, who can be identified by her attribute the True Cross, anachronistically shown as being present at the scene. The inclusion of the saint to whom the church was dedicated indicates that the work's original location was at the high altar.The positioning of Helena's cross above the figures of the Virgin and Child is a clear prefiguration of Christ's fate. According to some critics the saint, prominently placed in the centre of the group of figures, is a representation of Lady Orsa who had commissioned the work.With the Napoleonic suppressions the canvas, like many other works, was removed from its original location and assigned to the Pinacoteca di Brera in Milan.According to some critics, the canvas is not entirely the work of Palma Vecchio but was completed by his pupils; Giovanni Morelli wrote that Palma "had to leave the execution entirely to one of his assistants".

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Adoration of the Magi with Saint Helena

Focus on Adoration of the Magi with Saint Helena and explore the Description and style.

The canvas depicts the classic characters of the Adoration of the Magi, with Saint Joseph placed on the left of the canvas next to the Virgin and Child, and on the right the three Magi, one of them black and another an older man, accompanied by several soldiers and courtiers, who make up a procession winding through what appears to be a valley. In the distance a shepherd grazes his flock of sheep, while on the mountain on the opposite side is a castle, with blue mountains in the distance. A dilapidated classical building occupies the left-hand side of the composition.The uneven quality of the work suggests that it was completed by assistants, perhaps by Giovanni Cariani.

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Adoration of the Magi with Saint Helena

Focus on this artwork and explore the Description and style.

The canvas depicts the classic characters of the Adoration of the Magi, with Saint Joseph placed on the left of the canvas next to the Virgin and Child, and on the right the three Magi, one of them black and another an older man, accompanied by several soldiers and courtiers, who make up a procession winding through what appears to be a valley. In the distance a shepherd grazes his flock of sheep, while on the mountain on the opposite side is a castle, with blue mountains in the distance. A dilapidated classical building occupies the left-hand side of the composition.The uneven quality of the work suggests that it was completed by assistants, perhaps by Giovanni Cariani.

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Statue of Rachel Carson

Focus on Statue of Rachel Carson and explain the History.

The initial plans for the Rachel Carson outdoor statue at Waterfront Park in Woods Hole, Massachusetts were announced September 27, 2012, the 50th anniversary of the publication of Silent Spring. The statue is based on a 1951 photograph by Edwin Gray that was taken on the dock near Sam Cahoon's Fish Market in Woods Hole. The concept for the statue originally came from Eric Turkington who later served as a co-chair of the Rachel Carson Statue Committee along with Susan Shephard. Additional committee and members included Catherine Bumpus, James "Jim" Crossen, Mary Pat Flynn, Jack Moakley, and Marsha Zafiriou. The committee had a funding goal of $90,000, half of which was filled by a $7,500 matching grant from the Bank of Woods Hole, and an anonymous donor who donated a $5,000 matching grant. The sculpture was constructed by David Lewis who estimated the piece would take a year to complete.

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Statue of Rachel Carson

Focus on this artwork and explain the History.

The initial plans for the Rachel Carson outdoor statue at Waterfront Park in Woods Hole, Massachusetts were announced September 27, 2012, the 50th anniversary of the publication of Silent Spring. The statue is based on a 1951 photograph by Edwin Gray that was taken on the dock near Sam Cahoon's Fish Market in Woods Hole. The concept for the statue originally came from Eric Turkington who later served as a co-chair of the Rachel Carson Statue Committee along with Susan Shephard. Additional committee and members included Catherine Bumpus, James "Jim" Crossen, Mary Pat Flynn, Jack Moakley, and Marsha Zafiriou. The committee had a funding goal of $90,000, half of which was filled by a $7,500 matching grant from the Bank of Woods Hole, and an anonymous donor who donated a $5,000 matching grant. The sculpture was constructed by David Lewis who estimated the piece would take a year to complete.

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Statue of Rachel Carson

Explore the Dedication of this artwork, Statue of Rachel Carson.

