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NAIST NLP 19

1651_T

Woman with a Fan (Metzinger, 1912)

Explore the Exhibitions of this artwork, Woman with a Fan (Metzinger, 1912).

Paris, Salon d'Automne, 1912 De Moderne Kunstkring, 1912, Amsterdam (L'éventail vert, no. 153) Musée Rath, Geneva, Exposition de cubistes français et d'un groupe d'artistes indépendants, 3 – 15 June 1913 (L'éventail vert, no. 22) Paris, Musée du Petit Palais, Les Maitres de l'art indépendant, 1895-1937, June - Oct. 1937, no. 12 (dated 1912) New York, Solomon R. Guggenheim Museum, 78 (checklist; dated 1912?); 79 (checklist; dated 1913; so dated in all subsequent Solomon R. Guggenheim Museum publications) Vancouver, Solomon R. Guggenheim Museum 88-T, no. 60, repr. Boston, Solomon R. Guggenheim Museum 90-T (no cat.) Montreal, Solomon R. Guggenheim Museum 93-T, no. 41 New York, Solomon R. Guggenheim Museum 95 (checklist; withdrawn Sept. 12) The Arts Club of Chicago, An Exhibition of Cubism on the Occasion of the Fortieth Anniversary of the Arts Club of Chicago, Oct. 3 - Nov. 4, 1955, no. 43 London, Solomon R. Guggenheim Museum 104-T, no. 5,0; Boston, Solomon R. Guggenheim Museum 119-T, no. 40; Lexington, KY., Solomon R. Guggenheim Museum 122-T, no. 20 New York, Solomon R. Guggenheim Museum 144 (checklist) Worcester, Mass., Solomon R. Guggenheim Museum 148-T, no. 28 The Museum of Fine Arts, Houston, The Heroic Years: Paris 1908-1914, Oct. 21 - Dec. 8, 1965 (no cat.) Buffalo, N.Y., Albright-Knox Art Gallery, Painters of the Section d'Or: The Alternatives to Cubism, Sept. 27 - Oct. 22, 1967, no. 37, repr. (dated 1913)

1651_NT

Woman with a Fan (Metzinger, 1912)

Explore the Exhibitions of this artwork.

Paris, Salon d'Automne, 1912 De Moderne Kunstkring, 1912, Amsterdam (L'éventail vert, no. 153) Musée Rath, Geneva, Exposition de cubistes français et d'un groupe d'artistes indépendants, 3 – 15 June 1913 (L'éventail vert, no. 22) Paris, Musée du Petit Palais, Les Maitres de l'art indépendant, 1895-1937, June - Oct. 1937, no. 12 (dated 1912) New York, Solomon R. Guggenheim Museum, 78 (checklist; dated 1912?); 79 (checklist; dated 1913; so dated in all subsequent Solomon R. Guggenheim Museum publications) Vancouver, Solomon R. Guggenheim Museum 88-T, no. 60, repr. Boston, Solomon R. Guggenheim Museum 90-T (no cat.) Montreal, Solomon R. Guggenheim Museum 93-T, no. 41 New York, Solomon R. Guggenheim Museum 95 (checklist; withdrawn Sept. 12) The Arts Club of Chicago, An Exhibition of Cubism on the Occasion of the Fortieth Anniversary of the Arts Club of Chicago, Oct. 3 - Nov. 4, 1955, no. 43 London, Solomon R. Guggenheim Museum 104-T, no. 5,0; Boston, Solomon R. Guggenheim Museum 119-T, no. 40; Lexington, KY., Solomon R. Guggenheim Museum 122-T, no. 20 New York, Solomon R. Guggenheim Museum 144 (checklist) Worcester, Mass., Solomon R. Guggenheim Museum 148-T, no. 28 The Museum of Fine Arts, Houston, The Heroic Years: Paris 1908-1914, Oct. 21 - Dec. 8, 1965 (no cat.) Buffalo, N.Y., Albright-Knox Art Gallery, Painters of the Section d'Or: The Alternatives to Cubism, Sept. 27 - Oct. 22, 1967, no. 37, repr. (dated 1913)

1652_T

The Wounded Philoctetes

Focus on The Wounded Philoctetes and discuss the abstract.

The Wounded Philoctetes is a painting by the Danish painter, N. A. Abildgaard. It was painted in 1775. Having received a five-year scholarship from the Royal Danish Academy of Fine Arts, Abildgaard stayed in Rome where he painted his interpretation of the hero Philoctetes who was wounded by a snake and left behind on a Greek island by his brothers in arms during the Trojan War.

1652_NT

The Wounded Philoctetes

Focus on this artwork and discuss the abstract.

The Wounded Philoctetes is a painting by the Danish painter, N. A. Abildgaard. It was painted in 1775. Having received a five-year scholarship from the Royal Danish Academy of Fine Arts, Abildgaard stayed in Rome where he painted his interpretation of the hero Philoctetes who was wounded by a snake and left behind on a Greek island by his brothers in arms during the Trojan War.

1653_T

Statue of Saint Christopher, Charles Bridge

How does Statue of Saint Christopher, Charles Bridge elucidate its abstract?

The statue of Saint Christopher (Czech: Socha svatého Kryštofa) is an outdoor sculpture by Emanuel Max, installed on the south side of the Charles Bridge in Prague, Czech Republic.

1653_NT

Statue of Saint Christopher, Charles Bridge

How does this artwork elucidate its abstract?

The statue of Saint Christopher (Czech: Socha svatého Kryštofa) is an outdoor sculpture by Emanuel Max, installed on the south side of the Charles Bridge in Prague, Czech Republic.

1654_T

Yvonne and Christine Lerolle at the Piano

Focus on Yvonne and Christine Lerolle at the Piano and analyze the abstract.

Yvonne and Christine Lerolle at the Piano (Yvonne et Christine Lerolle au piano) is an 1897 oil painting (73 x 92 cm) by the French painter Pierre-Auguste Renoir representing his late work period (1892–1919). It is kept at the Musée de l'Orangerie in Paris.

1654_NT

Yvonne and Christine Lerolle at the Piano

Focus on this artwork and analyze the abstract.

Yvonne and Christine Lerolle at the Piano (Yvonne et Christine Lerolle au piano) is an 1897 oil painting (73 x 92 cm) by the French painter Pierre-Auguste Renoir representing his late work period (1892–1919). It is kept at the Musée de l'Orangerie in Paris.

1655_T

Yvonne and Christine Lerolle at the Piano

In Yvonne and Christine Lerolle at the Piano, how is the Description discussed?

Yvonne dresses in white and strives to play a piece on the piano while her sister Christine contemplates the score in an accomplice way. Although Renoir does not renounce capturing natural light and colour, he is particularly interested in the modelling and drawing of the figures, wrapped in an atmosphere that does not manage to dilute the contours like Claude Monet (1840–1926), the French painter and founder of Impressionism. The expressiveness of the two models is another point of reference in the work, although in recent works Renoir does not load the inks on the personality of his models as in his early works (see Léonard Renoir or Victor Chocquet). In this way, Renoir presents himself as a painter who gives joy and a certain romanticism to his compositions, achieving an important success before the public, as proof that this work was the first acquired by the French State.Like Girls at the Piano (1892) before it, Yvonne and Christine Lerolle at the Piano is also significant on the formal level since the pictorial material here is no longer treated with the severely linear style of the previous decade, but with a renewed freshness and a recovery of the chromatic harmonies typical of the impressionist phase of the painter. An optimistic theme, much loved by bourgeois collectors, is portrayed: that of girls in a domestic atmosphere, playing games, reading or, as in this case, practicing music. Renoir describes with great precision various details of the domestic environment in which the girls find themselves, focusing mainly on the two paintings hanging on the wall, in this case Before the Race and A Group of Dancers, both by Degas. The dominant colour is the white of the girl's dress in the foreground, which, however, does not resolve itself in the soft luminosity that flooded Girls at the Piano, creating an all in all cold atmosphere. Renoir addresses several iconographic models in this canvas. Transparent is the reference to contemporary paintings by French Impressionist painter Berthe Morisot (1841–1895), who loved to paint domestic scenes of this type: in the nineteenth century, in fact, the home assumed new meanings, and became a place to escape from the alienating and depersonalizing frenzy of modern civilization. The scene as a whole is also linked to the genre scenes of 17th century Dutch painters, especially Dutch Baroque Period painter Johannes Vermeer (1632–1675), the author of paintings that stand out for their tame, pearly quietness.

1655_NT

Yvonne and Christine Lerolle at the Piano

In this artwork, how is the Description discussed?

Yvonne dresses in white and strives to play a piece on the piano while her sister Christine contemplates the score in an accomplice way. Although Renoir does not renounce capturing natural light and colour, he is particularly interested in the modelling and drawing of the figures, wrapped in an atmosphere that does not manage to dilute the contours like Claude Monet (1840–1926), the French painter and founder of Impressionism. The expressiveness of the two models is another point of reference in the work, although in recent works Renoir does not load the inks on the personality of his models as in his early works (see Léonard Renoir or Victor Chocquet). In this way, Renoir presents himself as a painter who gives joy and a certain romanticism to his compositions, achieving an important success before the public, as proof that this work was the first acquired by the French State.Like Girls at the Piano (1892) before it, Yvonne and Christine Lerolle at the Piano is also significant on the formal level since the pictorial material here is no longer treated with the severely linear style of the previous decade, but with a renewed freshness and a recovery of the chromatic harmonies typical of the impressionist phase of the painter. An optimistic theme, much loved by bourgeois collectors, is portrayed: that of girls in a domestic atmosphere, playing games, reading or, as in this case, practicing music. Renoir describes with great precision various details of the domestic environment in which the girls find themselves, focusing mainly on the two paintings hanging on the wall, in this case Before the Race and A Group of Dancers, both by Degas. The dominant colour is the white of the girl's dress in the foreground, which, however, does not resolve itself in the soft luminosity that flooded Girls at the Piano, creating an all in all cold atmosphere. Renoir addresses several iconographic models in this canvas. Transparent is the reference to contemporary paintings by French Impressionist painter Berthe Morisot (1841–1895), who loved to paint domestic scenes of this type: in the nineteenth century, in fact, the home assumed new meanings, and became a place to escape from the alienating and depersonalizing frenzy of modern civilization. The scene as a whole is also linked to the genre scenes of 17th century Dutch painters, especially Dutch Baroque Period painter Johannes Vermeer (1632–1675), the author of paintings that stand out for their tame, pearly quietness.

