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NAIST NLP 19

1601_T

Statue of Paul P. Harris (Mexico City)

In Statue of Paul P. Harris (Mexico City), how is the abstract discussed?

The statue of Paul P. Harris, founder of Rotary International, is installed in Mexico City's American Park, in Mexico.

1601_NT

Statue of Paul P. Harris (Mexico City)

In this artwork, how is the abstract discussed?

The statue of Paul P. Harris, founder of Rotary International, is installed in Mexico City's American Park, in Mexico.

1602_T

Scallop (2003)

Focus on Scallop (2003) and explore the abstract.

Scallop is a 2003 work by British artist Maggi Hambling. It is located on Aldeburgh beach, Suffolk, in an Area of Outstanding Natural Beauty and is a tribute to composer Benjamin Britten.

1602_NT

Scallop (2003)

Focus on this artwork and explore the abstract.

Scallop is a 2003 work by British artist Maggi Hambling. It is located on Aldeburgh beach, Suffolk, in an Area of Outstanding Natural Beauty and is a tribute to composer Benjamin Britten.

1603_T

Scallop (2003)

Focus on Scallop (2003) and explain the Creation and unveiling.

Hambling commissioned local business J. T. Pegg & Sons LTD to create the sculpture. It is made from stainless steel and is 3.7 metres in height and weighs 3.5 tons, appearing as two halves of a seashell. The sculpture features a quote from Benjamin Britten’s opera, Peter Grimes: “I hear those voices that will not be drowned.”Hambling was not paid for her time working on the sculpture and funded manufacturing costs with her own money and sales of her artwork. Hambling intended the piece to be interacted with, climbed on, sat on, "made love" under, and used as a shelter.The sculpture was unveiled on Saturday 8 November 2003 by former culture secretary Chris Smith.

1603_NT

Scallop (2003)

Focus on this artwork and explain the Creation and unveiling.

Hambling commissioned local business J. T. Pegg & Sons LTD to create the sculpture. It is made from stainless steel and is 3.7 metres in height and weighs 3.5 tons, appearing as two halves of a seashell. The sculpture features a quote from Benjamin Britten’s opera, Peter Grimes: “I hear those voices that will not be drowned.”Hambling was not paid for her time working on the sculpture and funded manufacturing costs with her own money and sales of her artwork. Hambling intended the piece to be interacted with, climbed on, sat on, "made love" under, and used as a shelter.The sculpture was unveiled on Saturday 8 November 2003 by former culture secretary Chris Smith.

1604_T

Deposition (van Dyck, 1635)

Explore the abstract of this artwork, Deposition (van Dyck, 1635).

The Deposition or Lamentation over the Dead Christ is a painting by the Flemish artist Anthony van Dyck. Dating to 1635, it is one of his final treatments of the subject. It was commissioned by Cesare Alessandro Scaglia, who intended it to hang over his tomb in the Recollects Convent in Antwerp. It is now in the Royal Museum of Fine Arts Antwerp.

1604_NT

Deposition (van Dyck, 1635)

Explore the abstract of this artwork.

The Deposition or Lamentation over the Dead Christ is a painting by the Flemish artist Anthony van Dyck. Dating to 1635, it is one of his final treatments of the subject. It was commissioned by Cesare Alessandro Scaglia, who intended it to hang over his tomb in the Recollects Convent in Antwerp. It is now in the Royal Museum of Fine Arts Antwerp.

1605_T

Ansidei Madonna

Focus on Ansidei Madonna and discuss the abstract.

The Ansidei Madonna (Italian: Pala Ansidei) is a 1505–1507 painting by the Italian High Renaissance artist Raphael, painted during his Florentine period. It shows the Blessed Virgin Mary sitting on a wooden throne, with the child Christ on her lap. On her right John the Baptist stands, on her left Saint Nicholas is reading. At the time the painting was commissioned, there were other paintings that made up the grouping for the altarpiece. Of the predellas, the only that remains is Saint John the Baptist Preaching, the others are inexplicably lost. Both the main painting, "Ansidei Madonna", and the predella "Saint John the Baptist Preaching", are located at the National Gallery in London.

1605_NT

Ansidei Madonna

Focus on this artwork and discuss the abstract.

The Ansidei Madonna (Italian: Pala Ansidei) is a 1505–1507 painting by the Italian High Renaissance artist Raphael, painted during his Florentine period. It shows the Blessed Virgin Mary sitting on a wooden throne, with the child Christ on her lap. On her right John the Baptist stands, on her left Saint Nicholas is reading. At the time the painting was commissioned, there were other paintings that made up the grouping for the altarpiece. Of the predellas, the only that remains is Saint John the Baptist Preaching, the others are inexplicably lost. Both the main painting, "Ansidei Madonna", and the predella "Saint John the Baptist Preaching", are located at the National Gallery in London.

1606_T

Ansidei Madonna

How does Ansidei Madonna elucidate its The painting?

The Virgin sits formally on a high throne, with an adult Saint John the Baptist on the left, and Saint Nicholas of Bari to the right. Painted for effect rather than realism, the throne has no arms and the steps are very steep, but beautifully set off the arches above and the approach to the throne.

1606_NT

Ansidei Madonna

How does this artwork elucidate its The painting?

The Virgin sits formally on a high throne, with an adult Saint John the Baptist on the left, and Saint Nicholas of Bari to the right. Painted for effect rather than realism, the throne has no arms and the steps are very steep, but beautifully set off the arches above and the approach to the throne.

1607_T

Ansidei Madonna

In the context of Ansidei Madonna, analyze the Excellence through serenity and divinity of the The painting.

The Ansidei Madonna was greatly influenced by the strict expression of divinity of the Umbrian School within his Florentine Period. Above the Madonna's throne is inscribed "Hail, Mother of Christ." This compares to the more natural poses and interaction found in Madonna, the Christ Child and infant John the Baptist in paintings of his Roman period.Per Ruskin of the National Gallery, the painting is considered one of the greatest paintings in history, and as such an embodiment of the best of Christianity, for several reasons. First, the execution was near perfect and well-weathered the test of centuries of time. The gold within the painting looks real, but was totally painted by affect. Secondly, another test of a great painting, the characters look serene. Third, the painting attracts attention to the spirit or soul of a character, rather than their appearance. And, last, you see joy, contentment or beauty in the face of the subject, not negative connotations, such as pain or vileness.Each subject and the landscape of "Ansidei Madonna" evokes serenity and divinity:Madonna, by her complete devotion to her child, Christ child through his secure faith in his mother, St. John through his contemplative expression of his spiritual journey, Bishop Nicholas of Bari through spiritual knowledge, and the soothing landscape and the open, infinite sky, closest to God.The three balls at Bishop Nicholas' feet may symbolize the holy trinity, or the three bags of gold he is said to have thrown into the window of a poor man's home for his daughters' welfare.

1607_NT

Ansidei Madonna

In the context of this artwork, analyze the Excellence through serenity and divinity of the The painting.

The Ansidei Madonna was greatly influenced by the strict expression of divinity of the Umbrian School within his Florentine Period. Above the Madonna's throne is inscribed "Hail, Mother of Christ." This compares to the more natural poses and interaction found in Madonna, the Christ Child and infant John the Baptist in paintings of his Roman period.Per Ruskin of the National Gallery, the painting is considered one of the greatest paintings in history, and as such an embodiment of the best of Christianity, for several reasons. First, the execution was near perfect and well-weathered the test of centuries of time. The gold within the painting looks real, but was totally painted by affect. Secondly, another test of a great painting, the characters look serene. Third, the painting attracts attention to the spirit or soul of a character, rather than their appearance. And, last, you see joy, contentment or beauty in the face of the subject, not negative connotations, such as pain or vileness.Each subject and the landscape of "Ansidei Madonna" evokes serenity and divinity:Madonna, by her complete devotion to her child, Christ child through his secure faith in his mother, St. John through his contemplative expression of his spiritual journey, Bishop Nicholas of Bari through spiritual knowledge, and the soothing landscape and the open, infinite sky, closest to God.The three balls at Bishop Nicholas' feet may symbolize the holy trinity, or the three bags of gold he is said to have thrown into the window of a poor man's home for his daughters' welfare.

1608_T

Ansidei Madonna

Describe the characteristics of the Young master in Ansidei Madonna's The painting.

Raphael's years in Florence exposed him to a plethora of artistic influences, first his teacher Perugino and then others, such as Donatello's sculptured marble, Masaccio's frescoes, Michelangelo's David, Leonardo da Vinci's paintings, and so much more which Raphael used to develop his fine-tuned sense of style, composition and execution as seen in the "Ansidei Madonna".Raphael achieved excellence in Ansidei Madonna through execution of every minute detail. A master at the young age of twenty-three, Raphael brought new life to well-represented subjects, through careful, methodic performance. Care is represented by what one does – and what one does not do, or more clearly: "There is a saying that a true artist is known best by what he omits." Consider the landscape behind our subjects, it is clean and serene, not overdone with unnecessary detail. When color is used, it is used decidedly and for effect, such as the jeweled robe, the chaplet of red coral.In 1508 Raphael arrived in Rome at the age of twenty-five and already a great reputation as a master of the arts, known for such works as "Madonna of the Grand Duke", "Madonna of the Goldfinch", "Ansidei Madonna" and more.

1608_NT

Ansidei Madonna

Describe the characteristics of the Young master in this artwork's The painting.

Raphael's years in Florence exposed him to a plethora of artistic influences, first his teacher Perugino and then others, such as Donatello's sculptured marble, Masaccio's frescoes, Michelangelo's David, Leonardo da Vinci's paintings, and so much more which Raphael used to develop his fine-tuned sense of style, composition and execution as seen in the "Ansidei Madonna".Raphael achieved excellence in Ansidei Madonna through execution of every minute detail. A master at the young age of twenty-three, Raphael brought new life to well-represented subjects, through careful, methodic performance. Care is represented by what one does – and what one does not do, or more clearly: "There is a saying that a true artist is known best by what he omits." Consider the landscape behind our subjects, it is clean and serene, not overdone with unnecessary detail. When color is used, it is used decidedly and for effect, such as the jeweled robe, the chaplet of red coral.In 1508 Raphael arrived in Rome at the age of twenty-five and already a great reputation as a master of the arts, known for such works as "Madonna of the Grand Duke", "Madonna of the Goldfinch", "Ansidei Madonna" and more.

1609_T

Ansidei Madonna

In the context of Ansidei Madonna, explore the Isolated characters of the Umbrian school of the The painting.

The Virgin Mary, Saint John and Bishop Nicholas are isolated from one another, without interchange, a style common in the Umbrian school, and particularly Perugino.

1609_NT

Ansidei Madonna

In the context of this artwork, explore the Isolated characters of the Umbrian school of the The painting.

The Virgin Mary, Saint John and Bishop Nicholas are isolated from one another, without interchange, a style common in the Umbrian school, and particularly Perugino.

1610_T

Ansidei Madonna

Focus on Ansidei Madonna and explain the Commission and provenance.

Niccolò Ansidei commissioned Raphael to paint an altarpiece of a group of paintings titled "The Madonna and Child with Saint John the Baptist and Saint Nicholas of Bari (The Ansidei Madonna)" for his family chapel dedicated to Saint Nicholas in the church of San Fiorenzo, Perugia.Two paintings formed the predella for Raphael's altarpiece the "Ansidei Madonna." The first, "Saint John the Baptist Preaching", was placed beneath the image of Saint John in the main altarpiece, and is now owned by the National Gallery. The panels that depicted her betrothal, positioned below the Virgin and Child, and another below Saint Nicholas of one of his miracles have not survived.There is some question about the date, or dates, of the painting. Original understanding was that the painting was begun in 1505, fitting with Raphael's style at that time, strongly influenced by Perugino. Careful observation revealed that the painting was dated 1507. One can fairly reasonably assume, however, based upon Raphael's style, that the work was started in 1505 and finished in 1507.The chapel that housed the "Ansidei Madonna" was dismantled in 1763 when the church of San Fiorenzo was remodeled. The chapel was reassembled and now contains a 19th-century copy of its original altarpiece, the "Ansidei Madonna", by Raphael. The work was bought by young Lord Robert Spenser in 1764, for an undisclosed, but apparently large sum of money as a gift to his brother, the 4th Duke of Marlborough. Placed in Blenheim Palace, one of the most magnificent buildings in Europe and home of the Duke of Marlborough, the work was sometimes known as the "Blenheim Madonna.""Ansidei Madonna", considered "one of the most perfect pictures of the world", of the Blenheim Collection was sold by George Spencer-Churchill, 8th Duke of Marlborough, under the Lord Cairn's Act for £75,000 or nearly unanimously cited at £70,000, which was about $350,000, to the London National Gallery in 1885. At the time, this was three times the highest amount paid for a painting, likely in large part because there were few Raphael paintings placed in foreign galleries at that time.