The dedication ceremony was held on July 14, 2013. It focused on Carson's local connection to Woods Hole. Gary Borisy, a former president and director of the Marine Biological Laboratory, spoke at the event, calling Carson "a scientific daughter of this place" and "a marine biologist who kicked the hornets' nest." Additional speakers included the current president and director of the Laboratory Joan Ruderman, Susan Avery, president of the Woods Hole Oceanographic Institution, the science and research director of the Northeast Fisheries Science Center, William Karp and Cheryl Osimo, the co-founder of the Silent Spring Institute.

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Statue of Rachel Carson

Explore the Dedication of this artwork.

The dedication ceremony was held on July 14, 2013. It focused on Carson's local connection to Woods Hole. Gary Borisy, a former president and director of the Marine Biological Laboratory, spoke at the event, calling Carson "a scientific daughter of this place" and "a marine biologist who kicked the hornets' nest." Additional speakers included the current president and director of the Laboratory Joan Ruderman, Susan Avery, president of the Woods Hole Oceanographic Institution, the science and research director of the Northeast Fisheries Science Center, William Karp and Cheryl Osimo, the co-founder of the Silent Spring Institute.

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The Heavenly and Earthly Trinities

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The Heavenly and Earthly Trinities (also known as The Two Trinities or The Pedroso Holy Family) is an oil painting on canvas of c. 1675–1682 by the Spanish artist Bartolomé Esteban Murillo in the National Gallery, London. It depicts a young Jesus with the Virgin Mary and Saint Joseph (the three of whom make up the Holy Family, the earthly trinity of the painting's title), together with God the Father and the Holy Spirit (who with Christ as God the Son form the Holy Trinity). The subject, inspired by the Finding in the Temple, is rare, though it does appear elsewhere in Spanish and Flemish art.

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The Heavenly and Earthly Trinities

Focus on this artwork and discuss the abstract.

The Heavenly and Earthly Trinities (also known as The Two Trinities or The Pedroso Holy Family) is an oil painting on canvas of c. 1675–1682 by the Spanish artist Bartolomé Esteban Murillo in the National Gallery, London. It depicts a young Jesus with the Virgin Mary and Saint Joseph (the three of whom make up the Holy Family, the earthly trinity of the painting's title), together with God the Father and the Holy Spirit (who with Christ as God the Son form the Holy Trinity). The subject, inspired by the Finding in the Temple, is rare, though it does appear elsewhere in Spanish and Flemish art.

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The Heavenly and Earthly Trinities

How does The Heavenly and Earthly Trinities elucidate its Provenance?

The work first appears in the written record in a mention by Antonio Palomino, Murillo's main biographer, who saw it in Cadiz in 1708 in the art collection of Carlos Francisco Colarte, Marquess of Pedroso. It was still in the Pedroso family collection early in the 19th century and was acquired in Seville by James Campbell for the British art dealer William Buchanan; it arrived in Britain in January 1810. It was then acquired by Thomas Bulkeley Bulkeley-Owen, before being bought by its present owner with Peter Paul Rubens's Brazen Serpent in 1837.

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The Heavenly and Earthly Trinities

How does this artwork elucidate its Provenance?

The work first appears in the written record in a mention by Antonio Palomino, Murillo's main biographer, who saw it in Cadiz in 1708 in the art collection of Carlos Francisco Colarte, Marquess of Pedroso. It was still in the Pedroso family collection early in the 19th century and was acquired in Seville by James Campbell for the British art dealer William Buchanan; it arrived in Britain in January 1810. It was then acquired by Thomas Bulkeley Bulkeley-Owen, before being bought by its present owner with Peter Paul Rubens's Brazen Serpent in 1837.

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Bust of Mahatma Gandhi (Salt Lake City)

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A bust of Mahatma Gandhi is installed in Salt Lake City, Utah, United States. Donated by the Government of India and the Consul General of India in 1997, the sculpture is displayed in India's section of Jordan Park's International Peace Gardens. The work was dedicated on May 10, 1997.

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Bust of Mahatma Gandhi (Salt Lake City)

Focus on this artwork and analyze the abstract.

A bust of Mahatma Gandhi is installed in Salt Lake City, Utah, United States. Donated by the Government of India and the Consul General of India in 1997, the sculpture is displayed in India's section of Jordan Park's International Peace Gardens. The work was dedicated on May 10, 1997.