1656_T

Yvonne and Christine Lerolle at the Piano

Focus on Yvonne and Christine Lerolle at the Piano and explore the Provenance.

The painting, completed in 1897, was purchased by Henry Roujon during the exhibition dedicated to the painter. At the instigation of Stéphane Mallarmé, Roujon intended to create a collection of living artists, of contemporary art, to be permanently exhibited at the Luxembourg Palace in Paris: this is a detail that shows how, at the end of the 19th century, Renoir had by then become one of the most famous French artists. Today the painting is on display at the Musée de l'Orangerie.

1656_NT

Yvonne and Christine Lerolle at the Piano

Focus on this artwork and explore the Provenance.

The painting, completed in 1897, was purchased by Henry Roujon during the exhibition dedicated to the painter. At the instigation of Stéphane Mallarmé, Roujon intended to create a collection of living artists, of contemporary art, to be permanently exhibited at the Luxembourg Palace in Paris: this is a detail that shows how, at the end of the 19th century, Renoir had by then become one of the most famous French artists. Today the painting is on display at the Musée de l'Orangerie.

1657_T

River Landscape (Salomon van Ruysdael)

Focus on River Landscape (Salomon van Ruysdael) and explain the abstract.

River Landscape is a 1642 landscape painting by the Dutch artist Salomon van Ruysdael. It is now in the Musée des Beaux-Arts of Strasbourg, France. Its inventory numbers is 277.The painting was bought in 1892 by Wilhelm von Bode from the London art dealer Martin Colnaghi and entered the Strasbourg collection the following year. The work is signed and dated, but the date has sometimes been misread as "1622" instead of "1642". Most of the surface of River Landscape is covered by a friendly sky. The landscape below is bustling with life: fishermen, huntsmen, ducks, and drinking cattle. The castle in the background has been identified as Muiden Castle, and the river as the Vecht. Muiden Castle was a center of Dutch cultural life at this time (Muiderkring).

1657_NT

River Landscape (Salomon van Ruysdael)

Focus on this artwork and explain the abstract.

River Landscape is a 1642 landscape painting by the Dutch artist Salomon van Ruysdael. It is now in the Musée des Beaux-Arts of Strasbourg, France. Its inventory numbers is 277.The painting was bought in 1892 by Wilhelm von Bode from the London art dealer Martin Colnaghi and entered the Strasbourg collection the following year. The work is signed and dated, but the date has sometimes been misread as "1622" instead of "1642". Most of the surface of River Landscape is covered by a friendly sky. The landscape below is bustling with life: fishermen, huntsmen, ducks, and drinking cattle. The castle in the background has been identified as Muiden Castle, and the river as the Vecht. Muiden Castle was a center of Dutch cultural life at this time (Muiderkring).

1658_T

Holy Family with St Jerome and St Anne

Explore the abstract of this artwork, Holy Family with St Jerome and St Anne.

Holy Family with St Jerome and St Anne is a 1534 signed and dated oil-on-canvas painting by Italian artist Lorenzo Lotto (ca. 1480–1556), first recorded at the Palazzo Pitti at the start of the 18th century and now in the Uffizi in Florence.The work is possibly derived from a prototype now in the Seilern Collection in London – that work has an open window framing a landscape in place of St Jerome. The Uffizi painting shows Saint Jerome, Saint Joachim and Saint Anne to either side of the Holy Family.

1658_NT

Holy Family with St Jerome and St Anne

Explore the abstract of this artwork.

Holy Family with St Jerome and St Anne is a 1534 signed and dated oil-on-canvas painting by Italian artist Lorenzo Lotto (ca. 1480–1556), first recorded at the Palazzo Pitti at the start of the 18th century and now in the Uffizi in Florence.The work is possibly derived from a prototype now in the Seilern Collection in London – that work has an open window framing a landscape in place of St Jerome. The Uffizi painting shows Saint Jerome, Saint Joachim and Saint Anne to either side of the Holy Family.

1659_T

Indian Maiden and Fawn

Focus on Indian Maiden and Fawn and discuss the Description and history.

Alexander Phimister Proctor's figural group Indian Maiden and Fawn (1917–1924) is a sculpture depicting a standing nude Native American female with a fawn standing to her right. She wears a headband and braids, and holds out food for the deer in her left hand.There exist several copies of the sculpture. One copy, made of yellow-leaded brass, is installed within the Jasper County Historical Museum in Newton, Iowa. Fonderia Bruno served as the founder of this statue.The Jordan Schnitzer Museum of Art, located on the University of Oregon campus in Eugene, Oregon, has a 74-inch (190 cm) bronze copy, dated 1926. It was gifted by Narcissa J. Washburne and the Carl Washburne estate in 1962. The statue used to be installed outside the museum until it was overturned by vandals in 1980. Despite being insured and most recently appraised for $12,000, museum officials were uncertain if they could restore the woman's arm, which had broken off.The Buffalo Bill Center of the West in Cody, Wyoming also has a bronze copy in its collection.In 2001, Christie's sold a 21-inch (53 cm) copy of the sculpture, estimated to be worth between $20,000 and $30,000, for $19,975.

1659_NT

Indian Maiden and Fawn

Focus on this artwork and discuss the Description and history.

Alexander Phimister Proctor's figural group Indian Maiden and Fawn (1917–1924) is a sculpture depicting a standing nude Native American female with a fawn standing to her right. She wears a headband and braids, and holds out food for the deer in her left hand.There exist several copies of the sculpture. One copy, made of yellow-leaded brass, is installed within the Jasper County Historical Museum in Newton, Iowa. Fonderia Bruno served as the founder of this statue.The Jordan Schnitzer Museum of Art, located on the University of Oregon campus in Eugene, Oregon, has a 74-inch (190 cm) bronze copy, dated 1926. It was gifted by Narcissa J. Washburne and the Carl Washburne estate in 1962. The statue used to be installed outside the museum until it was overturned by vandals in 1980. Despite being insured and most recently appraised for $12,000, museum officials were uncertain if they could restore the woman's arm, which had broken off.The Buffalo Bill Center of the West in Cody, Wyoming also has a bronze copy in its collection.In 2001, Christie's sold a 21-inch (53 cm) copy of the sculpture, estimated to be worth between $20,000 and $30,000, for $19,975.

1660_T

A Road at Saint-Remy with Female Figure

How does A Road at Saint-Remy with Female Figure elucidate its abstract?

Vincent van Gogh painted A Road at Saint-Remy with Female Figure while staying in Saint-Remy in 1889. The distinctive painting style of Van Gogh's later works is very apparent in this painting as the road, vegetation and sky is all rendered with his thick characteristic brush strokes. The painting depicts a woman walking towards a house at the end of a small road at Saint-Remy in France. The sides of the road is covered in green and yellow vegetation as fall has set in, and the fall also seems to have brought its winds. There is some contrast between the windy yellow and green vegetation which dominates the female figure, and the blue open sky overhead.

1660_NT

A Road at Saint-Remy with Female Figure

How does this artwork elucidate its abstract?

Vincent van Gogh painted A Road at Saint-Remy with Female Figure while staying in Saint-Remy in 1889. The distinctive painting style of Van Gogh's later works is very apparent in this painting as the road, vegetation and sky is all rendered with his thick characteristic brush strokes. The painting depicts a woman walking towards a house at the end of a small road at Saint-Remy in France. The sides of the road is covered in green and yellow vegetation as fall has set in, and the fall also seems to have brought its winds. There is some contrast between the windy yellow and green vegetation which dominates the female figure, and the blue open sky overhead.

1661_T

Ships in Harbour, Evening

Focus on Ships in Harbour, Evening and analyze the abstract.

Ships in Harbour, Evening (German - Schiffe im Hafen am Abend) is an 1828 oil on canvas painting by the German artist Caspar David Friedrich, now in the Galerie Neue Meister in Dresden.

1661_NT

Ships in Harbour, Evening

Focus on this artwork and analyze the abstract.

Ships in Harbour, Evening (German - Schiffe im Hafen am Abend) is an 1828 oil on canvas painting by the German artist Caspar David Friedrich, now in the Galerie Neue Meister in Dresden.

1662_T

Pioneer Woman

In Pioneer Woman, how is the abstract discussed?

The Pioneer Woman monument is a bronze sculpture in Ponca City, Oklahoma, designed by Bryant Baker and dedicated on April 22, 1930. The statue is of a sunbonneted woman leading a child by the hand. It was donated to the State of Oklahoma by millionaire oilman E. W. Marland. He commissioned models from twelve well-known sculptors and financed a nationwide tour to get feedback from art critics and the general public in order to decide which model to use for the final statue.

1662_NT

Pioneer Woman

In this artwork, how is the abstract discussed?

The Pioneer Woman monument is a bronze sculpture in Ponca City, Oklahoma, designed by Bryant Baker and dedicated on April 22, 1930. The statue is of a sunbonneted woman leading a child by the hand. It was donated to the State of Oklahoma by millionaire oilman E. W. Marland. He commissioned models from twelve well-known sculptors and financed a nationwide tour to get feedback from art critics and the general public in order to decide which model to use for the final statue.

1663_T

Pioneer Woman

Focus on Pioneer Woman and explore the Design and construction.

Around 1925 Marland sketched out an ambitious sculptural program to sculptor Jo Davidson involving numerous statues based on the theme of the settling of the American West and attempted to persuade Davidson to take it on. When Davidson declined Marland replies that he could pay for it, prompting Davidson to come back with "I don't doubt it for a minute, but I don't see myself working for you for the rest of my life." Marland ultimately convinced Davidson to go to Ponca City, Marland's then home town, and create three statues for him: one of Marland and one of each of Marland's adopted children, Lydie and George. While Davidson was producing his three Marland statues E.W. told him of another project that he has in mind, "E.W.'s most cherished dream." Davidson writes, " It was to be a twenty-five foot figure, which he planned to put up on a hill where it could be seen for miles ... E.W. brought his friends to see what I was doing. He acted as if he was the sculptor, and in conversation would say that he was doing the figure - that I was his hands."

1663_NT

Pioneer Woman

Focus on this artwork and explore the Design and construction.

Around 1925 Marland sketched out an ambitious sculptural program to sculptor Jo Davidson involving numerous statues based on the theme of the settling of the American West and attempted to persuade Davidson to take it on. When Davidson declined Marland replies that he could pay for it, prompting Davidson to come back with "I don't doubt it for a minute, but I don't see myself working for you for the rest of my life." Marland ultimately convinced Davidson to go to Ponca City, Marland's then home town, and create three statues for him: one of Marland and one of each of Marland's adopted children, Lydie and George. While Davidson was producing his three Marland statues E.W. told him of another project that he has in mind, "E.W.'s most cherished dream." Davidson writes, " It was to be a twenty-five foot figure, which he planned to put up on a hill where it could be seen for miles ... E.W. brought his friends to see what I was doing. He acted as if he was the sculptor, and in conversation would say that he was doing the figure - that I was his hands."