1610_NT

Ansidei Madonna

Focus on this artwork and explain the Commission and provenance.

Niccolò Ansidei commissioned Raphael to paint an altarpiece of a group of paintings titled "The Madonna and Child with Saint John the Baptist and Saint Nicholas of Bari (The Ansidei Madonna)" for his family chapel dedicated to Saint Nicholas in the church of San Fiorenzo, Perugia.Two paintings formed the predella for Raphael's altarpiece the "Ansidei Madonna." The first, "Saint John the Baptist Preaching", was placed beneath the image of Saint John in the main altarpiece, and is now owned by the National Gallery. The panels that depicted her betrothal, positioned below the Virgin and Child, and another below Saint Nicholas of one of his miracles have not survived.There is some question about the date, or dates, of the painting. Original understanding was that the painting was begun in 1505, fitting with Raphael's style at that time, strongly influenced by Perugino. Careful observation revealed that the painting was dated 1507. One can fairly reasonably assume, however, based upon Raphael's style, that the work was started in 1505 and finished in 1507.The chapel that housed the "Ansidei Madonna" was dismantled in 1763 when the church of San Fiorenzo was remodeled. The chapel was reassembled and now contains a 19th-century copy of its original altarpiece, the "Ansidei Madonna", by Raphael. The work was bought by young Lord Robert Spenser in 1764, for an undisclosed, but apparently large sum of money as a gift to his brother, the 4th Duke of Marlborough. Placed in Blenheim Palace, one of the most magnificent buildings in Europe and home of the Duke of Marlborough, the work was sometimes known as the "Blenheim Madonna.""Ansidei Madonna", considered "one of the most perfect pictures of the world", of the Blenheim Collection was sold by George Spencer-Churchill, 8th Duke of Marlborough, under the Lord Cairn's Act for £75,000 or nearly unanimously cited at £70,000, which was about $350,000, to the London National Gallery in 1885. At the time, this was three times the highest amount paid for a painting, likely in large part because there were few Raphael paintings placed in foreign galleries at that time.

1611_T

Saint Bibiana (Bernini)

Explore the History of this artwork, Saint Bibiana (Bernini).

Statue of Saint Bibiana is the first example of this Christian Baroque type. It was commissioned in 1624 by rediscovering of saint's body at the beginning of the pontificate of Urban VIII., who that event considered as a good sign of the beginning of his papacy. Therefore, he initiated rebuilding of the original church in the new Baroque style, also with creating of interior and new high altar of Saint Bibiana. Execution of the works and sculpture was commissioned to Gian Lorenzo Bernini.

1611_NT

Saint Bibiana (Bernini)

Explore the History of this artwork.

Statue of Saint Bibiana is the first example of this Christian Baroque type. It was commissioned in 1624 by rediscovering of saint's body at the beginning of the pontificate of Urban VIII., who that event considered as a good sign of the beginning of his papacy. Therefore, he initiated rebuilding of the original church in the new Baroque style, also with creating of interior and new high altar of Saint Bibiana. Execution of the works and sculpture was commissioned to Gian Lorenzo Bernini.

1612_T

Saint Bibiana (Bernini)

Focus on Saint Bibiana (Bernini) and discuss the Iconography.

Statue of St. Bibiana is created as standing female figure draped in a robe along with her attributes column and palm branches. The essence of the work is based on gestures and expressions of St. Bibiana. Her opened mouth and view heading to the skies, evokes emotional conflict of the face. While one hand is holding the palm branch in calm, the other hand lying on the column with forearm gently in front of evoking resistance to story. Statue does not shows the ceratian point of the Saint's life, but only abstract story characterized figure. The more is possible to see emotions of Saint Bibiana and her illusive devotion. The statue is placed in a niche of the altar, which is located at the end of the church. Creating of new unusual window above of the altar brings bright glow of light and supports that mystical feeling of the whole scene. Theatricality and play with light is also created by small windows in vault of the church that illuminates statue of Saint Bibiana itself .

1612_NT

Saint Bibiana (Bernini)

Focus on this artwork and discuss the Iconography.

Statue of St. Bibiana is created as standing female figure draped in a robe along with her attributes column and palm branches. The essence of the work is based on gestures and expressions of St. Bibiana. Her opened mouth and view heading to the skies, evokes emotional conflict of the face. While one hand is holding the palm branch in calm, the other hand lying on the column with forearm gently in front of evoking resistance to story. Statue does not shows the ceratian point of the Saint's life, but only abstract story characterized figure. The more is possible to see emotions of Saint Bibiana and her illusive devotion. The statue is placed in a niche of the altar, which is located at the end of the church. Creating of new unusual window above of the altar brings bright glow of light and supports that mystical feeling of the whole scene. Theatricality and play with light is also created by small windows in vault of the church that illuminates statue of Saint Bibiana itself .

1613_T

Saint Bibiana (Bernini)

How does Saint Bibiana (Bernini) elucidate its Contemporary Damage?

The sculpture was shown as part of the large Bernini retrospective at the Galleria Borghese in Rome (2017-18) On its return to the church of Santa Bibiana, the ring finger of the saint's right hand was broken off.

1613_NT

Saint Bibiana (Bernini)

How does this artwork elucidate its Contemporary Damage?

The sculpture was shown as part of the large Bernini retrospective at the Galleria Borghese in Rome (2017-18) On its return to the church of Santa Bibiana, the ring finger of the saint's right hand was broken off.

1614_T

Lupine Meadow Roll

Focus on Lupine Meadow Roll and analyze the abstract.

Lupine Meadow Roll is a 1990 bronze sculpture by John B. Mortensen, installed in Salt Lake City's Triad Center in the U.S. state of Utah. The bear sculpture measures approximately 1 ft. x 8 in. x 2 ft. and rests on a concrete base which measures approximately 2 x 2 x 2 ft. According to the Smithsonian Institution, which surveyed the artwork as part of its "Save Outdoor Sculpture!" program in 1993, this cast is the ninth of twenty.

1614_NT

Lupine Meadow Roll

Focus on this artwork and analyze the abstract.

Lupine Meadow Roll is a 1990 bronze sculpture by John B. Mortensen, installed in Salt Lake City's Triad Center in the U.S. state of Utah. The bear sculpture measures approximately 1 ft. x 8 in. x 2 ft. and rests on a concrete base which measures approximately 2 x 2 x 2 ft. According to the Smithsonian Institution, which surveyed the artwork as part of its "Save Outdoor Sculpture!" program in 1993, this cast is the ninth of twenty.

1615_T

Host (painting)

In Host (painting), how is the abstract discussed?

Host is a 1996 painting by Ellen Gallagher. It is in the collection of the Seattle Art Museum in Seattle, Washington in the United States.

1615_NT

Host (painting)

In this artwork, how is the abstract discussed?

Host is a 1996 painting by Ellen Gallagher. It is in the collection of the Seattle Art Museum in Seattle, Washington in the United States.

1616_T

Host (painting)

Focus on Host (painting) and explore the Description.

Keeping in the tradition of Gallagher's early works, the painting comprises sheets of penmanship paper, painted with a light, beige oil paint, glued to a canvas with thousands of tiny lips and eyes drawn in graphite. The eyes look like googly eyes and the lips are large, banana-like in shape and exaggerated similar to the make-up worn by white actors in minstrel shows.

1616_NT

Host (painting)

Focus on this artwork and explore the Description.

Keeping in the tradition of Gallagher's early works, the painting comprises sheets of penmanship paper, painted with a light, beige oil paint, glued to a canvas with thousands of tiny lips and eyes drawn in graphite. The eyes look like googly eyes and the lips are large, banana-like in shape and exaggerated similar to the make-up worn by white actors in minstrel shows.

1617_T

Host (painting)

Focus on Host (painting) and explain the History.

This painting was acquired by the museum with gifts from Richard and Elizabeth Hedreen and the Margaret E. Fuller Purchase Fund. Host was first exhibited at the American Academy of Arts and Letters' "Invitational Exhibition of Painting and Sculpture" in 2000 in New York City. It was exhibited four times at the Seattle Art Museum as part of various group exhibitions. It was also exhibited in New York at the New Museum as part of Gallagher's solo show, "Ellen Gallagher: Don't Axe Me" in 2013.

1617_NT

Host (painting)

Focus on this artwork and explain the History.

This painting was acquired by the museum with gifts from Richard and Elizabeth Hedreen and the Margaret E. Fuller Purchase Fund. Host was first exhibited at the American Academy of Arts and Letters' "Invitational Exhibition of Painting and Sculpture" in 2000 in New York City. It was exhibited four times at the Seattle Art Museum as part of various group exhibitions. It was also exhibited in New York at the New Museum as part of Gallagher's solo show, "Ellen Gallagher: Don't Axe Me" in 2013.

1618_T

Host (painting)

Explore the Background of this artwork, Host (painting).

This is one of many in a collection of works by Gallagher that reflects on early African-American stereotypes, particularly those depicted in minstrel shows. This, among other similar paintings by the artist, have been described as being deceptively part of the minimalism movement, until the viewer sees the details mouths and eyes.

1618_NT

Host (painting)

Explore the Background of this artwork.

This is one of many in a collection of works by Gallagher that reflects on early African-American stereotypes, particularly those depicted in minstrel shows. This, among other similar paintings by the artist, have been described as being deceptively part of the minimalism movement, until the viewer sees the details mouths and eyes.

1619_T

Danaë (Correggio)

Focus on Danaë (Correggio) and discuss the abstract.

Danaë is a painting by the Italian Renaissance artist Correggio, executed around 1531 and now in the Galleria Borghese in Rome.

1619_NT

Danaë (Correggio)

Focus on this artwork and discuss the abstract.

Danaë is a painting by the Italian Renaissance artist Correggio, executed around 1531 and now in the Galleria Borghese in Rome.

1620_T

Mirror Hall

How does Mirror Hall elucidate its abstract?

Mirror Hall is an oil on canvas painting by Iranian realist painter Kamal-ol-Molk, his first work since receiving the title Kamal-ol-Molk ("Perfection of the Realm"). It is considered one of his masterpieces, and marks a starting point in Iran's modern art.The painting was executed in over five years, depicting Qajar ruler Naser-ed-Din Shah sitting on a chair in front of a window at the Mirror Hall of the Golestan Palace, where the Qajar dynasty resided.The completion of the painting coincided with the Qajar ruler's murder in 1896, and the rise of Mozaffar-ed-Din Shah, the fifth Qajar ruler.Kamal-ol-Molk was later questioned about the theft of some precious gems located at the hall, but the actual culprit was eventually found.The Mirror Hall is famous for its remarkable mirror work. It was designed by architect Abul Hassan Memar Bashi Esfahani (d. 1245-1305 AH / 1829-1888 AD) (nicknamed Sani-ol-Molk), while Minister of Architecture Yahya Khan (Mowtamed-ol-Molk) was the consultant.

1620_NT

Mirror Hall

How does this artwork elucidate its abstract?

Mirror Hall is an oil on canvas painting by Iranian realist painter Kamal-ol-Molk, his first work since receiving the title Kamal-ol-Molk ("Perfection of the Realm"). It is considered one of his masterpieces, and marks a starting point in Iran's modern art.The painting was executed in over five years, depicting Qajar ruler Naser-ed-Din Shah sitting on a chair in front of a window at the Mirror Hall of the Golestan Palace, where the Qajar dynasty resided.The completion of the painting coincided with the Qajar ruler's murder in 1896, and the rise of Mozaffar-ed-Din Shah, the fifth Qajar ruler.Kamal-ol-Molk was later questioned about the theft of some precious gems located at the hall, but the actual culprit was eventually found.The Mirror Hall is famous for its remarkable mirror work. It was designed by architect Abul Hassan Memar Bashi Esfahani (d. 1245-1305 AH / 1829-1888 AD) (nicknamed Sani-ol-Molk), while Minister of Architecture Yahya Khan (Mowtamed-ol-Molk) was the consultant.

1621_T

Adoration of the Shepherds (Murillo, Madrid)

Focus on Adoration of the Shepherds (Murillo, Madrid) and analyze the abstract.

The Adoration of the Shepherds is a painting in oils on canvas by Bartolomé Esteban Murillo in the Museo del Prado in Madrid, dating to c. 1650. He also produced a later version of the same subject.

1621_NT

Adoration of the Shepherds (Murillo, Madrid)

Focus on this artwork and analyze the abstract.

The Adoration of the Shepherds is a painting in oils on canvas by Bartolomé Esteban Murillo in the Museo del Prado in Madrid, dating to c. 1650. He also produced a later version of the same subject.

1622_T

Raven Gargoyle

In Raven Gargoyle, how is the abstract discussed?

Raven Gargoyle is an outdoor 1987 sculpture by Wayne Chabre, installed in 1988 on the University of Oregon campus in Eugene, Oregon, in the United States. The hammered copper head of a raven with a Kwakiutl Indian mask, built on a stainless steel frame, measures approximately 4 feet (1.2 m) x 3 feet (0.91 m) x 4 feet (1.2 m). It was surveyed and deemed "treatment needed" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in March 1993. The sculpture is administered by the University of Oregon.

1622_NT

Raven Gargoyle

In this artwork, how is the abstract discussed?

Raven Gargoyle is an outdoor 1987 sculpture by Wayne Chabre, installed in 1988 on the University of Oregon campus in Eugene, Oregon, in the United States. The hammered copper head of a raven with a Kwakiutl Indian mask, built on a stainless steel frame, measures approximately 4 feet (1.2 m) x 3 feet (0.91 m) x 4 feet (1.2 m). It was surveyed and deemed "treatment needed" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in March 1993. The sculpture is administered by the University of Oregon.

1623_T

Folly Bollards

Focus on Folly Bollards and explore the abstract.

Folly Bollards is a series of outdoor 1998 bronze bollard sculptures by Valerie Otani, installed along Southwest Main between Broadway and Park in Portland, Oregon, United States.

1623_NT

Folly Bollards

Focus on this artwork and explore the abstract.

Folly Bollards is a series of outdoor 1998 bronze bollard sculptures by Valerie Otani, installed along Southwest Main between Broadway and Park in Portland, Oregon, United States.

1624_T

Folly Bollards

Focus on Folly Bollards and explain the Description and history.

Sculptures in the series, each of which are abstract bronzes that measure 48 inches (120 cm) x 5 inches (13 cm) x 5 inches (13 cm), include: Folly Bollards: Anansi, African Trickster Spider, a spider Folly Bollards: El Viejito, Mexico, a Mexican figure Folly Bollards: Harlequin, a clown Folly Bollards: Monkey King, China, a monkey Folly Bollards: Nasreddin, a Turkish figure Folly Bollards: Nulamal, Kwakiuti Fool Dancer, a First Nations dancer

1624_NT

Folly Bollards

Focus on this artwork and explain the Description and history.

Sculptures in the series, each of which are abstract bronzes that measure 48 inches (120 cm) x 5 inches (13 cm) x 5 inches (13 cm), include: Folly Bollards: Anansi, African Trickster Spider, a spider Folly Bollards: El Viejito, Mexico, a Mexican figure Folly Bollards: Harlequin, a clown Folly Bollards: Monkey King, China, a monkey Folly Bollards: Nasreddin, a Turkish figure Folly Bollards: Nulamal, Kwakiuti Fool Dancer, a First Nations dancer

1625_T

Obelisk (Prague Castle)

Explore the abstract of this artwork, Obelisk (Prague Castle).

The obelisk at Prague Castle (Czech: Obelisk na Pražském hradě or Mrákotínský monolit) is a granite monolith and World War I memorial designed by Jože Plečnik, installed at Prague Castle in Prague, Czech Republic. It stands 16 meters high. It is located in the Third Castle Courtyard.The obelisk was donated by Tomáš Garrigue Masaryk. It was erected in late 1928 to mark the tenth anniversary of the establishment of the First Czechoslovak Republic. The obelisk was originally to have been much larger, but while it was being transported to its intended location in 1928, it broke in two, and only part could be salvaged.

1625_NT

Obelisk (Prague Castle)

Explore the abstract of this artwork.

The obelisk at Prague Castle (Czech: Obelisk na Pražském hradě or Mrákotínský monolit) is a granite monolith and World War I memorial designed by Jože Plečnik, installed at Prague Castle in Prague, Czech Republic. It stands 16 meters high. It is located in the Third Castle Courtyard.The obelisk was donated by Tomáš Garrigue Masaryk. It was erected in late 1928 to mark the tenth anniversary of the establishment of the First Czechoslovak Republic. The obelisk was originally to have been much larger, but while it was being transported to its intended location in 1928, it broke in two, and only part could be salvaged.

1626_T

The Concert Singer

Focus on The Concert Singer and discuss the abstract.

The Concert Singer is a painting by Thomas Eakins (1844–1916), depicting the singer Weda Cook (1867–1937). The work, commenced in 1890 and completed in 1892, was Eakins's first full-length portrait of a woman. It is now in the Philadelphia Museum of Art. The Concert Singer was one of a series of portraits Eakins painted of Philadelphia natives who were prominent in science and culture, with the intent of producing major showpieces for exhibition. The painting exemplifies Eakins's desire to truthfully record visual appearances with "historical value."Eakins drew, painted, or sculpted at least twenty-two works that dealt with the visual aspects of music; at one point, this included "eleven straight portraits of musicians and musicologists", of which The Concert Singer has been called "the finest".

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The Concert Singer

Focus on this artwork and discuss the abstract.

The Concert Singer is a painting by Thomas Eakins (1844–1916), depicting the singer Weda Cook (1867–1937). The work, commenced in 1890 and completed in 1892, was Eakins's first full-length portrait of a woman. It is now in the Philadelphia Museum of Art. The Concert Singer was one of a series of portraits Eakins painted of Philadelphia natives who were prominent in science and culture, with the intent of producing major showpieces for exhibition. The painting exemplifies Eakins's desire to truthfully record visual appearances with "historical value."Eakins drew, painted, or sculpted at least twenty-two works that dealt with the visual aspects of music; at one point, this included "eleven straight portraits of musicians and musicologists", of which The Concert Singer has been called "the finest".

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The Concert Singer

How does The Concert Singer elucidate its Composition?

The work depicts Weda Cook, a "respected Camden vocalist... recognized for her 'powerful contralto voice, unassuming manner, and thorough training.'" She stands center stage, wearing pink slippers and a low-necked sleeveless pink dress, a luminous and central element in the picture, fringed with lace and pearl beads. Eakins's realism is notable in the painting of skin tones, with Cook's bare neck, chest, arms, and shoulders visibly paler than her head and hands. The figure is solidly and subtly modeled, its warm light pinks set against a cooler and darker yellow-green background. Narrative details are minimal. In the lower-left foreground, a conductor's hand and baton are visible, although the rest of the figure is not pictured. Initially, as can be seen in the preliminary sketch, the hand grasped the baton as if it were a paint brush. For verisimilitude Eakins had Charles M. Schmitz, the conductor of the Germania Orchestra and Cook's teacher, pose holding the baton. A bouquet at the lower right suggests that the singer is performing an encore; apparently a fresh supply of roses was provided at each sitting by the sculptor William Rudolf O'Donovan, who had fallen in love with Cook.The floor on which Cook stands recedes into an ambiguous background, and despite several anecdotal elements, the painting is "remarkably barren", though with enough information to suggest a public performance. Inconsistencies in perspective add to the ambiguity. The lower part of the dress, shoes, and flowers are depicted as if seen from above, yet the visibility of the soles of the shoes and underside of the dress suggest a lower vantage point.The austerity of the composition marks a new and more abstract tendency in Eakins's work, presaging the increasing sense of isolation that would be characteristic of his later portraits. In its design, cropping of details at the lower edges, and low angle of vision, John Wilmerding has likened the painting to the music and dance interiors of Eakins's contemporary, Edgar Degas. Despite formal similarities between The Concert Singer and works by Eakins's French contemporaries, there is a difference in mood: Degas' singers work in cafes, their glamor undercut by garish lighting, and Daumier's essays of the theme are more cynical still. In contrast, the Eakins painting reflects an American appreciation for singing as a manifestation of high culture. Unidealized, Weda Cook's figure is depicted as substantial and sensuous. It is revealed by a light that creates form, depth, and produces "the painting's profoundly poetic mood".

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The Concert Singer

How does this artwork elucidate its Composition?

The work depicts Weda Cook, a "respected Camden vocalist... recognized for her 'powerful contralto voice, unassuming manner, and thorough training.'" She stands center stage, wearing pink slippers and a low-necked sleeveless pink dress, a luminous and central element in the picture, fringed with lace and pearl beads. Eakins's realism is notable in the painting of skin tones, with Cook's bare neck, chest, arms, and shoulders visibly paler than her head and hands. The figure is solidly and subtly modeled, its warm light pinks set against a cooler and darker yellow-green background. Narrative details are minimal. In the lower-left foreground, a conductor's hand and baton are visible, although the rest of the figure is not pictured. Initially, as can be seen in the preliminary sketch, the hand grasped the baton as if it were a paint brush. For verisimilitude Eakins had Charles M. Schmitz, the conductor of the Germania Orchestra and Cook's teacher, pose holding the baton. A bouquet at the lower right suggests that the singer is performing an encore; apparently a fresh supply of roses was provided at each sitting by the sculptor William Rudolf O'Donovan, who had fallen in love with Cook.The floor on which Cook stands recedes into an ambiguous background, and despite several anecdotal elements, the painting is "remarkably barren", though with enough information to suggest a public performance. Inconsistencies in perspective add to the ambiguity. The lower part of the dress, shoes, and flowers are depicted as if seen from above, yet the visibility of the soles of the shoes and underside of the dress suggest a lower vantage point.The austerity of the composition marks a new and more abstract tendency in Eakins's work, presaging the increasing sense of isolation that would be characteristic of his later portraits. In its design, cropping of details at the lower edges, and low angle of vision, John Wilmerding has likened the painting to the music and dance interiors of Eakins's contemporary, Edgar Degas. Despite formal similarities between The Concert Singer and works by Eakins's French contemporaries, there is a difference in mood: Degas' singers work in cafes, their glamor undercut by garish lighting, and Daumier's essays of the theme are more cynical still. In contrast, the Eakins painting reflects an American appreciation for singing as a manifestation of high culture. Unidealized, Weda Cook's figure is depicted as substantial and sensuous. It is revealed by a light that creates form, depth, and produces "the painting's profoundly poetic mood".

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The Concert Singer

Focus on The Concert Singer and analyze the Compositional history.