1664_T

Pioneer Woman

In the context of Pioneer Woman, explain the The models of the Design and construction.

At that point Marland sent out invitations to many of America's leading sculptors, offering them each a $10,000 honorarium to produce a roughly 3 feet (0.9 m) tall bronze model for the statue. He further proposed that the models tour the United States and that the American public vote as to which of the models would be erected in Ponca City. Several sculptors, Daniel Chester French, George Grey Barnard and Paul Manship turned Marland down, also declining were the only two women invited, Gertrude Vanderbilt Whitney and Anna Hyatt Huntington, leaving him with an even dozen artists, all males. The artists who submitted models were Bryant Baker, A, Stirling Calder, Jo Davidson, James Earle Fraser, John Gregory, F. Lynn Jenkins, Mario Korbel, Arthur Lee, Hermon Atkins MacNeil, Maurice Sterne, Mahonri Young, and Wheeler Williams. The models were to tour America and everyone who visited the sites where they were exhibited was allowed to vote for their favorite.Marland's original idea was to have a woman in pioneer dress accompanied by a child, and so he provided a sunbonnet to each sculptor. While the artists were not limited to these ideas, nine of the twelve models included a sunbonnet and all save for Jo Davidson's included a child. Both Davidson and Calder visited Oklahoma to gain further inspiration.Mahonri Young's biographer Thomas Toone relates that Young produced not only the required three foot tall statuette, but also a plaster version of the entire Pioneer Memorial as he envisioned it, replete with detailed bas-reliefs of western scenes around the base of a massive pedestal and platform, on top of which the pioneer woman "holds her child in the embrace of a Renaissance Madonna." A pair of spirited bison guard the stairs leading up the base. The voting public was not privy to Young's vision and his work showed poorly in the balloting. Young, who described not winning the competition as the worst disappointment in his career, did manage to get some of his ideas out in later works. Toone also adds that the winning sculptor, Baker Bryant used, "a professional actress as his model, which produced a glamorous figure, representing Western myth more than reality."There are some questions raised about the winning design by Donald De Lue, at that time Baker Bryant's chief assistant. De Lue's biographer, D. Roger Howlett makes several points about the Pioneer Woman statue."it was especially on the "Pioneer Woman" that De Lue manifest his talent ... ... Baker claimed that the conception and movement of the final monument was developed in an eight-to-ten inch sketch model made by him a few hours after he learned about the competition. De Lue executed the thirty-three inch competition model for the sculpture in 1927, with Baker supervising and completing the face." Baker was also the last sculptor to enter the contest having only one month to prepare his model.James Earle Fraser based his almost Impressionistic statue on his favorite aunt, Dora, who was herself a pioneer woman. This model is unique among the ones submitted to the competition, and perhaps in the entire world of Pioneer Women Statues, in that the woman, caught breast feeding her child, exposes a bare breast. No stranger to multi-tasking, she still manages to hold on to her rifle while feeding the baby.Many years after the competition Wheeler Williams' model was re-discovered, enlarged, cast, and now sits in front of the public library in Liberty, Kansas.

1664_NT

Pioneer Woman

In the context of this artwork, explain the The models of the Design and construction.

At that point Marland sent out invitations to many of America's leading sculptors, offering them each a $10,000 honorarium to produce a roughly 3 feet (0.9 m) tall bronze model for the statue. He further proposed that the models tour the United States and that the American public vote as to which of the models would be erected in Ponca City. Several sculptors, Daniel Chester French, George Grey Barnard and Paul Manship turned Marland down, also declining were the only two women invited, Gertrude Vanderbilt Whitney and Anna Hyatt Huntington, leaving him with an even dozen artists, all males. The artists who submitted models were Bryant Baker, A, Stirling Calder, Jo Davidson, James Earle Fraser, John Gregory, F. Lynn Jenkins, Mario Korbel, Arthur Lee, Hermon Atkins MacNeil, Maurice Sterne, Mahonri Young, and Wheeler Williams. The models were to tour America and everyone who visited the sites where they were exhibited was allowed to vote for their favorite.Marland's original idea was to have a woman in pioneer dress accompanied by a child, and so he provided a sunbonnet to each sculptor. While the artists were not limited to these ideas, nine of the twelve models included a sunbonnet and all save for Jo Davidson's included a child. Both Davidson and Calder visited Oklahoma to gain further inspiration.Mahonri Young's biographer Thomas Toone relates that Young produced not only the required three foot tall statuette, but also a plaster version of the entire Pioneer Memorial as he envisioned it, replete with detailed bas-reliefs of western scenes around the base of a massive pedestal and platform, on top of which the pioneer woman "holds her child in the embrace of a Renaissance Madonna." A pair of spirited bison guard the stairs leading up the base. The voting public was not privy to Young's vision and his work showed poorly in the balloting. Young, who described not winning the competition as the worst disappointment in his career, did manage to get some of his ideas out in later works. Toone also adds that the winning sculptor, Baker Bryant used, "a professional actress as his model, which produced a glamorous figure, representing Western myth more than reality."There are some questions raised about the winning design by Donald De Lue, at that time Baker Bryant's chief assistant. De Lue's biographer, D. Roger Howlett makes several points about the Pioneer Woman statue."it was especially on the "Pioneer Woman" that De Lue manifest his talent ... ... Baker claimed that the conception and movement of the final monument was developed in an eight-to-ten inch sketch model made by him a few hours after he learned about the competition. De Lue executed the thirty-three inch competition model for the sculpture in 1927, with Baker supervising and completing the face." Baker was also the last sculptor to enter the contest having only one month to prepare his model.James Earle Fraser based his almost Impressionistic statue on his favorite aunt, Dora, who was herself a pioneer woman. This model is unique among the ones submitted to the competition, and perhaps in the entire world of Pioneer Women Statues, in that the woman, caught breast feeding her child, exposes a bare breast. No stranger to multi-tasking, she still manages to hold on to her rifle while feeding the baby.Many years after the competition Wheeler Williams' model was re-discovered, enlarged, cast, and now sits in front of the public library in Liberty, Kansas.

1665_T

Pioneer Woman

Explore the The tour about the Design and construction of this artwork, Pioneer Woman.

The submitted bronze models were unveiled at the Reinhardt Galleries in New York on February 26, 1927 where they remained in exhibition until March 19. At a dinner for the twelve finalists the evening before the models were revealed to the public, Marland announced:Pictures have we in plenty of the stern Pilgrim Fathers and the gallant gentlemen of the friendlier Virginia soil, but we are forced to draw on our imagination somewhat for pictures of the mothers. When these women started West all their earthly possessions could be packed on a horse or in a wagon. What sturdy broods they bore, ever pushing westward, ever making homes on the lands their husbands gained. The toll of life resulting from their hardships left millions of unmarked graves across this continent, graves of women who dies that we might live and love this homeland. Marland reserved the right to make the final choice for the monument, but he sought input from the public and so these models then began a tour of museums and art galleries across the nation. From its opening at the Reinhardt Galleries, the tour moved on. Stops included Boston, Pittsburgh, Cincinnati, Buffalo, Detroit, Indianapolis, Chicago, Minneapolis, Kansas City, Dallas, Oklahoma City, Fort Worth, and Ponca City. At each location visitors were invited to vote for their three favorite models. In all over 750,000 people viewed the models and over 120,000 votes were placed.The models were the subject of much discussion at the time, and photographs of them were included in full-page pictorials of both the New York Times and the LA Times. Art critics discussed the merits of one model over another and almost universally lambasting the sunbonnets as "terrible headwear". The models were even the subject of writing assignments for elementary school art classes.The L.A. Times reported that art critic Helen Appleton Read felt that "no adequate tribute had been paid to the pioneer woman" and that "most of the competitors failed to produce anything monumental".On December 20, 1927, E. W. Marland's son George announced that Bryant Baker's model was selected as the winner. Baker's model received the most votes in 11 cities and Gregory's was the second most popular, being the favorite in three cities.When the tour of the models was over, Baker's Pioneer Woman had won first place, out-balloting John Gregory's effort 42,478 to 37,782. "De Lue set to work in 1928 and 1929, modeling it in Baker's Brooklyn studio, working with Jean La Seure, the enlarger. De Lue later remembered: "One day Bryant decided he would work on it, and did some work. I said, 'Look, Bryant, if I were you I'd get the hell out of here, because you're not helping at all,' He said, 'Thank you very much.' and he went."

1665_NT

Pioneer Woman

Explore the The tour about the Design and construction of this artwork.

The submitted bronze models were unveiled at the Reinhardt Galleries in New York on February 26, 1927 where they remained in exhibition until March 19. At a dinner for the twelve finalists the evening before the models were revealed to the public, Marland announced:Pictures have we in plenty of the stern Pilgrim Fathers and the gallant gentlemen of the friendlier Virginia soil, but we are forced to draw on our imagination somewhat for pictures of the mothers. When these women started West all their earthly possessions could be packed on a horse or in a wagon. What sturdy broods they bore, ever pushing westward, ever making homes on the lands their husbands gained. The toll of life resulting from their hardships left millions of unmarked graves across this continent, graves of women who dies that we might live and love this homeland. Marland reserved the right to make the final choice for the monument, but he sought input from the public and so these models then began a tour of museums and art galleries across the nation. From its opening at the Reinhardt Galleries, the tour moved on. Stops included Boston, Pittsburgh, Cincinnati, Buffalo, Detroit, Indianapolis, Chicago, Minneapolis, Kansas City, Dallas, Oklahoma City, Fort Worth, and Ponca City. At each location visitors were invited to vote for their three favorite models. In all over 750,000 people viewed the models and over 120,000 votes were placed.The models were the subject of much discussion at the time, and photographs of them were included in full-page pictorials of both the New York Times and the LA Times. Art critics discussed the merits of one model over another and almost universally lambasting the sunbonnets as "terrible headwear". The models were even the subject of writing assignments for elementary school art classes.The L.A. Times reported that art critic Helen Appleton Read felt that "no adequate tribute had been paid to the pioneer woman" and that "most of the competitors failed to produce anything monumental".On December 20, 1927, E. W. Marland's son George announced that Bryant Baker's model was selected as the winner. Baker's model received the most votes in 11 cities and Gregory's was the second most popular, being the favorite in three cities.When the tour of the models was over, Baker's Pioneer Woman had won first place, out-balloting John Gregory's effort 42,478 to 37,782. "De Lue set to work in 1928 and 1929, modeling it in Baker's Brooklyn studio, working with Jean La Seure, the enlarger. De Lue later remembered: "One day Bryant decided he would work on it, and did some work. I said, 'Look, Bryant, if I were you I'd get the hell out of here, because you're not helping at all,' He said, 'Thank you very much.' and he went."