It is possible that Eakins first saw Cook perform at the Art Students League of Philadelphia on February 22, 1889, and was inspired to paint The Concert Singer after seeing a photograph of Jules Massenet at an organ, with his wife open-mouthed, singing. Though anonymous female (and angel) singers were often shown with their mouths open in medieval and Renaissance art—as well as in later works such as Degas's Singer with a Glove, 1878—named singing artists were nearly always painted and photographed with their mouths closed at this period. So, like many Eakins portraits, The Concert Singer had an element of daring in its composition, although the mouth is not shown fully open.Prior to painting The Concert Singer, Eakins made a small oil sketch, now also in the Philadelphia Museum of Art. Although the sketch lacks the palm and roses, essential compositional modes are already in place, with emphasis on Cook's neck, the color of the dress, direction of light, and general design.It took Eakins nearly two years to paint The Concert Singer. Cook posed for him numerous times, three or four times a week for the first year. Each time she did, Eakins asked her to sing "O rest in the Lord" from Felix Mendelssohn's Elijah so he could observe her throat movements; the portrait's specificity is such that some scholars have interpreted Cook as being shown in the act of "forming the e sound in the word rest." The opening bars of the aria are carved in the wooden frame of the painting. Eakins later wrote: "I once painted a concert singer and on the chestnut frame I carved the opening bars of Mendelssohn's 'Rest in the Lord.' It was ornamental unobtrusive and to musicians I think it emphasized the expression of the face and pose of the figure." This was a practice Eakins also implemented in his Portrait of Professor Henry A. Rowland, in which the painting of the physicist was shown in a frame made by the artist, with carvings of symbols and formulas related to Rowland's work. The Concert Singer has been interpreted as a tribute to the poet Walt Whitman, who was warmly admired by both Eakins and Cook, and who was in his final illness at the time the painting was made. Eakins had met the poet in 1887, and completed a portrait of him the following year. Weda Cook had set some of Whitman's poems to music, and often performed for him. "O rest in the Lord" was a particular favorite of the poet, who asked Cook to sing it for him every time they met. Whitman was never far from the thoughts of artist and model as the work progressed; Cook later recalled that Eakins quoted verses from Whitman while she posed. The painting was still unfinished when a rift developed between Eakins and Cook; one reason cited was his repeated request for her to pose nude, which Cook refused. Cook later described Eakins's "gentleness combined with the persistence of a devil", by which he persuaded her to disrobe "down to my underclothes" (possibly a reference to the "classical costume" seen in several photographs of Cook and her cousins made ca. 1892 in Eakins's studio). However, Cook later wrote that she had broken with Eakins over rumors that he had driven his niece, Ella Crowell, to insanity. Eakins finished the painting from Cook's shoes and dress, a circumstance that has been cited to account for a perceived awkwardness in the singer's stance and the placement of her right foot. Eakins and Cook had reconciled by 1895, when she, her husband, and her cousin Maud sat for individual portraits.

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The Concert Singer

Focus on this artwork and analyze the Compositional history.

It is possible that Eakins first saw Cook perform at the Art Students League of Philadelphia on February 22, 1889, and was inspired to paint The Concert Singer after seeing a photograph of Jules Massenet at an organ, with his wife open-mouthed, singing. Though anonymous female (and angel) singers were often shown with their mouths open in medieval and Renaissance art—as well as in later works such as Degas's Singer with a Glove, 1878—named singing artists were nearly always painted and photographed with their mouths closed at this period. So, like many Eakins portraits, The Concert Singer had an element of daring in its composition, although the mouth is not shown fully open.Prior to painting The Concert Singer, Eakins made a small oil sketch, now also in the Philadelphia Museum of Art. Although the sketch lacks the palm and roses, essential compositional modes are already in place, with emphasis on Cook's neck, the color of the dress, direction of light, and general design.It took Eakins nearly two years to paint The Concert Singer. Cook posed for him numerous times, three or four times a week for the first year. Each time she did, Eakins asked her to sing "O rest in the Lord" from Felix Mendelssohn's Elijah so he could observe her throat movements; the portrait's specificity is such that some scholars have interpreted Cook as being shown in the act of "forming the e sound in the word rest." The opening bars of the aria are carved in the wooden frame of the painting. Eakins later wrote: "I once painted a concert singer and on the chestnut frame I carved the opening bars of Mendelssohn's 'Rest in the Lord.' It was ornamental unobtrusive and to musicians I think it emphasized the expression of the face and pose of the figure." This was a practice Eakins also implemented in his Portrait of Professor Henry A. Rowland, in which the painting of the physicist was shown in a frame made by the artist, with carvings of symbols and formulas related to Rowland's work. The Concert Singer has been interpreted as a tribute to the poet Walt Whitman, who was warmly admired by both Eakins and Cook, and who was in his final illness at the time the painting was made. Eakins had met the poet in 1887, and completed a portrait of him the following year. Weda Cook had set some of Whitman's poems to music, and often performed for him. "O rest in the Lord" was a particular favorite of the poet, who asked Cook to sing it for him every time they met. Whitman was never far from the thoughts of artist and model as the work progressed; Cook later recalled that Eakins quoted verses from Whitman while she posed. The painting was still unfinished when a rift developed between Eakins and Cook; one reason cited was his repeated request for her to pose nude, which Cook refused. Cook later described Eakins's "gentleness combined with the persistence of a devil", by which he persuaded her to disrobe "down to my underclothes" (possibly a reference to the "classical costume" seen in several photographs of Cook and her cousins made ca. 1892 in Eakins's studio). However, Cook later wrote that she had broken with Eakins over rumors that he had driven his niece, Ella Crowell, to insanity. Eakins finished the painting from Cook's shoes and dress, a circumstance that has been cited to account for a perceived awkwardness in the singer's stance and the placement of her right foot. Eakins and Cook had reconciled by 1895, when she, her husband, and her cousin Maud sat for individual portraits.

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The Concert Singer

In The Concert Singer, how is the Provenance discussed?

The Concert Singer remained in Eakins's possession until his death. It was exhibited several times during his lifetime, but he was unable to sell it. Eakins thought well of the picture, and priced it accordingly: in 1893 and 1895 he asked $1,000 for it, raising the price to $5,000 in 1914. In 1914 Weda Cook asked to purchase the painting, but Eakins replied that he could not part with it because "it must be largely exhibited yet", and because of its sentimental value to him: "I have many memories of it, some happy, some sad". After his death the painting was appraised for only $150. The painting was given to the Philadelphia Museum of Art in 1929 by Eakins's widow Susan Macdowell Eakins (1851–1938), and Miss Mary Adeline Williams, the latter a close friend who lived with Eakins and his wife for long periods.

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The Concert Singer

In this artwork, how is the Provenance discussed?

The Concert Singer remained in Eakins's possession until his death. It was exhibited several times during his lifetime, but he was unable to sell it. Eakins thought well of the picture, and priced it accordingly: in 1893 and 1895 he asked $1,000 for it, raising the price to $5,000 in 1914. In 1914 Weda Cook asked to purchase the painting, but Eakins replied that he could not part with it because "it must be largely exhibited yet", and because of its sentimental value to him: "I have many memories of it, some happy, some sad". After his death the painting was appraised for only $150. The painting was given to the Philadelphia Museum of Art in 1929 by Eakins's widow Susan Macdowell Eakins (1851–1938), and Miss Mary Adeline Williams, the latter a close friend who lived with Eakins and his wife for long periods.

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Lansdowne portrait

Focus on Lansdowne portrait and explore the abstract.

The Lansdowne portrait is an iconic life-size portrait of George Washington painted by Gilbert Stuart in 1796. It depicts the 64-year-old president of the United States during his final year in office. The portrait was a gift to former British Prime Minister William Petty, 1st Marquess of Lansdowne, and spent more than 170 years in England. Stuart painted three copies of the Lansdowne, and five portraits that were closely related to it.: 175  His most famous copy has hung in the East Room of the White House since 1800. Numerous other artists also painted copies. In 2001, to preclude the original portrait's possible sale at auction, the National Portrait Gallery in Washington, D.C. purchased it for $20 million.

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Lansdowne portrait

Focus on this artwork and explore the abstract.

The Lansdowne portrait is an iconic life-size portrait of George Washington painted by Gilbert Stuart in 1796. It depicts the 64-year-old president of the United States during his final year in office. The portrait was a gift to former British Prime Minister William Petty, 1st Marquess of Lansdowne, and spent more than 170 years in England. Stuart painted three copies of the Lansdowne, and five portraits that were closely related to it.: 175  His most famous copy has hung in the East Room of the White House since 1800. Numerous other artists also painted copies. In 2001, to preclude the original portrait's possible sale at auction, the National Portrait Gallery in Washington, D.C. purchased it for $20 million.

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Lansdowne portrait

Focus on Lansdowne portrait and explain the Jay Treaty.

The Lansdowne portrait likely (and fancifully) depicts President Washington's December 7, 1795 annual address to the Fourth U.S. Congress.: 172  The highly unpopular Jay Treaty, settling claims between the United States and Great Britain left over from the Revolutionary War, had been presented to the U.S. Senate for approval earlier in the year. The Senate held a special session to debate the treaty in June, at which opposition to it had been fierce. Only two-thirds of the 30 senators (the minimum required under the U.S. Constitution) approved the treaty in mid-August, and Washington, who strongly supported the treaty, signed it in late August.: 172  In his annual address, delivered to Congress on opening day of its next session, the President acknowledged the struggle over the Jay Treaty, and called for unity. There was lingering resentment in the House of Representatives, which expressed its displeasure by declining to appropriate funding for the treaty's implementation until April 1796.In England, the Lansdowne portrait was celebrated as Washington's endorsement of the Jay Treaty:The portrait presented by the President [sic] to the Marquis of Lansdowne is one of the finest pictures we have seen since the death of Reynolds. The dress he wears is plain black velvet; he has his sword on, upon the hilt of which one hand rests while the other is extended, as the figure is standing and addressing the Hall of Assembly. The point of time is that when he recommended inviolable union between America and Great Britain. Washington's December 7, 1795 address was the last that he delivered to Congress in person. The following year the President published his Farewell Address in the newspapers, rather than delivering it to Congress.: 172

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Lansdowne portrait

Focus on this artwork and explain the Jay Treaty.

The Lansdowne portrait likely (and fancifully) depicts President Washington's December 7, 1795 annual address to the Fourth U.S. Congress.: 172  The highly unpopular Jay Treaty, settling claims between the United States and Great Britain left over from the Revolutionary War, had been presented to the U.S. Senate for approval earlier in the year. The Senate held a special session to debate the treaty in June, at which opposition to it had been fierce. Only two-thirds of the 30 senators (the minimum required under the U.S. Constitution) approved the treaty in mid-August, and Washington, who strongly supported the treaty, signed it in late August.: 172  In his annual address, delivered to Congress on opening day of its next session, the President acknowledged the struggle over the Jay Treaty, and called for unity. There was lingering resentment in the House of Representatives, which expressed its displeasure by declining to appropriate funding for the treaty's implementation until April 1796.In England, the Lansdowne portrait was celebrated as Washington's endorsement of the Jay Treaty:The portrait presented by the President [sic] to the Marquis of Lansdowne is one of the finest pictures we have seen since the death of Reynolds. The dress he wears is plain black velvet; he has his sword on, upon the hilt of which one hand rests while the other is extended, as the figure is standing and addressing the Hall of Assembly. The point of time is that when he recommended inviolable union between America and Great Britain. Washington's December 7, 1795 address was the last that he delivered to Congress in person. The following year the President published his Farewell Address in the newspapers, rather than delivering it to Congress.: 172

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Lansdowne portrait

Explore the Stuart of this artwork, Lansdowne portrait.

Gilbert Stuart and his family were Loyalists, and moved from Rhode Island to Canada early in the Revolutionary War. Stuart himself lived and painted in London from 1775 to 1787, and in Dublin from 1787 to 1793. Following almost eighteen years abroad, the artist returned to the United States in early 1793.Lord Lansdowne – who as British Prime Minister had secured a peaceful end to the War – commissioned Stuart to paint a portrait of George Washington. Lansdowne may have placed the order prior to the artist's 1793 departure for the United States.: 80–81  Stuart lived and worked in New York City for a year and a half before moving to Philadelphia in November 1794. He informed his uncle in Philadelphia of his upcoming arrival: "The object of my journey is only to secure a picture of the President, & finish yours."Philadelphia served as the temporary national capital from 1790 to 1800 – while Washington, D.C. was under construction. Stuart was introduced to the President in December 1794, at one of Mrs. Washington's Friday evening "drawingrooms.": 133  But it was not until the following fall that Washington granted him a sitting. Meanwhile, Stuart gathered orders for portraits—among his papers is a document titled: "A list of gentlemen who are to have copies of the portrait of the President of the United States." and dated: "Philadelphia. April 20th, 1795.": 87–88  Lord Lansdowne's name was third on the list of thirty-two subscribers.: 87

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Lansdowne portrait

Explore the Stuart of this artwork.