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Pioneer Woman

In the context of Pioneer Woman, discuss the Fundraising and construction of the Design and construction.

The cost of the Pioneer Woman project was approximately $350,000. This included a $10,000 honorarium for each of the twelve finalists plus $100,000 for the winner Bryant Baker. The remainder of the costs were accrued during the tour around the country and arranging the base for the statue. While the vast majority of the project was funded by Marland, his fortunes were on the decline at this time and so he was forced to seek additional funding to complete the project. Some private fundraising helped to defray the final costs and $25,000 was supplied by Lew Wentz, Marland's long-time business rival as well as fellow philanthropist of Ponca City. After much private debate and encouragement, Lew Wentz in 1929 loaned money to Marland enabling him to make final payments for the statue, secured by a real estate mortgage and arranged by a local banker, resulting in Wentz filing a lawsuit in 1936 to collect on the non-performing loan [see Ada Weekly News, 12 March 1936]. Marland had purchased 2,000 acres on which to place the statue. The area where the statue was erected stands just off of U.S. Route 77, a mile northeast of the center of Ponca City.Baker said the work took years off of his life and he was afraid he would die before completion.

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Pioneer Woman

In the context of this artwork, discuss the Fundraising and construction of the Design and construction.

The cost of the Pioneer Woman project was approximately $350,000. This included a $10,000 honorarium for each of the twelve finalists plus $100,000 for the winner Bryant Baker. The remainder of the costs were accrued during the tour around the country and arranging the base for the statue. While the vast majority of the project was funded by Marland, his fortunes were on the decline at this time and so he was forced to seek additional funding to complete the project. Some private fundraising helped to defray the final costs and $25,000 was supplied by Lew Wentz, Marland's long-time business rival as well as fellow philanthropist of Ponca City. After much private debate and encouragement, Lew Wentz in 1929 loaned money to Marland enabling him to make final payments for the statue, secured by a real estate mortgage and arranged by a local banker, resulting in Wentz filing a lawsuit in 1936 to collect on the non-performing loan [see Ada Weekly News, 12 March 1936]. Marland had purchased 2,000 acres on which to place the statue. The area where the statue was erected stands just off of U.S. Route 77, a mile northeast of the center of Ponca City.Baker said the work took years off of his life and he was afraid he would die before completion.

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Pioneer Woman

In Pioneer Woman, how is the Dedication of the Design and construction elucidated?

On April 16, 1930 it was announced that the statue would be unveiled on April 22, 1930 on the 41st anniversary of the Land Run of 1889 which opened the Oklahoma Territory to settlers. The day was declared a state holiday by the governor and the celebration in Ponca City included a parade, 19-gun salute. An estimated 40,000 people attended the unveiling.The dedication itself began at 1:30 pm central time with a nationwide radio address on WJZ by United States President Herbert Hoover broadcasting from the White House. He introduced the native Oklahoman, Secretary of War Patrick J. Hurley who had intended to attend the unveiling in person before his visit was curtailed by illness and so spoke from his home. After the first half-hour the broadcast continued from Ponca City. Other speakers during the 90 minute broadcast were Marland, Baker, Episcopal Bishop of Oklahoma Thomas Casady, Oklahoma Governor William J. Holloway, and Oklahoma humorist, Will Rogers, who closed the unveiling ceremonies. Mr. Chairman and fellow-citizens gathered at Ponca City: It is a pleasure both to address a great audience gathered to do honor to the pioneer woman and to support my friend, the Secretary of War, who, to your and my misfortune, cannot yet leave his room from recent illness, from which happily he is on the road to recover. There are few men of the West of my generation who did not know the pioneer woman in his own mother, and who does not rejoice to know that her part in building that great civilization is to have such beautiful recognition. It was those women who carried the refinement, the moral character and spiritual force into the West. Not only they bore great burdens of daily toil and the rearing of families, but they were intent that their children should have a chance, that the doors of opportunity should be open to them. It was their insistence which made the schools and the churches.But it is my duty to introduce a product of the pioneer woman of Oklahoma, who has risen high in the councils of the nation—and high in the esteem of the whole country—the Secretary of War, Patrick J. Hurley. In the erection of this monument, we pledge a reverence to the woman who has laid the foundation of the character of our community, State and nation. This tribute to her memory will keep the fundamental principles of her character constantly before the people of Oklahoma. Every citizen who passes this way and looks upon this memorial will be strengthened in the conviction that this State shall be kept worthy of the woman whom this bronze statue commemorates. ... Woman has never been given her just place in history as a pioneer, an educator, a builder, or as a leader. This is probably due to the fact that most of the pages of history are written by men about men. Historians have been so busy with the lives of great sons that they have not stopped to immortalize the mothers who produced them. The characters of men are molded by women. We have reached that period in civilization where we are fair enough to accord to woman the honor of the pre-eminent part she has taken in shaping the destinies of mankind. The woman has held the objectives gained by the man. She has been the bulwark ever standing between civilization and barbarism. The pioneer woman has played her part in the conquest of nature through all the ages.We cannot evaluate her character without any appreciation of her intelligence. Here was an intelligence that quickly and clearly recognized that the three great pillars of democratic government are religion, education and the home. She trusted in God and was a firm believer in the efficacy of prayer.

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Pioneer Woman

In this artwork, how is the Dedication of the Design and construction elucidated?

On April 16, 1930 it was announced that the statue would be unveiled on April 22, 1930 on the 41st anniversary of the Land Run of 1889 which opened the Oklahoma Territory to settlers. The day was declared a state holiday by the governor and the celebration in Ponca City included a parade, 19-gun salute. An estimated 40,000 people attended the unveiling.The dedication itself began at 1:30 pm central time with a nationwide radio address on WJZ by United States President Herbert Hoover broadcasting from the White House. He introduced the native Oklahoman, Secretary of War Patrick J. Hurley who had intended to attend the unveiling in person before his visit was curtailed by illness and so spoke from his home. After the first half-hour the broadcast continued from Ponca City. Other speakers during the 90 minute broadcast were Marland, Baker, Episcopal Bishop of Oklahoma Thomas Casady, Oklahoma Governor William J. Holloway, and Oklahoma humorist, Will Rogers, who closed the unveiling ceremonies. Mr. Chairman and fellow-citizens gathered at Ponca City: It is a pleasure both to address a great audience gathered to do honor to the pioneer woman and to support my friend, the Secretary of War, who, to your and my misfortune, cannot yet leave his room from recent illness, from which happily he is on the road to recover. There are few men of the West of my generation who did not know the pioneer woman in his own mother, and who does not rejoice to know that her part in building that great civilization is to have such beautiful recognition. It was those women who carried the refinement, the moral character and spiritual force into the West. Not only they bore great burdens of daily toil and the rearing of families, but they were intent that their children should have a chance, that the doors of opportunity should be open to them. It was their insistence which made the schools and the churches.But it is my duty to introduce a product of the pioneer woman of Oklahoma, who has risen high in the councils of the nation—and high in the esteem of the whole country—the Secretary of War, Patrick J. Hurley. In the erection of this monument, we pledge a reverence to the woman who has laid the foundation of the character of our community, State and nation. This tribute to her memory will keep the fundamental principles of her character constantly before the people of Oklahoma. Every citizen who passes this way and looks upon this memorial will be strengthened in the conviction that this State shall be kept worthy of the woman whom this bronze statue commemorates. ... Woman has never been given her just place in history as a pioneer, an educator, a builder, or as a leader. This is probably due to the fact that most of the pages of history are written by men about men. Historians have been so busy with the lives of great sons that they have not stopped to immortalize the mothers who produced them. The characters of men are molded by women. We have reached that period in civilization where we are fair enough to accord to woman the honor of the pre-eminent part she has taken in shaping the destinies of mankind. The woman has held the objectives gained by the man. She has been the bulwark ever standing between civilization and barbarism. The pioneer woman has played her part in the conquest of nature through all the ages.We cannot evaluate her character without any appreciation of her intelligence. Here was an intelligence that quickly and clearly recognized that the three great pillars of democratic government are religion, education and the home. She trusted in God and was a firm believer in the efficacy of prayer.

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Pioneer Woman

In the context of Pioneer Woman, analyze the History since dedication of the Design and construction.

The area surrounding the statue has been designated as Pioneer Woman State Park. In 2002 the Pioneer Woman statue underwent renovations, including the repair of a 4-inch crack in the heel of the boy's left boot. "This is the first professional restoration of the statue since the artist himself directed a cleaning a few years after it was erected," said Kathy Dickson, Historical Society museums director. "Where the mortar is still in place, damage is being caused by the type of mortar. Where it is missing, water is accelerating damage - especially in winter as water penetrates the cracks and expands when temperatures dip below freezing." Pledges of $75,000 were made by private foundations, individual donors, the Northern Oklahoma Development Authority, the city of Ponca City and Conoco to pay for repairs, lighting and landscaping around the statue.

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Pioneer Woman

In the context of this artwork, analyze the History since dedication of the Design and construction.

The area surrounding the statue has been designated as Pioneer Woman State Park. In 2002 the Pioneer Woman statue underwent renovations, including the repair of a 4-inch crack in the heel of the boy's left boot. "This is the first professional restoration of the statue since the artist himself directed a cleaning a few years after it was erected," said Kathy Dickson, Historical Society museums director. "Where the mortar is still in place, damage is being caused by the type of mortar. Where it is missing, water is accelerating damage - especially in winter as water penetrates the cracks and expands when temperatures dip below freezing." Pledges of $75,000 were made by private foundations, individual donors, the Northern Oklahoma Development Authority, the city of Ponca City and Conoco to pay for repairs, lighting and landscaping around the statue.

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Pioneer Woman

Describe the characteristics of the The Pioneer Woman Museum in Pioneer Woman's Design and construction.