Gilbert Stuart and his family were Loyalists, and moved from Rhode Island to Canada early in the Revolutionary War. Stuart himself lived and painted in London from 1775 to 1787, and in Dublin from 1787 to 1793. Following almost eighteen years abroad, the artist returned to the United States in early 1793.Lord Lansdowne – who as British Prime Minister had secured a peaceful end to the War – commissioned Stuart to paint a portrait of George Washington. Lansdowne may have placed the order prior to the artist's 1793 departure for the United States.: 80–81  Stuart lived and worked in New York City for a year and a half before moving to Philadelphia in November 1794. He informed his uncle in Philadelphia of his upcoming arrival: "The object of my journey is only to secure a picture of the President, & finish yours."Philadelphia served as the temporary national capital from 1790 to 1800 – while Washington, D.C. was under construction. Stuart was introduced to the President in December 1794, at one of Mrs. Washington's Friday evening "drawingrooms.": 133  But it was not until the following fall that Washington granted him a sitting. Meanwhile, Stuart gathered orders for portraits—among his papers is a document titled: "A list of gentlemen who are to have copies of the portrait of the President of the United States." and dated: "Philadelphia. April 20th, 1795.": 87–88  Lord Lansdowne's name was third on the list of thirty-two subscribers.: 87

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Lansdowne portrait

In the context of Lansdowne portrait, discuss the Sittings of the Stuart.

According to Rembrandt Peale, President Washington granted a single joint sitting to Stuart and him "in the Autumn of 1795.": 88  Stuart was not wholly satisfied with the resulting head-and-bust portrait, but still painted between twelve and sixteen copies of it.: 135  Now known as the "Vaughan-style" portraits,: 88  the original of these is in the National Gallery of Art.While visiting London a decade earlier, Senator William Bingham of Pennsylvania and his wife, Anne Willing Bingham, had sat for a family portrait by Stuart (unlocated).: 198  The artist seems to have approached Mrs. Bingham for assistance in getting the President to grant him another sitting:: 91 Mr. Stuart, Chestnut Street.Sir— I am under promise to Mrs. Bingham to set for you to-morrow at nine o'clock, and wishing to know if it be convenient to you that should do so, whether it shall be at your own house (as she talked of the State House) I send this note to you to ask information.I am Sir, Yourobedient ServtGeo.WASHINGTON.Monday Evening, 11th Apr 1796.: 88–89  According to Rembrandt Peale, this was the only sitting Washington granted for the Lansdowne portrait.: 168  It took place at Stuart's studio (and lodgings) in the William Moore Smith house, at the southeast corner of 5th & Chestnut Streets.: 168  With severely limited time, Stuart was forced to concentrate on the President's head and face.: 168  There are multiple claims as to who posed for the body of the figure, including his landlord, Smith.Stuart began the portrait in Philadelphia and completed it in Germantown, then some 8 miles (13 km) outside the city.: 130–31  To avoid distractions, the artist rented a Germantown house in Summer 1796 and set up a studio on the second floor of its stable.: 165–66  The Binghams had enjoyed Lord Lansdowne's hospitality in London, and persuaded Stuart to allow them to pay for the portrait.: 166, 168  Stuart completed the Lansdowne portrait by the fall of 1796, and Senator Bingham paid his fee of $1,000.: 170  Bingham had an ornate frame made for the portrait, and arranged for it to be shipped to England in late November. Lord Lansdowne had received the portrait by March 5, 1797, when he mentioned it in a letter.: 92  Lansdowne's letter of thanks to Mrs. Bingham survives, but is undated:A very fine portrait of the greatest man living in a magnificent frame found its way into my hall, with no one thing left for me to do regarding it, except to thank the amiable donor of it. It is universally approv'd and admir'd, and I see with satisfaction, that there is no one who does not turn away from every thing else, to pay their homage to General Washington. Among many circumstances which contribute to enhance the value of it, I shall always consider the quarter from whence it comes as most flattering, & I look forward with the greatest pleasure to the time of shewing you and Mr. Bingham where I have plac'd it.: 170

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Lansdowne portrait

In the context of this artwork, discuss the Sittings of the Stuart.

According to Rembrandt Peale, President Washington granted a single joint sitting to Stuart and him "in the Autumn of 1795.": 88  Stuart was not wholly satisfied with the resulting head-and-bust portrait, but still painted between twelve and sixteen copies of it.: 135  Now known as the "Vaughan-style" portraits,: 88  the original of these is in the National Gallery of Art.While visiting London a decade earlier, Senator William Bingham of Pennsylvania and his wife, Anne Willing Bingham, had sat for a family portrait by Stuart (unlocated).: 198  The artist seems to have approached Mrs. Bingham for assistance in getting the President to grant him another sitting:: 91 Mr. Stuart, Chestnut Street.Sir— I am under promise to Mrs. Bingham to set for you to-morrow at nine o'clock, and wishing to know if it be convenient to you that should do so, whether it shall be at your own house (as she talked of the State House) I send this note to you to ask information.I am Sir, Yourobedient ServtGeo.WASHINGTON.Monday Evening, 11th Apr 1796.: 88–89  According to Rembrandt Peale, this was the only sitting Washington granted for the Lansdowne portrait.: 168  It took place at Stuart's studio (and lodgings) in the William Moore Smith house, at the southeast corner of 5th & Chestnut Streets.: 168  With severely limited time, Stuart was forced to concentrate on the President's head and face.: 168  There are multiple claims as to who posed for the body of the figure, including his landlord, Smith.Stuart began the portrait in Philadelphia and completed it in Germantown, then some 8 miles (13 km) outside the city.: 130–31  To avoid distractions, the artist rented a Germantown house in Summer 1796 and set up a studio on the second floor of its stable.: 165–66  The Binghams had enjoyed Lord Lansdowne's hospitality in London, and persuaded Stuart to allow them to pay for the portrait.: 166, 168  Stuart completed the Lansdowne portrait by the fall of 1796, and Senator Bingham paid his fee of $1,000.: 170  Bingham had an ornate frame made for the portrait, and arranged for it to be shipped to England in late November. Lord Lansdowne had received the portrait by March 5, 1797, when he mentioned it in a letter.: 92  Lansdowne's letter of thanks to Mrs. Bingham survives, but is undated:A very fine portrait of the greatest man living in a magnificent frame found its way into my hall, with no one thing left for me to do regarding it, except to thank the amiable donor of it. It is universally approv'd and admir'd, and I see with satisfaction, that there is no one who does not turn away from every thing else, to pay their homage to General Washington. Among many circumstances which contribute to enhance the value of it, I shall always consider the quarter from whence it comes as most flattering, & I look forward with the greatest pleasure to the time of shewing you and Mr. Bingham where I have plac'd it.: 170

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Lansdowne portrait

In Lansdowne portrait, how is the Copies of the Stuart elucidated?

Stuart's first copy of the portrait was for the Binghams (now at the Pennsylvania Academy of the Fine Arts), and would have been completed before the original left his studio in late 1796. The President and First Lady visited Germantown on January 7, 1797: "Road [rode] to German Town with Mrs. Washington to see Mr. Stuarts paintings." The Bingham copy was still in the studio on July 27, 1797, when Robert Gilmor Jr. viewed it. The William Kerin Constable copy (now at the Brooklyn Museum) was completed that same month.: 178  The Gardiner Baker copy (now at the White House) is presumed to have been the copy commissioned by Charles Cotesworth Pinckney in September 1796, likely as a diplomatic gift to France. Pinckney paid for but never retrieved his copy of the portrait from Stuart's studio, and the artist seems to have resold it to Baker by December 1797.

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Lansdowne portrait

In this artwork, how is the Copies of the Stuart elucidated?

Stuart's first copy of the portrait was for the Binghams (now at the Pennsylvania Academy of the Fine Arts), and would have been completed before the original left his studio in late 1796. The President and First Lady visited Germantown on January 7, 1797: "Road [rode] to German Town with Mrs. Washington to see Mr. Stuarts paintings." The Bingham copy was still in the studio on July 27, 1797, when Robert Gilmor Jr. viewed it. The William Kerin Constable copy (now at the Brooklyn Museum) was completed that same month.: 178  The Gardiner Baker copy (now at the White House) is presumed to have been the copy commissioned by Charles Cotesworth Pinckney in September 1796, likely as a diplomatic gift to France. Pinckney paid for but never retrieved his copy of the portrait from Stuart's studio, and the artist seems to have resold it to Baker by December 1797.

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Lansdowne portrait

Focus on Lansdowne portrait and analyze the Description and analysis.

The painting is full of symbolism, drawn from American and ancient Roman symbols of the Roman Republic. Stuart painted Washington from life, showing him standing up, dressed in a black velvet suit with an outstretched hand held up in an oratorical manner. Behind Washington is a row of two Doric columns, with another row to the left. Wrapped around and between the columns are red tasseled drapes. Washington's suit is plain and simple, and the sword he holds on his left side is a dress sword and not a battle sword (symbolizing a democratic form of government, rather than a monarchy or military dictatorship). In the sky, storm clouds appear on the left while a rainbow appears on the right, signifying the American Revolutionary War giving way to the peace and prosperity of the new United States after the 1783 Treaty of Paris. The medallion at the top of the chair shows the red, white, and blue colors of the American flag. On and under the tablecloth-draped table to the left are two books: Federalist—probably a reference to the Federalist Papers—and Journal of Congress—the Congressional Record. Another five books are under the table: the three to the right are General Orders, American Revolution, and Constitutional Bylaws—symbolizing Washington's leadership as commander-in-chief of the Continental Army and president of the Constitutional Convention. The pen and paper on the table signify the rule of law. The table's leg is carved as a fasces, a bundle of bound wooden rods that symbolized imperial power and authority in ancient Rome. On the table is a silver inkwell, emblazed with George Washington's coat of arms, which alludes to his signing of the Jay Treaty.: 172  A white quill rests upon silver dogs, ancient symbols of loyalty. Behind these on the table is the President's large black hat. Washington's unusually clenched facial expression comes from his famous false teeth. Jean-Antoine Houdon's marble sculpture of Washington shows a more natural expression. Stuart wrote: "When I painted him [Washington], he had just had a set of false teeth inserted, which accounts for the constrained expression so noticeable about the mouth and lower part of the face ... Houdon's bust does not suffer from this defect."

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Lansdowne portrait

Focus on this artwork and analyze the Description and analysis.

The painting is full of symbolism, drawn from American and ancient Roman symbols of the Roman Republic. Stuart painted Washington from life, showing him standing up, dressed in a black velvet suit with an outstretched hand held up in an oratorical manner. Behind Washington is a row of two Doric columns, with another row to the left. Wrapped around and between the columns are red tasseled drapes. Washington's suit is plain and simple, and the sword he holds on his left side is a dress sword and not a battle sword (symbolizing a democratic form of government, rather than a monarchy or military dictatorship). In the sky, storm clouds appear on the left while a rainbow appears on the right, signifying the American Revolutionary War giving way to the peace and prosperity of the new United States after the 1783 Treaty of Paris. The medallion at the top of the chair shows the red, white, and blue colors of the American flag. On and under the tablecloth-draped table to the left are two books: Federalist—probably a reference to the Federalist Papers—and Journal of Congress—the Congressional Record. Another five books are under the table: the three to the right are General Orders, American Revolution, and Constitutional Bylaws—symbolizing Washington's leadership as commander-in-chief of the Continental Army and president of the Constitutional Convention. The pen and paper on the table signify the rule of law. The table's leg is carved as a fasces, a bundle of bound wooden rods that symbolized imperial power and authority in ancient Rome. On the table is a silver inkwell, emblazed with George Washington's coat of arms, which alludes to his signing of the Jay Treaty.: 172  A white quill rests upon silver dogs, ancient symbols of loyalty. Behind these on the table is the President's large black hat. Washington's unusually clenched facial expression comes from his famous false teeth. Jean-Antoine Houdon's marble sculpture of Washington shows a more natural expression. Stuart wrote: "When I painted him [Washington], he had just had a set of false teeth inserted, which accounts for the constrained expression so noticeable about the mouth and lower part of the face ... Houdon's bust does not suffer from this defect."

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Lansdowne portrait

In the context of Lansdowne portrait, explore the Constable-Hamilton portrait of the Alternate versions.

Stuart painted a 1797 seated portrait of Washington, based on the Lansdowne. William Kerin Constable, who commissioned the Lansdowne copy now at the Brooklyn Museum, also commissioned the seated version.: 98  Constable presented it to Alexander Hamilton in 1797.: 98  The portrait remained in the Hamilton family until 1896, when it was bequeathed to the Lenox Library. The Lenox Library later merged with the New York Public Library. The portrait was auctioned at Sotheby's NY, 30 November 2005, lot 3, and sold for $8,136,000. The Constable-Hamilton Portrait is now in the collection of the Crystal Bridges Museum of American Art, in Bentonville, Arkansas.

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Lansdowne portrait

In the context of this artwork, explore the Constable-Hamilton portrait of the Alternate versions.

Stuart painted a 1797 seated portrait of Washington, based on the Lansdowne. William Kerin Constable, who commissioned the Lansdowne copy now at the Brooklyn Museum, also commissioned the seated version.: 98  Constable presented it to Alexander Hamilton in 1797.: 98  The portrait remained in the Hamilton family until 1896, when it was bequeathed to the Lenox Library. The Lenox Library later merged with the New York Public Library. The portrait was auctioned at Sotheby's NY, 30 November 2005, lot 3, and sold for $8,136,000. The Constable-Hamilton Portrait is now in the collection of the Crystal Bridges Museum of American Art, in Bentonville, Arkansas.

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Lansdowne portrait

In the context of Lansdowne portrait, explain the Munro-Lenox portrait of the Alternate versions.

Stuart made several changes for the Munro-Lenox portrait (c.1800): Washington's head is slightly turned, and his hand is on the table, rather than gesturing into the air. The President looks directly at the viewer, rather than off to the side, which makes it a more compelling image than the Lansdowne. The head appears to be based on Stuart's Athenaeum portrait (the image on the one-dollar bill). The wall behind the President is lowered, allowing for a more dramatic scene of the sun breaking through the storm clouds. After 135 years of ownership by the New York Public Library, the Munro-Lenox portrait was deassessioned and offered for auction in 2005. It failed to sell at auction, and was sold in a private sale for an undisclosed amount to Michael and Judy Steinhardt.Stuart painted three full-size copies of the Munro-Lenox Portrait, one for the Connecticut State House in Hartford; and two for Rhode Island—one for the State House in Providence, and the other for Old Colony House in Newport.

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Lansdowne portrait

In the context of this artwork, explain the Munro-Lenox portrait of the Alternate versions.

Stuart made several changes for the Munro-Lenox portrait (c.1800): Washington's head is slightly turned, and his hand is on the table, rather than gesturing into the air. The President looks directly at the viewer, rather than off to the side, which makes it a more compelling image than the Lansdowne. The head appears to be based on Stuart's Athenaeum portrait (the image on the one-dollar bill). The wall behind the President is lowered, allowing for a more dramatic scene of the sun breaking through the storm clouds. After 135 years of ownership by the New York Public Library, the Munro-Lenox portrait was deassessioned and offered for auction in 2005. It failed to sell at auction, and was sold in a private sale for an undisclosed amount to Michael and Judy Steinhardt.Stuart painted three full-size copies of the Munro-Lenox Portrait, one for the Connecticut State House in Hartford; and two for Rhode Island—one for the State House in Providence, and the other for Old Colony House in Newport.

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Lansdowne portrait

Focus on Lansdowne portrait and discuss the Copies painted by other artists.

The Lansdowne and Munro-Lenox portraits were copied many times, and reproduced in widely circulated prints. William Winstanley (1775–1806), a British landscape painter working in the United States, reportedly painted six full-size copies of the Lansdowne. During the 19th century, Jane Stuart (the artist's daughter) painted multiple copies of the Lansdowne in full and reduced sizes. Alonzo Chappel included elements of the Lansdowne in his c.1860 seated portrait of Washington (Metropolitan Museum of Art).

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Lansdowne portrait

Focus on this artwork and discuss the Copies painted by other artists.

The Lansdowne and Munro-Lenox portraits were copied many times, and reproduced in widely circulated prints. William Winstanley (1775–1806), a British landscape painter working in the United States, reportedly painted six full-size copies of the Lansdowne. During the 19th century, Jane Stuart (the artist's daughter) painted multiple copies of the Lansdowne in full and reduced sizes. Alonzo Chappel included elements of the Lansdowne in his c.1860 seated portrait of Washington (Metropolitan Museum of Art).

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Lansdowne portrait

In Lansdowne portrait, how is the Lansdowne type of the Copies painted by other artists elucidated?

The Catholic University of America, Washington, D.C., unknown artist (possibly William Winstanley), 1798 or later: 181–82  Washington and Lee University, Lexington, Virginia, unknown artist (possibly William Winstanley), 1798 or later: 182  Private collection (deaccessioned from the Art Institute of Chicago), unknown artist (possibly William Winstanley), 1798 or later: 181–82  New York State Capitol, Albany, New York, by Ezra Ames, 1813 Rayburn Room, U.S. Capitol, unknown artist (possibly William Winstanley), by 1816Inscription: "Presented to the Legation of the United States at Madrid by Richard W. Meade of Philadelphia, December 11th, 1818." Relocated from the U.S. Embassy in Madrid to the U.S. Capitol, 1951. North Carolina State House, Raleigh, North Carolina, by Thomas Sully, commissioned 1816, installed 1818. Now in the House of Representatives Chamber, North Carolina State Capitol. Kuhl-Harrison reduced-size portrait, (36 1/4 in x 24 in), unlocated, Gilbert Stuart and Jane Stuart, by 1828 Philadelphia Masonic Temple, Philadelphia, Pennsylvania, unknown artist, 1832 Maryland Historical Society, Baltimore, Maryland, unknown artist, c.1830s Providence Athenaeum, Providence, Rhode Island, unknown Italian artist, c.1830s The Greenbrier, White Sulphur Springs, West Virginia, by Jane Stuart, mid-19th century Reduced-size portrait, Redwood Library and Athenaeum, Newport, Rhode Island, Jane Stuart, mid-19th century Birmingham Museum of Art, Birmingham, Alabama, by Theodore Ramos (1928–2018), 1965. On loan to American Village, Montevallo, Alabama.

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Lansdowne portrait

In this artwork, how is the Lansdowne type of the Copies painted by other artists elucidated?

The Catholic University of America, Washington, D.C., unknown artist (possibly William Winstanley), 1798 or later: 181–82  Washington and Lee University, Lexington, Virginia, unknown artist (possibly William Winstanley), 1798 or later: 182  Private collection (deaccessioned from the Art Institute of Chicago), unknown artist (possibly William Winstanley), 1798 or later: 181–82  New York State Capitol, Albany, New York, by Ezra Ames, 1813 Rayburn Room, U.S. Capitol, unknown artist (possibly William Winstanley), by 1816Inscription: "Presented to the Legation of the United States at Madrid by Richard W. Meade of Philadelphia, December 11th, 1818." Relocated from the U.S. Embassy in Madrid to the U.S. Capitol, 1951. North Carolina State House, Raleigh, North Carolina, by Thomas Sully, commissioned 1816, installed 1818. Now in the House of Representatives Chamber, North Carolina State Capitol. Kuhl-Harrison reduced-size portrait, (36 1/4 in x 24 in), unlocated, Gilbert Stuart and Jane Stuart, by 1828 Philadelphia Masonic Temple, Philadelphia, Pennsylvania, unknown artist, 1832 Maryland Historical Society, Baltimore, Maryland, unknown artist, c.1830s Providence Athenaeum, Providence, Rhode Island, unknown Italian artist, c.1830s The Greenbrier, White Sulphur Springs, West Virginia, by Jane Stuart, mid-19th century Reduced-size portrait, Redwood Library and Athenaeum, Newport, Rhode Island, Jane Stuart, mid-19th century Birmingham Museum of Art, Birmingham, Alabama, by Theodore Ramos (1928–2018), 1965. On loan to American Village, Montevallo, Alabama.

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Lansdowne portrait

In the context of Lansdowne portrait, analyze the Munro-Lenox type of the Copies painted by other artists.

Minneapolis Institute of Art, Minneapolis, Minnesota, by Thomas Sully, c. 1820 U.S. House of Representatives Chamber, U.S. Capitol, by John Vanderlyn, 1834 National Portrait Gallery, London, United Kingdom (on loan to Montreal Museum of Fine Arts), unknown artist (possibly William Winstanley), undated Corcoran Art Gallery, Washington, D.C., by Jane Stuart, 1854. National Portrait Gallery, Washington, D.C. (on long-term loan), unknown artist, undated Fall River Public Library, Massachusetts, by Robert Spear Dunning, 1892

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Lansdowne portrait

In the context of this artwork, analyze the Munro-Lenox type of the Copies painted by other artists.

Minneapolis Institute of Art, Minneapolis, Minnesota, by Thomas Sully, c. 1820 U.S. House of Representatives Chamber, U.S. Capitol, by John Vanderlyn, 1834 National Portrait Gallery, London, United Kingdom (on loan to Montreal Museum of Fine Arts), unknown artist (possibly William Winstanley), undated Corcoran Art Gallery, Washington, D.C., by Jane Stuart, 1854. National Portrait Gallery, Washington, D.C. (on long-term loan), unknown artist, undated Fall River Public Library, Massachusetts, by Robert Spear Dunning, 1892

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Lansdowne portrait

Describe the characteristics of the Related works in Lansdowne portrait's Copies painted by other artists.

Engraving: General Washington by James Heath, 1800, London George Washington by Alonzo Chappel, c. 1860, Metropolitan Museum of Art Chromolithograph: George Washington by Augustus Weidenbach, 1876

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Lansdowne portrait

Describe the characteristics of the Related works in this artwork's Copies painted by other artists.

Engraving: General Washington by James Heath, 1800, London George Washington by Alonzo Chappel, c. 1860, Metropolitan Museum of Art Chromolithograph: George Washington by Augustus Weidenbach, 1876

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The Election of Stanisław August

Focus on The Election of Stanisław August and explore the abstract.

The Election of Stanisław August is a 1778 oil on canvas painting by Bernardo Bellotto, produced to the instructions of its subject Stanisław August Poniatowski and now hanging alongside twenty-two other paintings by the artist in the Senatorial Hall of the Royal Castle, Warsaw, also known as the Canaletto Hall (Bellotto often went by the name of his uncle Canaletto). A first version produced in 1776 had not met with Stanisław August's approval and instead was given to Crown Marshal Franciszek Rzewuski; it is now in the National Museum, Poznań. Both works show the 1764 Polish–Lithuanian royal election, the last free royal election in the Polish–Lithuanian Commonwealth.

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The Election of Stanisław August

Focus on this artwork and explore the abstract.

The Election of Stanisław August is a 1778 oil on canvas painting by Bernardo Bellotto, produced to the instructions of its subject Stanisław August Poniatowski and now hanging alongside twenty-two other paintings by the artist in the Senatorial Hall of the Royal Castle, Warsaw, also known as the Canaletto Hall (Bellotto often went by the name of his uncle Canaletto). A first version produced in 1776 had not met with Stanisław August's approval and instead was given to Crown Marshal Franciszek Rzewuski; it is now in the National Museum, Poznań. Both works show the 1764 Polish–Lithuanian royal election, the last free royal election in the Polish–Lithuanian Commonwealth.

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The Election of Stanisław August

Focus on The Election of Stanisław August and explain the Description.