On September 16, 1958, the 65th anniversary of the opening of the Cherokee Outlet which included the land of Ponca City, the state opened the Pioneer Woman Museum, on land adjacent to the monument. An image of the Pioneer Woman statue serves as the de facto logo of the museum. On April 23, 2016, the Oklahoma Historical Society and the Friends of the Pioneer Woman Statue and Museum celebrated the opening of the new entrance and lobby at the Pioneer Woman Museum.

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Pioneer Woman

Describe the characteristics of the The Pioneer Woman Museum in this artwork's Design and construction.

On September 16, 1958, the 65th anniversary of the opening of the Cherokee Outlet which included the land of Ponca City, the state opened the Pioneer Woman Museum, on land adjacent to the monument. An image of the Pioneer Woman statue serves as the de facto logo of the museum. On April 23, 2016, the Oklahoma Historical Society and the Friends of the Pioneer Woman Statue and Museum celebrated the opening of the new entrance and lobby at the Pioneer Woman Museum.

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Pioneer Woman

In the context of Pioneer Woman, explain the Location and visiting of the Access and attributes.

The statue resides on a 5.5 acres (0.022 km2) park.

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Pioneer Woman

In the context of this artwork, explain the Location and visiting of the Access and attributes.

The statue resides on a 5.5 acres (0.022 km2) park.

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Pioneer Woman

Explore the Physical characteristics about the Access and attributes of this artwork, Pioneer Woman.

The bronze statue itself stands 17 feet (5.2 m) tall and weighs 12,000 pounds (5,400 kg). It stands on a pyramidal stepped base of granite blocks which brings the total height of the monument to 40 feet (12 m).The statue faces to the southwest, symbolising that the majority of the settlers had come from the northeast. There is a plaque on the first step beneath the statue which reads:this monument was erected by e. w. marland in appreciation of the heroic character of the woman who braved thedangers and endured the hardships incident to the dailylife of the pioneer and homesteader in this country

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Pioneer Woman

Explore the Physical characteristics about the Access and attributes of this artwork.

The bronze statue itself stands 17 feet (5.2 m) tall and weighs 12,000 pounds (5,400 kg). It stands on a pyramidal stepped base of granite blocks which brings the total height of the monument to 40 feet (12 m).The statue faces to the southwest, symbolising that the majority of the settlers had come from the northeast. There is a plaque on the first step beneath the statue which reads:this monument was erected by e. w. marland in appreciation of the heroic character of the woman who braved thedangers and endured the hardships incident to the dailylife of the pioneer and homesteader in this country

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Pioneer Woman

Focus on Pioneer Woman and discuss the Depictions.

The image of the Pioneer Woman has long been a symbol of Ponca City. In 1941 as part of their 50th anniversary celebrations the General Federation of Women's Clubs presented gold and bronze medals with a bas-relief of the Pioneer Woman to prominent and long-standing members.The statue is also the official emblem of the four-state Ozark Frontier Trail.When the State Quarter for Oklahoma was to be issued in 2008, there was a statewide call for proposals to be sent to the Mint for final design work. From the thousands of designs received, five were sent along to the mint. Four of the five submitted designs included the Pioneer Woman. When the professional designs returned from the mint in order for the people of Oklahoma to decide on the final design by voting amongst them, none of the designs included the book which is held under the Pioneer Woman's arm. As this book is often thought to be a Bible, this was viewed as an attempt at censorship by the government and caused a statewide controversy. Eventually the fifth design was selected. That the book was intended to be the Bible was made clear by Baker in an interview in which he stated, "In trying to symbolize the Pioneer Woman of America I wanted to depict Courage and Faith ... The Bible was a vital factor in building up this country, and it often was the one indispensable book, recording the facts of the family life, of births, marriages and death and often the only reading material available for mothers to teach their children to read and write in those days."

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Pioneer Woman

Focus on this artwork and discuss the Depictions.

The image of the Pioneer Woman has long been a symbol of Ponca City. In 1941 as part of their 50th anniversary celebrations the General Federation of Women's Clubs presented gold and bronze medals with a bas-relief of the Pioneer Woman to prominent and long-standing members.The statue is also the official emblem of the four-state Ozark Frontier Trail.When the State Quarter for Oklahoma was to be issued in 2008, there was a statewide call for proposals to be sent to the Mint for final design work. From the thousands of designs received, five were sent along to the mint. Four of the five submitted designs included the Pioneer Woman. When the professional designs returned from the mint in order for the people of Oklahoma to decide on the final design by voting amongst them, none of the designs included the book which is held under the Pioneer Woman's arm. As this book is often thought to be a Bible, this was viewed as an attempt at censorship by the government and caused a statewide controversy. Eventually the fifth design was selected. That the book was intended to be the Bible was made clear by Baker in an interview in which he stated, "In trying to symbolize the Pioneer Woman of America I wanted to depict Courage and Faith ... The Bible was a vital factor in building up this country, and it often was the one indispensable book, recording the facts of the family life, of births, marriages and death and often the only reading material available for mothers to teach their children to read and write in those days."

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Pioneer Woman

How does Pioneer Woman elucidate its Derivative works?

There have been several notable works of sculpture proposed or produced in the years following the unveiling of the Pioneer Woman based on it. The first one was the Kansas Pioneer Woman Memorial. A competition by the Pioneer Women's Memorial association was held and, as in the competition for the Ponca City statue, Bryant Baker was the winner. A Kansas critic at the time pointed out, "There is a striking similarity in the appearance of the two works despite many actual differences." However this version of a Kansas monument was never completed. In 1937 the Pioneer Women's Memorial association presided over the unveiling of the Kansas Pioneer Memorial by Kansas born sculptor Merrell Gage, a work very different from Baker's. In 1959 a 36' tall fiberglass sculpture by Gordon Shumaker was produced to commemorate the first 100 years of the Minnesota State Fair. It stands in front of the Pioneer Building. Like the Ponca City statue, it depicts a bonneted woman in ankle length dress striding forward, and like its predecessor, she holds a large book/Bible in her right crooked arm as well as carrying a large bundle on the same arm. At 36 feet tall she more closely approaches the monumentality that Marland was originally seeking for his work. Hardship and Dreams was the title of a sculpture by Dorothy Koelling (1913-2004) unveiled in Wichita, Kansas on June 28, 1994. A newspaper article at that time described the work as being, "inspired by the monumental 'Pioneer Woman' in Ponca City, Okla." Koeling's six foot tall statue depicts the bonneted pioneer woman, carrying a large book/Bible and bundle in her right arm, marching forward with her flatfooted son, whose hand she holds, next to her.

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Pioneer Woman

How does this artwork elucidate its Derivative works?

There have been several notable works of sculpture proposed or produced in the years following the unveiling of the Pioneer Woman based on it. The first one was the Kansas Pioneer Woman Memorial. A competition by the Pioneer Women's Memorial association was held and, as in the competition for the Ponca City statue, Bryant Baker was the winner. A Kansas critic at the time pointed out, "There is a striking similarity in the appearance of the two works despite many actual differences." However this version of a Kansas monument was never completed. In 1937 the Pioneer Women's Memorial association presided over the unveiling of the Kansas Pioneer Memorial by Kansas born sculptor Merrell Gage, a work very different from Baker's. In 1959 a 36' tall fiberglass sculpture by Gordon Shumaker was produced to commemorate the first 100 years of the Minnesota State Fair. It stands in front of the Pioneer Building. Like the Ponca City statue, it depicts a bonneted woman in ankle length dress striding forward, and like its predecessor, she holds a large book/Bible in her right crooked arm as well as carrying a large bundle on the same arm. At 36 feet tall she more closely approaches the monumentality that Marland was originally seeking for his work. Hardship and Dreams was the title of a sculpture by Dorothy Koelling (1913-2004) unveiled in Wichita, Kansas on June 28, 1994. A newspaper article at that time described the work as being, "inspired by the monumental 'Pioneer Woman' in Ponca City, Okla." Koeling's six foot tall statue depicts the bonneted pioneer woman, carrying a large book/Bible and bundle in her right arm, marching forward with her flatfooted son, whose hand she holds, next to her.

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Basket of Roses

Focus on Basket of Roses and analyze the abstract.

Basket of Roses is an oil-on-canvas painting by French painter Henri Fantin-Latour, executed in 1885. It is part of the Calouste Gulbenkian Museum, in Lisbon. It measures 59 by 73.8 cm and is dated and signed Fantin 85 at the lower left.

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Basket of Roses

Focus on this artwork and analyze the abstract.

Basket of Roses is an oil-on-canvas painting by French painter Henri Fantin-Latour, executed in 1885. It is part of the Calouste Gulbenkian Museum, in Lisbon. It measures 59 by 73.8 cm and is dated and signed Fantin 85 at the lower left.

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Basket of Roses

In Basket of Roses, how is the History discussed?

The painting was purchased by Armenian-British collector Calouste Gulbenkian at a Christie's sale in London on May 9, 1924, from the Colnaghi Gallery. It belonged to the collection of Leonard Gow, of Craigendoran.

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Basket of Roses

In this artwork, how is the History discussed?

The painting was purchased by Armenian-British collector Calouste Gulbenkian at a Christie's sale in London on May 9, 1924, from the Colnaghi Gallery. It belonged to the collection of Leonard Gow, of Craigendoran.

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Basket of Roses

Focus on Basket of Roses and explore the Description.

Fantin-Latour painted still lifes since the 1860s until the end of his career. The representation of roses appears arranged of multiple ways in many of his still lifes. This work shows on a monochrome background a basket occupying the whole composition, full of roses of different colors, rather in pale tones, white, pink or yellow. This cascading composition of roses overflowing from the basket recalls his painting Bouquet of Roses on a Marble Table (1885, Sterling and Francine Clark Institute of Williamstown). Each flower is presented with its unique qualities, contrasting with the rectilinear dimensions of the basket.

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Basket of Roses

Focus on this artwork and explore the Description.

Fantin-Latour painted still lifes since the 1860s until the end of his career. The representation of roses appears arranged of multiple ways in many of his still lifes. This work shows on a monochrome background a basket occupying the whole composition, full of roses of different colors, rather in pale tones, white, pink or yellow. This cascading composition of roses overflowing from the basket recalls his painting Bouquet of Roses on a Marble Table (1885, Sterling and Francine Clark Institute of Williamstown). Each flower is presented with its unique qualities, contrasting with the rectilinear dimensions of the basket.

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Crucifixion of Saint Peter (Caravaggio)

Focus on Crucifixion of Saint Peter (Caravaggio) and explain the abstract.

The Crucifixion of Saint Peter (Italian: Crocifissione di san Pietro) is a work by Michelangelo Merisi da Caravaggio, painted in 1601 for the Cerasi Chapel of Santa Maria del Popolo in Rome. Across the chapel is a second Caravaggio work depicting the Conversion of Saint Paul on the Road to Damascus (1601). On the altar between the two is the Assumption of the Virgin Mary by Annibale Carracci.

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Crucifixion of Saint Peter (Caravaggio)

Focus on this artwork and explain the abstract.

The Crucifixion of Saint Peter (Italian: Crocifissione di san Pietro) is a work by Michelangelo Merisi da Caravaggio, painted in 1601 for the Cerasi Chapel of Santa Maria del Popolo in Rome. Across the chapel is a second Caravaggio work depicting the Conversion of Saint Paul on the Road to Damascus (1601). On the altar between the two is the Assumption of the Virgin Mary by Annibale Carracci.

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Crucifixion of Saint Peter (Caravaggio)

Explore the History of this artwork, Crucifixion of Saint Peter (Caravaggio).

The two lateral paintings were commissioned in September 1600 by Monsignor Tiberio Cerasi, Treasurer-General to Pope Clement VIII, who purchased the chapel from the Augustinian friars on 8 July 1600 and commissioned Carlo Maderno to rebuild the small edifice in Baroque style. The contract for the altarpiece with Carracci has not been preserved but it is generally assumed that the document had been signed somewhat earlier, and Caravaggio had to take into consideration the other artist's work and the overall iconographic programme of the chapel. Cerasi nourished a deep devotion towards Saint Peter and Paul, and invoked them in his will. Together the two saints represented the foundation of the Catholic Church, and they were called the Princes of the Apostles. Both had a strong connection to the city of Rome and the papacy. Caravaggio's paintings were thus intended to express Cerasi's attachment to the Church of Rome and his closeness to papal power. Their position in the chapel was important but the devotional focus was still on the Assumption of the Virgin Mary on the altar in the middle. The juxtaposition of the two scenes had a well-known precedent in the frescos of the Capella Paolina at the Apostolic Palace (1542–1549) but the paintings of Caravaggio were starkly different from the crowded Mannerist scenes of Michelangelo.Although much has been said about the supposed rivalry between Carracci and Caravaggio, there is no historical evidence about any serious tensions. Both were successful and sought-after artists in Rome. Caravaggio gained the Cerasi commission right after his celebrated works in the Contarelli Chapel had been finished, and Carracci was busy creating his great fresco cycle in the Palazzo Farnese. In these circumstances there was little reason for them to regard each other as business rivals, states Denis Mahon.The contract signed on 24 September 1600 stipulates that "the distinguished painter, Michelangelo Merisi da Caravaggio" will paint two large cypress panels, ten palms high and eight palms wide, representing the conversion of Saint Paul and the martyrdom of Saint Peter within eight months for the price of 400 scudi. The contract gave a free hand to the painter to choose the figures, persons and ornaments depicted in the way as he saw fit, "to the satisfaction however of his Lordship", and he was also obliged to submit preparatory studies before the execution of the paintings. Caravaggio received 50 scudi as advance payment from the banker Vincenzo Giustiniani with the rest earmarked to be paid on completion. The dimensions specified for the panels are virtually the same as the size of the existing canvasses.When Tiberio Cerasi died on 3 May 1601, Caravaggio was still working on the paintings, as attested by an avviso dated 5 May which mentioned that the chapel was being decorated by the hand of the "famosissimo Pittore", Michelangelo da Caravaggio. A second avviso dated 2 June proves that Caravaggio was still at work on the paintings a month later. He completed them sometime before 10 November when he received the final instalment from the heirs of Tiberio Cerasi, the Fathers of the Ospedale della Consolazione. The total compensation for the paintings was reduced to 300 scudi for unknown reasons.The paintings were finally installed in the chapel on 1 May 1605 by the woodworker Bartolomeo who received four scudi and fifty baiocchi from the Ospedale for his work.The first versionGiovanni Baglione in his 1642 biography about Caravaggio reported that the first versions of both paintings were rejected:"The panels at first had been painted in a different style, but because they did not please the patron, Cardinal Sannesio took them; in their place he painted the two oil paintings that can be seen there today, since he did not use any other medium. And – so to speak – Fortune and Fame carried him along." This report is the only historical source for the well-known story. Although the biography was written decades after the events, its veracity has generally been accepted. Baglione provided no further explanation about the reasons and circumstances of the rejection but modern scholarship put forward several theories and conjectures. The first versions of the paintings were obviously acquired by Giacomo Sannesio, secretary of the Sacra Consulta and an avid collector of art. Caravaggio's biographer, Giulio Mancini mentioned these paintings being in the collection of Cardinal Sannesio around 1620 but he thought them retouched copies of the originals. The paintings reappeared in an inventory of Francesco Sannesio, Cardinal Giacomo's heir, dated to 19 February 1644 that recorded "two large panels, that represent Saint Peter crucified and the other the conversion of Saint Paul, framed in gold". This time the heirs sold the paintings to the Spanish Viceroy of Naples, Juan Alfonso Enríquez de Cabrera who transported them to Madrid two years later. After his death, the paintings were recorded again in the inventory of his assets on 7 August 1647. At the time "The Martyrdom of Saint Peter" was valued to a total of 3300 ducats, its gilded and carved frame estimated to have a value of 300 ducats in itself. The panel was registered for the last time in the inventory of the possessions of Juan Gaspar Enríquez de Cabrera, the tenth Admiral of Castile, in 1691. After that the first version of the Crucifixion of Peter has disappeared from the documents, and its further fate remains unknown. The painting of this subject in the Museo del Patriarca in Valencia is attributed to Caravaggio and may be the first version.

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Crucifixion of Saint Peter (Caravaggio)

Explore the History of this artwork.

The two lateral paintings were commissioned in September 1600 by Monsignor Tiberio Cerasi, Treasurer-General to Pope Clement VIII, who purchased the chapel from the Augustinian friars on 8 July 1600 and commissioned Carlo Maderno to rebuild the small edifice in Baroque style. The contract for the altarpiece with Carracci has not been preserved but it is generally assumed that the document had been signed somewhat earlier, and Caravaggio had to take into consideration the other artist's work and the overall iconographic programme of the chapel. Cerasi nourished a deep devotion towards Saint Peter and Paul, and invoked them in his will. Together the two saints represented the foundation of the Catholic Church, and they were called the Princes of the Apostles. Both had a strong connection to the city of Rome and the papacy. Caravaggio's paintings were thus intended to express Cerasi's attachment to the Church of Rome and his closeness to papal power. Their position in the chapel was important but the devotional focus was still on the Assumption of the Virgin Mary on the altar in the middle. The juxtaposition of the two scenes had a well-known precedent in the frescos of the Capella Paolina at the Apostolic Palace (1542–1549) but the paintings of Caravaggio were starkly different from the crowded Mannerist scenes of Michelangelo.Although much has been said about the supposed rivalry between Carracci and Caravaggio, there is no historical evidence about any serious tensions. Both were successful and sought-after artists in Rome. Caravaggio gained the Cerasi commission right after his celebrated works in the Contarelli Chapel had been finished, and Carracci was busy creating his great fresco cycle in the Palazzo Farnese. In these circumstances there was little reason for them to regard each other as business rivals, states Denis Mahon.The contract signed on 24 September 1600 stipulates that "the distinguished painter, Michelangelo Merisi da Caravaggio" will paint two large cypress panels, ten palms high and eight palms wide, representing the conversion of Saint Paul and the martyrdom of Saint Peter within eight months for the price of 400 scudi. The contract gave a free hand to the painter to choose the figures, persons and ornaments depicted in the way as he saw fit, "to the satisfaction however of his Lordship", and he was also obliged to submit preparatory studies before the execution of the paintings. Caravaggio received 50 scudi as advance payment from the banker Vincenzo Giustiniani with the rest earmarked to be paid on completion. The dimensions specified for the panels are virtually the same as the size of the existing canvasses.When Tiberio Cerasi died on 3 May 1601, Caravaggio was still working on the paintings, as attested by an avviso dated 5 May which mentioned that the chapel was being decorated by the hand of the "famosissimo Pittore", Michelangelo da Caravaggio. A second avviso dated 2 June proves that Caravaggio was still at work on the paintings a month later. He completed them sometime before 10 November when he received the final instalment from the heirs of Tiberio Cerasi, the Fathers of the Ospedale della Consolazione. The total compensation for the paintings was reduced to 300 scudi for unknown reasons.The paintings were finally installed in the chapel on 1 May 1605 by the woodworker Bartolomeo who received four scudi and fifty baiocchi from the Ospedale for his work.The first versionGiovanni Baglione in his 1642 biography about Caravaggio reported that the first versions of both paintings were rejected:"The panels at first had been painted in a different style, but because they did not please the patron, Cardinal Sannesio took them; in their place he painted the two oil paintings that can be seen there today, since he did not use any other medium. And – so to speak – Fortune and Fame carried him along." This report is the only historical source for the well-known story. Although the biography was written decades after the events, its veracity has generally been accepted. Baglione provided no further explanation about the reasons and circumstances of the rejection but modern scholarship put forward several theories and conjectures. The first versions of the paintings were obviously acquired by Giacomo Sannesio, secretary of the Sacra Consulta and an avid collector of art. Caravaggio's biographer, Giulio Mancini mentioned these paintings being in the collection of Cardinal Sannesio around 1620 but he thought them retouched copies of the originals. The paintings reappeared in an inventory of Francesco Sannesio, Cardinal Giacomo's heir, dated to 19 February 1644 that recorded "two large panels, that represent Saint Peter crucified and the other the conversion of Saint Paul, framed in gold". This time the heirs sold the paintings to the Spanish Viceroy of Naples, Juan Alfonso Enríquez de Cabrera who transported them to Madrid two years later. After his death, the paintings were recorded again in the inventory of his assets on 7 August 1647. At the time "The Martyrdom of Saint Peter" was valued to a total of 3300 ducats, its gilded and carved frame estimated to have a value of 300 ducats in itself. The panel was registered for the last time in the inventory of the possessions of Juan Gaspar Enríquez de Cabrera, the tenth Admiral of Castile, in 1691. After that the first version of the Crucifixion of Peter has disappeared from the documents, and its further fate remains unknown. The painting of this subject in the Museo del Patriarca in Valencia is attributed to Caravaggio and may be the first version.

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Crucifixion of Saint Peter (Caravaggio)

Focus on Crucifixion of Saint Peter (Caravaggio) and discuss the Description.