The painting shows the last free election in the history of the Polish-Lithuanian Commonwealth, carried out in September 1764 in the election field in Wola, visible in the painting from the north-west. The election field is divided into two parts - the closer one is occupied by a shed where senators sit, and the further one by the knight's circle with benches for the number of voivodship representatives. Around the election field, limited by trenches, there is the horse nobility gathering. In the background there can be seen the windmills in the village of Wola.On the left side of the painting, on a hill, where nobles are shaking hands, there is also the clergy. The royal secretary, Kajetan Ghigiotti, wears the Order of Saint Stanislaus on his chest. Next to him, there is the carriage of Primate Władysław Aleksander Łubieński, completing the tour of individual provinces. The Primate, who wears the Order of the White Eagle, is surrounded by the aristocratic youth in the uniforms of the Royal Crown Guard. The lavishness of the retinue is noteworthy.In the central part of the painting, the viewer can see the Płock Voivode Józef Antoni Podoski handing the voting protocol of his voivodeship to the Marshal of the Election Sejm, Józef Sylwester Sosnowski. Closer there is the royal horse holding a black steed belonging to Stanisław August by the reins. In the background, there are fluttering hats, tossed with joy by the nobles. In the right corner, the author of the painting, Bernardo Bellotto, appears sitting on a chair with a saber by his side.King Stanisław August, who gave instructions to the author of the canvas, was anxious to emphasize the participation in the election procedure of the clergy and other important personalities. The presence of characters who are shaking hands and nobles greeting each others in the painting together with the clergy is meant to express the general agreement over the election. On the other hand, the scene of handing over the last voivodship votes to the marshal, because the primate was ill at the time and was replaced by the marshal of the election sejm, wants to emphasize the legality of the election. The seriousness of the noblemen, handing over the voting protocol, testifies the importance of the event and also is meant to represent the majesty of the Commonwealth.

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The Election of Stanisław August

Focus on this artwork and explain the Description.

The painting shows the last free election in the history of the Polish-Lithuanian Commonwealth, carried out in September 1764 in the election field in Wola, visible in the painting from the north-west. The election field is divided into two parts - the closer one is occupied by a shed where senators sit, and the further one by the knight's circle with benches for the number of voivodship representatives. Around the election field, limited by trenches, there is the horse nobility gathering. In the background there can be seen the windmills in the village of Wola.On the left side of the painting, on a hill, where nobles are shaking hands, there is also the clergy. The royal secretary, Kajetan Ghigiotti, wears the Order of Saint Stanislaus on his chest. Next to him, there is the carriage of Primate Władysław Aleksander Łubieński, completing the tour of individual provinces. The Primate, who wears the Order of the White Eagle, is surrounded by the aristocratic youth in the uniforms of the Royal Crown Guard. The lavishness of the retinue is noteworthy.In the central part of the painting, the viewer can see the Płock Voivode Józef Antoni Podoski handing the voting protocol of his voivodeship to the Marshal of the Election Sejm, Józef Sylwester Sosnowski. Closer there is the royal horse holding a black steed belonging to Stanisław August by the reins. In the background, there are fluttering hats, tossed with joy by the nobles. In the right corner, the author of the painting, Bernardo Bellotto, appears sitting on a chair with a saber by his side.King Stanisław August, who gave instructions to the author of the canvas, was anxious to emphasize the participation in the election procedure of the clergy and other important personalities. The presence of characters who are shaking hands and nobles greeting each others in the painting together with the clergy is meant to express the general agreement over the election. On the other hand, the scene of handing over the last voivodship votes to the marshal, because the primate was ill at the time and was replaced by the marshal of the election sejm, wants to emphasize the legality of the election. The seriousness of the noblemen, handing over the voting protocol, testifies the importance of the event and also is meant to represent the majesty of the Commonwealth.

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Niagara Falls, from the American Side

Explore the abstract of this artwork, Niagara Falls, from the American Side.

Niagara Falls, from the American Side is a painting by the American artist Frederic Edwin Church (1826–1900). Completed in 1867, it is based on preliminary sketches made by the artist at Niagara Falls and on a sepia photograph. It is Church's largest painting. The painting is now in the collection of the Scottish National Gallery. Church was a leading member of the Hudson River School of painters.

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Niagara Falls, from the American Side

Explore the abstract of this artwork.

Niagara Falls, from the American Side is a painting by the American artist Frederic Edwin Church (1826–1900). Completed in 1867, it is based on preliminary sketches made by the artist at Niagara Falls and on a sepia photograph. It is Church's largest painting. The painting is now in the collection of the Scottish National Gallery. Church was a leading member of the Hudson River School of painters.

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Niagara Falls, from the American Side

Focus on Niagara Falls, from the American Side and discuss the Painting.

The painting depicts the view from the east side of Niagara Falls – the American side. A rainbow is visible in the spray of the waterfall in the lower right of the canvas. The painting has been described as giving the impression of the water being in constant motion, rushing down, roaring.

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Niagara Falls, from the American Side

Focus on this artwork and discuss the Painting.

The painting depicts the view from the east side of Niagara Falls – the American side. A rainbow is visible in the spray of the waterfall in the lower right of the canvas. The painting has been described as giving the impression of the water being in constant motion, rushing down, roaring.

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Niagara Falls, from the American Side

How does Niagara Falls, from the American Side elucidate its History?

Church made his first painting of the falls in 1857. He had visited the falls several times in July and late August the previous year, making a number of pencil and oil sketches from different points of view. He elected to paint the scene from the Canadian side, choosing unconventional dimensions for the painting that emphasized the panoramic effect.This first painting was an immediate success, attracting over 100,000 visitors within the first fortnight of its premiere at a New York gallery. Following this, it was exhibited at major cities on the Eastern seaboard, toured Britain twice and was selected for the 1867 Exposition Universelle in Paris. It was purchased by the recently founded Corcoran Gallery of Art in 1876, cementing that institution's success. When the Corcoran closed in 2014, its collection was gifted to the National Gallery of Art, Washington, D.C.Niagara Falls, from the American Side was commissioned from Church by the American art dealer Michael Knoedler in 1866. It was the third painting of the series and may have been originally destined for the Exposition. Like many of Church's works of the 1850s and 1860s, it was exhibited in New York City, and then sent to London, where a chromolithograph was made. In 1887 the painting was purchased by John S. Kennedy, who gifted it to his homeland of Scotland. Niagara Falls, from the American Side is the only major work by Frederic Edwin Church which is in a public collection in Europe.

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Niagara Falls, from the American Side

How does this artwork elucidate its History?

Church made his first painting of the falls in 1857. He had visited the falls several times in July and late August the previous year, making a number of pencil and oil sketches from different points of view. He elected to paint the scene from the Canadian side, choosing unconventional dimensions for the painting that emphasized the panoramic effect.This first painting was an immediate success, attracting over 100,000 visitors within the first fortnight of its premiere at a New York gallery. Following this, it was exhibited at major cities on the Eastern seaboard, toured Britain twice and was selected for the 1867 Exposition Universelle in Paris. It was purchased by the recently founded Corcoran Gallery of Art in 1876, cementing that institution's success. When the Corcoran closed in 2014, its collection was gifted to the National Gallery of Art, Washington, D.C.Niagara Falls, from the American Side was commissioned from Church by the American art dealer Michael Knoedler in 1866. It was the third painting of the series and may have been originally destined for the Exposition. Like many of Church's works of the 1850s and 1860s, it was exhibited in New York City, and then sent to London, where a chromolithograph was made. In 1887 the painting was purchased by John S. Kennedy, who gifted it to his homeland of Scotland. Niagara Falls, from the American Side is the only major work by Frederic Edwin Church which is in a public collection in Europe.

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Niagara Falls, from the American Side

Focus on Niagara Falls, from the American Side and analyze the Style.

The canvas is painted in the Romantic style and captures the aesthetic principles of the sublime and the picturesque. Church was a member of the Hudson River School, a group of landscape artists, whose aesthetic vision was influenced by romanticism. The Romantic movement validated intense emotions. The movement was placing new emphasis on the sentiments of visionary and transcendental experience. Emotions like awe – especially that which is experienced in confronting the sublimity of untamed nature and its picturesque qualities – were now entirely new aesthetic categories, and very different from art styles of the same era – the unemotional Realism and of the calm, balanced Classicism – as a source of aesthetic experience.The Sublime view of nature was as something of a large scale dramatic subject, an expression of the sublime – defined by Edmund Burke as the strongest emotion that can be felt.

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Niagara Falls, from the American Side

Focus on this artwork and analyze the Style.

The canvas is painted in the Romantic style and captures the aesthetic principles of the sublime and the picturesque. Church was a member of the Hudson River School, a group of landscape artists, whose aesthetic vision was influenced by romanticism. The Romantic movement validated intense emotions. The movement was placing new emphasis on the sentiments of visionary and transcendental experience. Emotions like awe – especially that which is experienced in confronting the sublimity of untamed nature and its picturesque qualities – were now entirely new aesthetic categories, and very different from art styles of the same era – the unemotional Realism and of the calm, balanced Classicism – as a source of aesthetic experience.The Sublime view of nature was as something of a large scale dramatic subject, an expression of the sublime – defined by Edmund Burke as the strongest emotion that can be felt.

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Woman with a Fan (Metzinger, 1912)

In Woman with a Fan (Metzinger, 1912), how is the abstract discussed?

Woman with a Fan (French: Femme à l'Éventail, also known as The Lady) is an oil painting created in 1912 by the French artist and theorist Jean Metzinger (1883–1956). The painting was exhibited at the Salon d'Automne, 1912, Paris (hung in the decorative arts section inside the Salon Bourgeois of La Maison Cubiste, the Cubist House), and De Moderne Kunstkring, 1912, Amsterdam (L'éventail vert, no. 153). It was also exhibited at the Musée Rath, Geneva, Exposition de cubistes français et d'un groupe d'artistes indépendants, 3–15 June 1913 (L'éventail vert, no. 22). A 1912 photograph of Femme à l'Éventail hanging on a wall inside the Salon Bourgeois was published in The Sun (New York, N.Y.), 10 November 1912. The same photograph was reproduced in The Literary Digest, 30 November 1912.Metzinger's Cubist contribution to the 1912 Salon d'Automne created a controversy in the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such 'barbaric' art. The Cubists were defended by the Socialist politician, Marcel Sembat. This painting was realized as Jean Metzinger and Albert Gleizes, in preparation for the Salon de la Section d'Or, published a major defence of Cubism, resulting in the first theoretical essay on the new movement, Du "Cubisme".A photograph of Femme à l'Éventail appears among the Léonce Rosenberg archives in Paris, but there is no indication of when he acquired the painting. A Rosenberg label on the reverse bears the information "No.25112 J.Metzinger, 1913." By 1918 Rosenberg was buying Metzinger's paintings and may have acquired the picture around this time or soon afterwards.In 1937 Femme à l'Éventail was exhibited at Musée du Petit Palais, Les Maitres de l'art indépendant, 1895-1937, no. 12 (dated 1912). Mlle. Gamier des Garets probably acquired the painting after the 1937 exhibition. By 1938 Solomon R. Guggenheim Museum had purchased the painting. It was gifted to the museum (gift 38.531) by Guggenheim in 1938 (the year after the formation of the foundation). Metzinger's Femme à l'Éventail forms part of the Founding Collection of the Solomon R. Guggenheim Museum, New York.Femme à l'Éventail was showcased in an exhibition entitled The Great Upheaval: Masterpieces from the Guggenheim Collection, 1910-1918, from 30 November 2013 to 1 June 2014.

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Woman with a Fan (Metzinger, 1912)

In this artwork, how is the abstract discussed?