The painting depicts the martyrdom of St. Peter. According to ancient and well-known tradition, Peter, when he was condemned to death in Rome, requested to be crucified upside-down because he did not believe that a man is worthy to be killed in the same manner as Jesus Christ."But now it is time for thee, Peter, to deliver up thy body unto them that take it. Receive it then, ye unto whom it belongeth. I beseech you the executioners, crucify me thus, with the head downward and not otherwise: and the reason wherefore, I will tell unto them that hear" – Acts of Peter The large canvas shows the three executioners fighting to straighten the cross. Peter is already nailed to the rafters, his hands and feet are bleeding. The apostle is practically naked, which emphasizes his vulnerability. He is an old man, with a gray beard and a bald head, but his aging body is still muscular, suggesting considerable strength. He rises from the cross with great effort, turning his whole body, as if he wants to look towards something that is out of the picture (God). His eyes do not look at the executioners but he has a lost look. The lifting of the cross requires the efforts of three men. One is pulling it up with ropes while his helpers try to raise the heavy equipment with their arms and shoulders. The yellow-breeched workman, who is crouching under the cross, grabs a shovel that was used to dig a hole into the rocky ground for the stake. The whole process seems disorganized and chaotic as if the sudden heaviness of the cross caught the executioners off-guard. Their faces are largely shielded from the viewer making them characterless executors of an unjust act ordered by an invisible authority. The background of the scene looks like a wall of impenetrable darkness but it is in fact a cliff of rock. This is an allusion to the meaning of Peter's name: the "rock" upon which Christ declared his Church to be built (Gospel of Matthew 16:18).

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Crucifixion of Saint Peter (Caravaggio)

Focus on this artwork and discuss the Description.

The painting depicts the martyrdom of St. Peter. According to ancient and well-known tradition, Peter, when he was condemned to death in Rome, requested to be crucified upside-down because he did not believe that a man is worthy to be killed in the same manner as Jesus Christ."But now it is time for thee, Peter, to deliver up thy body unto them that take it. Receive it then, ye unto whom it belongeth. I beseech you the executioners, crucify me thus, with the head downward and not otherwise: and the reason wherefore, I will tell unto them that hear" – Acts of Peter The large canvas shows the three executioners fighting to straighten the cross. Peter is already nailed to the rafters, his hands and feet are bleeding. The apostle is practically naked, which emphasizes his vulnerability. He is an old man, with a gray beard and a bald head, but his aging body is still muscular, suggesting considerable strength. He rises from the cross with great effort, turning his whole body, as if he wants to look towards something that is out of the picture (God). His eyes do not look at the executioners but he has a lost look. The lifting of the cross requires the efforts of three men. One is pulling it up with ropes while his helpers try to raise the heavy equipment with their arms and shoulders. The yellow-breeched workman, who is crouching under the cross, grabs a shovel that was used to dig a hole into the rocky ground for the stake. The whole process seems disorganized and chaotic as if the sudden heaviness of the cross caught the executioners off-guard. Their faces are largely shielded from the viewer making them characterless executors of an unjust act ordered by an invisible authority. The background of the scene looks like a wall of impenetrable darkness but it is in fact a cliff of rock. This is an allusion to the meaning of Peter's name: the "rock" upon which Christ declared his Church to be built (Gospel of Matthew 16:18).

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Crucifixion of Saint Peter (Caravaggio)

How does Crucifixion of Saint Peter (Caravaggio) elucidate its Style?

According to Denis Mahon, the two paintings in the Cerasi Chapel form "a closely-knit group of sufficiently clear character" with The Inspiration of Saint Matthew in the Contarelli Chapel and The Entombment of Christ in the Pinacoteca Vaticana. He called these four works "the middle group" and stated that they belong to Caravaggio's mature period. Comparing the two paintings in the Cerasi Chapel, Mahon saw the Conversion of Saint Paul "much more animated than its companion" which does not succeed conveying such a vivid sense of movement. The most striking feature of the painting is its pronounced realism: the saint is "very much the poor fisherman from Bethsaida, and the executioners, their hands heavily veined and reddened, their feet dusty, are toiling workmen", says Helen Langdon. This was the beginning of a new phase in Caravaggio's art where he concentrated on the Christian ethos of humility and salvation through suffering.

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Crucifixion of Saint Peter (Caravaggio)

How does this artwork elucidate its Style?

According to Denis Mahon, the two paintings in the Cerasi Chapel form "a closely-knit group of sufficiently clear character" with The Inspiration of Saint Matthew in the Contarelli Chapel and The Entombment of Christ in the Pinacoteca Vaticana. He called these four works "the middle group" and stated that they belong to Caravaggio's mature period. Comparing the two paintings in the Cerasi Chapel, Mahon saw the Conversion of Saint Paul "much more animated than its companion" which does not succeed conveying such a vivid sense of movement. The most striking feature of the painting is its pronounced realism: the saint is "very much the poor fisherman from Bethsaida, and the executioners, their hands heavily veined and reddened, their feet dusty, are toiling workmen", says Helen Langdon. This was the beginning of a new phase in Caravaggio's art where he concentrated on the Christian ethos of humility and salvation through suffering.

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Crucifixion of Saint Peter (Caravaggio)

Focus on Crucifixion of Saint Peter (Caravaggio) and analyze the Related works.

The painting was copied in 1616 by Gerrit van Honthorst when he studied in Rome. His drawing was discovered in the Nasjonalgalleriet in Oslo and published in 1946 by Jan Gerrit van Gelder. The young Honthorst was strongly influenced by the works of Caravaggio, and later became one of the Utrecht caravaggisti who tried to emulate the naturalism and tenebrosity of the Italian painter. Honthorst signed and dated the drawing in the lower left-hand corner. He must have observed the painting very carefully because only few details of the original were omitted. This copy drawing proves that the two Caravaggios in the Cerasi Chapel were already held in high regard a few years after they had been installed. Some scholars have identified the first version of the Crucifixion with a painting now in the Hermitage Museum in St. Petersburg, but this is not generally accepted (in the Hermitage catalog Martyrdom of St. Peter is attributed, with a question mark, to Lionello Spada and dated on the first quarter of the 17th century).

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Crucifixion of Saint Peter (Caravaggio)

Focus on this artwork and analyze the Related works.

The painting was copied in 1616 by Gerrit van Honthorst when he studied in Rome. His drawing was discovered in the Nasjonalgalleriet in Oslo and published in 1946 by Jan Gerrit van Gelder. The young Honthorst was strongly influenced by the works of Caravaggio, and later became one of the Utrecht caravaggisti who tried to emulate the naturalism and tenebrosity of the Italian painter. Honthorst signed and dated the drawing in the lower left-hand corner. He must have observed the painting very carefully because only few details of the original were omitted. This copy drawing proves that the two Caravaggios in the Cerasi Chapel were already held in high regard a few years after they had been installed. Some scholars have identified the first version of the Crucifixion with a painting now in the Hermitage Museum in St. Petersburg, but this is not generally accepted (in the Hermitage catalog Martyrdom of St. Peter is attributed, with a question mark, to Lionello Spada and dated on the first quarter of the 17th century).

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Pietà (Ribera, Madrid)

In Pietà (Ribera, Madrid), how is the abstract discussed?

The Pietà is a painting by José de Ribera, "The Españoleto", painted, signed and dated in 1633.

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Pietà (Ribera, Madrid)

In this artwork, how is the abstract discussed?

The Pietà is a painting by José de Ribera, "The Españoleto", painted, signed and dated in 1633.

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Pietà (Ribera, Madrid)

Focus on Pietà (Ribera, Madrid) and explore the Description.

The painting is in oils on canvas and its dimensions are 157 x 210 cm. It is owned by the Thyssen-Bornemisza Museum in Madrid.Ribera painted two other known canvases of the same subject. One is in the San Martino Museum and the other is in the National Gallery, London. The work is part of a transition period in which the artist, without leaving the shadows of tenebrism, began to experiment with brighter coloring inspired by the work of artists such as Rubens and van Dyck.The body of Christ is framed horizontally in the foreground of the composition. On the right, John the Apostle supports the subject's back while the grieving Mary Magdalene kisses Christ's feet. In the center is Mary with a face ravaged by pain looking to the sky and placing her hands together in prayer. At the upper right, the face of Joseph of Arimathea emerges from the darkness, veiled by the chiaroscuro technique. The spotlight of the composition is focused on the recumbent body and harshly exposes Christ's painful wounds, while a corresponding psychic pain is expressed in the face and gesture of the Virgin.

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Pietà (Ribera, Madrid)

Focus on this artwork and explore the Description.

The painting is in oils on canvas and its dimensions are 157 x 210 cm. It is owned by the Thyssen-Bornemisza Museum in Madrid.Ribera painted two other known canvases of the same subject. One is in the San Martino Museum and the other is in the National Gallery, London. The work is part of a transition period in which the artist, without leaving the shadows of tenebrism, began to experiment with brighter coloring inspired by the work of artists such as Rubens and van Dyck.The body of Christ is framed horizontally in the foreground of the composition. On the right, John the Apostle supports the subject's back while the grieving Mary Magdalene kisses Christ's feet. In the center is Mary with a face ravaged by pain looking to the sky and placing her hands together in prayer. At the upper right, the face of Joseph of Arimathea emerges from the darkness, veiled by the chiaroscuro technique. The spotlight of the composition is focused on the recumbent body and harshly exposes Christ's painful wounds, while a corresponding psychic pain is expressed in the face and gesture of the Virgin.

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Pietà (Ribera, Madrid)

Focus on Pietà (Ribera, Madrid) and explain the History.

The painting comes from the collection of the Marquis de Heredia. The work's commissioner is unknown. The canvas is signed in the lower right corner on a rock according to the usual formula the artist used at the time: "Jusepe de Ribera español 1633". Ribera was one of the most prolific painters, both in the quantity of works that came out of his workshop and its quality. Ribera painted the subject of the Pietá on numerous occasions and with many different variations throughout his life. The earliest of his extant Pietás dates to 1620 (National Gallery) whilst two others were produced in 1633 (Thyssen Museum) and 1637 (Charterhouse of San Martino, Naples).

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Pietà (Ribera, Madrid)

Focus on this artwork and explain the History.

The painting comes from the collection of the Marquis de Heredia. The work's commissioner is unknown. The canvas is signed in the lower right corner on a rock according to the usual formula the artist used at the time: "Jusepe de Ribera español 1633". Ribera was one of the most prolific painters, both in the quantity of works that came out of his workshop and its quality. Ribera painted the subject of the Pietá on numerous occasions and with many different variations throughout his life. The earliest of his extant Pietás dates to 1620 (National Gallery) whilst two others were produced in 1633 (Thyssen Museum) and 1637 (Charterhouse of San Martino, Naples).