Woman with a Fan (French: Femme à l'Éventail, also known as The Lady) is an oil painting created in 1912 by the French artist and theorist Jean Metzinger (1883–1956). The painting was exhibited at the Salon d'Automne, 1912, Paris (hung in the decorative arts section inside the Salon Bourgeois of La Maison Cubiste, the Cubist House), and De Moderne Kunstkring, 1912, Amsterdam (L'éventail vert, no. 153). It was also exhibited at the Musée Rath, Geneva, Exposition de cubistes français et d'un groupe d'artistes indépendants, 3–15 June 1913 (L'éventail vert, no. 22). A 1912 photograph of Femme à l'Éventail hanging on a wall inside the Salon Bourgeois was published in The Sun (New York, N.Y.), 10 November 1912. The same photograph was reproduced in The Literary Digest, 30 November 1912.Metzinger's Cubist contribution to the 1912 Salon d'Automne created a controversy in the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such 'barbaric' art. The Cubists were defended by the Socialist politician, Marcel Sembat. This painting was realized as Jean Metzinger and Albert Gleizes, in preparation for the Salon de la Section d'Or, published a major defence of Cubism, resulting in the first theoretical essay on the new movement, Du "Cubisme".A photograph of Femme à l'Éventail appears among the Léonce Rosenberg archives in Paris, but there is no indication of when he acquired the painting. A Rosenberg label on the reverse bears the information "No.25112 J.Metzinger, 1913." By 1918 Rosenberg was buying Metzinger's paintings and may have acquired the picture around this time or soon afterwards.In 1937 Femme à l'Éventail was exhibited at Musée du Petit Palais, Les Maitres de l'art indépendant, 1895-1937, no. 12 (dated 1912). Mlle. Gamier des Garets probably acquired the painting after the 1937 exhibition. By 1938 Solomon R. Guggenheim Museum had purchased the painting. It was gifted to the museum (gift 38.531) by Guggenheim in 1938 (the year after the formation of the foundation). Metzinger's Femme à l'Éventail forms part of the Founding Collection of the Solomon R. Guggenheim Museum, New York.Femme à l'Éventail was showcased in an exhibition entitled The Great Upheaval: Masterpieces from the Guggenheim Collection, 1910-1918, from 30 November 2013 to 1 June 2014.

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Woman with a Fan (Metzinger, 1912)

Focus on Woman with a Fan (Metzinger, 1912) and explore the Multiple perspective.

The reflexive function of complex geometry, juxtaposed multiple perspectives, planar fragmentation suggesting motion and rhythmic play with various symmetry types. Though very subtle, there does manifest itself in Femme à l'Éventail a spatial depth or perspective reminiscent of the optical illusion of space of the Renaissance; in the way, for example, windows appear of varying dimension depending on distance from the observer. This shows that non-Euclidean geometry does not imply the destruction of classical perspective, or that the breakdown of classical perspective need not be complete. Unlike the flattening of space associated with the Cubist paintings of Picasso and Braque of the same period, Metzinger had no intention of abolishing depth of field. Of course here perspectival space is only alluded to by changes of scale, not by co-ordinated linear convergence, resulting in a complex space perfectly adapted to a stage-set. This feature is observed not only in Metzinger's Cubist paintings, but also in his Divisionist and proto-Cubist works between 1905 and 1909, as well as in his more figurative works of the 1920s (during the Return to order phase).The painting, as Metzinger's enchanting Dancer in a café, inscribes an ambivalence in that it expresses both contemporary and classical, modern and traditional, avant-garde and academic connotations, simultaneously. The "busy geometry of planar fragmentation and juxtaposed perspectives has a more than reflexive function," notes Cottington, "for the symmetrical patterning of its reticulations (as in the dancer's décolletage) and their rhythmic parallel repetitions suggest not only movement and diagrams but also, metonymically, the mechanised object-world of modernity.""The works of Jean Metzinger" Guillaume Apollinaire writes in 1912 "have purity. His meditations take on beautiful forms whose harmony tends to approach sublimity. The new structures he is composing are stripped of everything that was known before him."Apollinaire, possibly with the work of Eadweard Muybridge in mind, wrote a year later of this state of motion present in the Cubist paintings of Metzinger and others, as akin to cinematic movement around an object, revealing a plastic truth compatible with reality by showing the spectator "all its facets."Albert Gleizes in 1911 remarks Metzinger is "haunted by the desire to inscribe a total image":He will put down the greatest number of possible planes: to purely objective truth he wishes to add a new truth, born from what his intelligence permits him to know. Thus—and he said himself: to space he will join time. [...] he wishes to develop the visual field by multiplying it, to inscribe them all in the space of the same canvas: it is then that the cube will play a role, for Metzinger will utilize this means to reestablish the equilibrium that these audacious inscriptions will have momentarily broken. (Gleizes)Now liberated from the one-to-one relationship between a fixed coordinate in space captured at a single moment in time assumed by classical vanishing-point perspective, the artist became free to explore notions of simultaneity, whereby several positions in space captured at successive time intervals could be depicted within the bounds of a single painting.This picture plane, write Metzinger and Gleizes (in Du "Cubisme", 1912), "reflects the viewer's personality back upon his understanding, pictorial space may be defined as a sensible passage between two subjective spaces." The forms situated within this space, they continue, "spring from a dynamism which we profess to command. In order that our intelligence may possess it, let us first exercise our sensibility."There are two methods of regarding the division of the canvas, according to Metzinger and Gleizes, (1) "all the parts are connected by a rhythmic convention", giving the painting a centre from which the gradations of colour proceed (or towards which they tend), creating spaces of maximum or minimum intensity. (2) "The spectator, himself free to establish unity, may apprehend all the elements in the order assigned to them by creative intuition, the properties of each portion must be left independent, and the plastic continuum must be broken into a thousand surprises of light and shade.""There is nothing real outside ourselves; there is nothing real except the coincidence of a sensation and an individual mental direction. Far be it from us to throw any doubts upon the existence of the objects which strike our senses; but, rationally speaking, we can only have certitude with regard to the images which they produce in the mind." (Metzinger and Gleizes, 1912) According to the founders of Cubist theory, objects possess no absolute or essential form. "There are as many images of an object as there are eyes which look at it; there are as many essential images of it as there are minds which comprehend it."

1649_NT

Woman with a Fan (Metzinger, 1912)

Focus on this artwork and explore the Multiple perspective.

The reflexive function of complex geometry, juxtaposed multiple perspectives, planar fragmentation suggesting motion and rhythmic play with various symmetry types. Though very subtle, there does manifest itself in Femme à l'Éventail a spatial depth or perspective reminiscent of the optical illusion of space of the Renaissance; in the way, for example, windows appear of varying dimension depending on distance from the observer. This shows that non-Euclidean geometry does not imply the destruction of classical perspective, or that the breakdown of classical perspective need not be complete. Unlike the flattening of space associated with the Cubist paintings of Picasso and Braque of the same period, Metzinger had no intention of abolishing depth of field. Of course here perspectival space is only alluded to by changes of scale, not by co-ordinated linear convergence, resulting in a complex space perfectly adapted to a stage-set. This feature is observed not only in Metzinger's Cubist paintings, but also in his Divisionist and proto-Cubist works between 1905 and 1909, as well as in his more figurative works of the 1920s (during the Return to order phase).The painting, as Metzinger's enchanting Dancer in a café, inscribes an ambivalence in that it expresses both contemporary and classical, modern and traditional, avant-garde and academic connotations, simultaneously. The "busy geometry of planar fragmentation and juxtaposed perspectives has a more than reflexive function," notes Cottington, "for the symmetrical patterning of its reticulations (as in the dancer's décolletage) and their rhythmic parallel repetitions suggest not only movement and diagrams but also, metonymically, the mechanised object-world of modernity.""The works of Jean Metzinger" Guillaume Apollinaire writes in 1912 "have purity. His meditations take on beautiful forms whose harmony tends to approach sublimity. The new structures he is composing are stripped of everything that was known before him."Apollinaire, possibly with the work of Eadweard Muybridge in mind, wrote a year later of this state of motion present in the Cubist paintings of Metzinger and others, as akin to cinematic movement around an object, revealing a plastic truth compatible with reality by showing the spectator "all its facets."Albert Gleizes in 1911 remarks Metzinger is "haunted by the desire to inscribe a total image":He will put down the greatest number of possible planes: to purely objective truth he wishes to add a new truth, born from what his intelligence permits him to know. Thus—and he said himself: to space he will join time. [...] he wishes to develop the visual field by multiplying it, to inscribe them all in the space of the same canvas: it is then that the cube will play a role, for Metzinger will utilize this means to reestablish the equilibrium that these audacious inscriptions will have momentarily broken. (Gleizes)Now liberated from the one-to-one relationship between a fixed coordinate in space captured at a single moment in time assumed by classical vanishing-point perspective, the artist became free to explore notions of simultaneity, whereby several positions in space captured at successive time intervals could be depicted within the bounds of a single painting.This picture plane, write Metzinger and Gleizes (in Du "Cubisme", 1912), "reflects the viewer's personality back upon his understanding, pictorial space may be defined as a sensible passage between two subjective spaces." The forms situated within this space, they continue, "spring from a dynamism which we profess to command. In order that our intelligence may possess it, let us first exercise our sensibility."There are two methods of regarding the division of the canvas, according to Metzinger and Gleizes, (1) "all the parts are connected by a rhythmic convention", giving the painting a centre from which the gradations of colour proceed (or towards which they tend), creating spaces of maximum or minimum intensity. (2) "The spectator, himself free to establish unity, may apprehend all the elements in the order assigned to them by creative intuition, the properties of each portion must be left independent, and the plastic continuum must be broken into a thousand surprises of light and shade.""There is nothing real outside ourselves; there is nothing real except the coincidence of a sensation and an individual mental direction. Far be it from us to throw any doubts upon the existence of the objects which strike our senses; but, rationally speaking, we can only have certitude with regard to the images which they produce in the mind." (Metzinger and Gleizes, 1912) According to the founders of Cubist theory, objects possess no absolute or essential form. "There are as many images of an object as there are eyes which look at it; there are as many essential images of it as there are minds which comprehend it."

1650_T

Woman with a Fan (Metzinger, 1912)

Focus on Woman with a Fan (Metzinger, 1912) and explain the Theoretical underpinnings.

The idea of moving around an object in order to see it from different view-points is treated in Du "Cubisme" (1912). It was also a central idea of Jean Metzinger's Note sur la Peinture, 1910; Indeed, prior to Cubism painters worked from the limiting factor of a single view-point. And it was Metzinger for the first time in Note sur la peinture who enunciated the stimulating interest in representing objects as remembered from successive and subjective experiences within the context of both space and time. It was then that Metzinger discarded traditional perspective and granted himself the liberty of moving around objects. This is the concept of "mobile perspective" that would tend towards the representation of the "total image."Though at first the idea would shock the general public some eventually came to accept it, as they came to accept the 'atomist' representation of the universe as a multitude of dots consisting of primary colors. Just as each color is modified by its relation to adjacent colors within the context of Neo-Impressionist color theory, so too the object is modified by the geometric forms adjacent to it within the context of Cubism. The concept of 'mobile perspective' is essentially an extension of a similar principle stated in Paul Signac's D'Eugène Delacroix au néo-impressionisme, with respect to color. Only now, the idea is extended to deal with questions of form within the context of both space and time.

1650_NT

Woman with a Fan (Metzinger, 1912)

Focus on this artwork and explain the Theoretical underpinnings.

The idea of moving around an object in order to see it from different view-points is treated in Du "Cubisme" (1912). It was also a central idea of Jean Metzinger's Note sur la Peinture, 1910; Indeed, prior to Cubism painters worked from the limiting factor of a single view-point. And it was Metzinger for the first time in Note sur la peinture who enunciated the stimulating interest in representing objects as remembered from successive and subjective experiences within the context of both space and time. It was then that Metzinger discarded traditional perspective and granted himself the liberty of moving around objects. This is the concept of "mobile perspective" that would tend towards the representation of the "total image."Though at first the idea would shock the general public some eventually came to accept it, as they came to accept the 'atomist' representation of the universe as a multitude of dots consisting of primary colors. Just as each color is modified by its relation to adjacent colors within the context of Neo-Impressionist color theory, so too the object is modified by the geometric forms adjacent to it within the context of Cubism. The concept of 'mobile perspective' is essentially an extension of a similar principle stated in Paul Signac's D'Eugène Delacroix au néo-impressionisme, with respect to color. Only now, the idea is extended to deal with questions of form within the context of both space and time.