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The Captive King

Explore the Description of this artwork, The Captive King.

The sketch was titled The Captive King and it shows the French nobleman Guy de Lusignan held prisoner by Saladin. Lusignan had fought Saladin on 4 July 1187 and was taken prisoner following his army's defeat. It is said that the relics from the true cross were also lost during this battle. Lusignan, who came from near Poitiers in France, had become the King of Jerusalem as a result of his marriage to Sibylla of Jerusalem. Eventually, Lusignan was released by Saladin and went on to rule Cyprus. The sketch by Joseph Wright contains annotations by his friend Peter Perez Burdett. Wright had taken lessons from Burdett in perspective and consulted him over the construction of his paintings.

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The Captive King

Explore the Description of this artwork.

The sketch was titled The Captive King and it shows the French nobleman Guy de Lusignan held prisoner by Saladin. Lusignan had fought Saladin on 4 July 1187 and was taken prisoner following his army's defeat. It is said that the relics from the true cross were also lost during this battle. Lusignan, who came from near Poitiers in France, had become the King of Jerusalem as a result of his marriage to Sibylla of Jerusalem. Eventually, Lusignan was released by Saladin and went on to rule Cyprus. The sketch by Joseph Wright contains annotations by his friend Peter Perez Burdett. Wright had taken lessons from Burdett in perspective and consulted him over the construction of his paintings.

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The Captive King

Focus on The Captive King and discuss the History.

The sketch was one of at least three that Wright drew before making two similar paintings concerning the captured crusader. The sketches were sent to Peter Perez Burdett in Liverpool for his comment in the winter of 1772–73 before Wright created the smaller of the paintings, which was exhibited at the Society of Artists in 1773 with a version of The Blacksmith's Shop. Wright had hoped to sell a version of The Captive King to Markgraf Karl Friedrich in 1774. Friedrich was to eventually employ Burdett when he moved to Germany to avoid his debts – including money owed to Wright. A larger version of the painting that was 40 inches by 50 inches was in the possession of Wright's son-in-law after it was sold in 1810. There is no report of it after that in Nicolson's book on Wright's work. In 1774 and 1778 Wright created paintings with a similar subject of a man abandoned in prison, but the later paintings concern an extract from a contemporary novel. The last of these was Sterne's Captive, exhibited in 1778.

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The Captive King

Focus on this artwork and discuss the History.

The sketch was one of at least three that Wright drew before making two similar paintings concerning the captured crusader. The sketches were sent to Peter Perez Burdett in Liverpool for his comment in the winter of 1772–73 before Wright created the smaller of the paintings, which was exhibited at the Society of Artists in 1773 with a version of The Blacksmith's Shop. Wright had hoped to sell a version of The Captive King to Markgraf Karl Friedrich in 1774. Friedrich was to eventually employ Burdett when he moved to Germany to avoid his debts – including money owed to Wright. A larger version of the painting that was 40 inches by 50 inches was in the possession of Wright's son-in-law after it was sold in 1810. There is no report of it after that in Nicolson's book on Wright's work. In 1774 and 1778 Wright created paintings with a similar subject of a man abandoned in prison, but the later paintings concern an extract from a contemporary novel. The last of these was Sterne's Captive, exhibited in 1778.

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Statue of Wenceslaus I, Charles Bridge

How does Statue of Wenceslaus I, Charles Bridge elucidate its abstract?

The statue of Wenceslaus I (Czech: Socha svatého Václava) is an outdoor sculpture by Josef Kamil Böhm, installed on the south side of the Charles Bridge in Prague, Czech Republic.

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Statue of Wenceslaus I, Charles Bridge

How does this artwork elucidate its abstract?

The statue of Wenceslaus I (Czech: Socha svatého Václava) is an outdoor sculpture by Josef Kamil Böhm, installed on the south side of the Charles Bridge in Prague, Czech Republic.

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A Little Coaxing

Focus on A Little Coaxing and analyze the abstract.

A Little Coaxing (French: Câlinerie) is an oil painting by the French artist William-Adolphe Bouguereau, painted and completed in 1890, and now owned by a private collector.It depicts two barefooted sisters, the older girl sitting on a concrete step and the younger sister giving her a kiss on the cheek.

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A Little Coaxing

Focus on this artwork and analyze the abstract.

A Little Coaxing (French: Câlinerie) is an oil painting by the French artist William-Adolphe Bouguereau, painted and completed in 1890, and now owned by a private collector.It depicts two barefooted sisters, the older girl sitting on a concrete step and the younger sister giving her a kiss on the cheek.

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Untitled (1982 Basquiat skull painting)

In Untitled (1982 Basquiat skull painting), how is the abstract discussed?

Untitled is a painting created by American artist Jean-Michel Basquiat in 1982. The artwork, which depicts a skull, is among the most expensive paintings ever. In May 2017, it sold for $110.5 million at Sotheby's, the highest price ever paid at auction for artwork by an American artist in a public sale. That record was surpassed by Shot Marilyns by Andy Warhol, which sold for $195 million in May 2022.

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Untitled (1982 Basquiat skull painting)

In this artwork, how is the abstract discussed?

Untitled is a painting created by American artist Jean-Michel Basquiat in 1982. The artwork, which depicts a skull, is among the most expensive paintings ever. In May 2017, it sold for $110.5 million at Sotheby's, the highest price ever paid at auction for artwork by an American artist in a public sale. That record was surpassed by Shot Marilyns by Andy Warhol, which sold for $195 million in May 2022.

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Untitled (1982 Basquiat skull painting)

Focus on Untitled (1982 Basquiat skull painting) and explore the History.

Untitled was executed by Jean-Michel Basquiat in 1982, which is considered his most valuable year. A majority of the highest-selling Basquiat paintings at auction date to 1982. Untitled depicts a skull, composed of black brushstrokes with red, yellow and white rivulets against a blue background. It originally sold for $4,000 in 1982. It was owned by the Annina Nosei Gallery in New York, before being sold to Phoebe Chason, who sold it to Alexander F. Milliken in 1982. It hadn't been shown in public since it was sold at Christie's to Emily and Jerry Spiegel for $19,000 in 1984.In May 2017, the painting was auctioned at Sotheby's to Japanese businessman and art collector Yusaku Maezawa for $110.5 million, which far exceeded the pre-sale estimate of $60 million. Basquiat, who was 21-years-old when he painted Untitled, is the youngest artist to eclipse the $100 million mark. It is also the first work made after 1980 to sell for more than $100 million. It surpassed Andy Warhol's $105 million auction record for Silver Car Crash (Double Disaster) (1963), and became the sixth-most expensive work ever auctioned. Basquiat's previous record was $57.3 million for Untitled (1982), a painting of a devil, also purchased by Maezawa.

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Untitled (1982 Basquiat skull painting)

Focus on this artwork and explore the History.

Untitled was executed by Jean-Michel Basquiat in 1982, which is considered his most valuable year. A majority of the highest-selling Basquiat paintings at auction date to 1982. Untitled depicts a skull, composed of black brushstrokes with red, yellow and white rivulets against a blue background. It originally sold for $4,000 in 1982. It was owned by the Annina Nosei Gallery in New York, before being sold to Phoebe Chason, who sold it to Alexander F. Milliken in 1982. It hadn't been shown in public since it was sold at Christie's to Emily and Jerry Spiegel for $19,000 in 1984.In May 2017, the painting was auctioned at Sotheby's to Japanese businessman and art collector Yusaku Maezawa for $110.5 million, which far exceeded the pre-sale estimate of $60 million. Basquiat, who was 21-years-old when he painted Untitled, is the youngest artist to eclipse the $100 million mark. It is also the first work made after 1980 to sell for more than $100 million. It surpassed Andy Warhol's $105 million auction record for Silver Car Crash (Double Disaster) (1963), and became the sixth-most expensive work ever auctioned. Basquiat's previous record was $57.3 million for Untitled (1982), a painting of a devil, also purchased by Maezawa.

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Untitled (1982 Basquiat skull painting)

Focus on Untitled (1982 Basquiat skull painting) and explain the Exhibitions.

Untitled was exhibited for the group show Fast at Alexander F. Milliken Inc. in New York, June–July 1982. After Yusaku Maezawa purchased the painting, he loaned it to the Brooklyn Museum and the Seattle Art Museum in 2018. Maezawa plans to open a contemporary art museum in his hometown of Chiba, Japan, which will house the painting with the rest of his art collection. It was on display for the Jean-Michel Basquiat exhibition at the Brant Foundation in New York, March–May 2019.

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Untitled (1982 Basquiat skull painting)

Focus on this artwork and explain the Exhibitions.

Untitled was exhibited for the group show Fast at Alexander F. Milliken Inc. in New York, June–July 1982. After Yusaku Maezawa purchased the painting, he loaned it to the Brooklyn Museum and the Seattle Art Museum in 2018. Maezawa plans to open a contemporary art museum in his hometown of Chiba, Japan, which will house the painting with the rest of his art collection. It was on display for the Jean-Michel Basquiat exhibition at the Brant Foundation in New York, March–May 2019.

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Aboriginal Memorial

Explore the abstract of this artwork, Aboriginal Memorial.

The Aboriginal Memorial is a work of contemporary Indigenous Australian art from the late 1980s, and comprises 200 decorated hollow log coffins (also known as memorial poles, dupun, ḻarrakitj and other terms). It was conceived by Djon (John) Mundine in 1987–88 and realised by 43 artists from Ramingining and neighbouring communities of Central Arnhem Land, in the Northern Territory. Artists who participated in its creation included David Malangi and George Milpurrurru. The work was created to coincide with the Australian Bicentenary and commemorates those Indigenous Australians who died as a result of European settlement. It was acquired by the National Gallery of Australia, where it is on permanent display. Its first exhibition was at the Sydney Biennale in 1988, and it was the centrepiece of an exhibition of Indigenous art at Russia's Hermitage Museum in 2000.

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Aboriginal Memorial

Explore the abstract of this artwork.

The Aboriginal Memorial is a work of contemporary Indigenous Australian art from the late 1980s, and comprises 200 decorated hollow log coffins (also known as memorial poles, dupun, ḻarrakitj and other terms). It was conceived by Djon (John) Mundine in 1987–88 and realised by 43 artists from Ramingining and neighbouring communities of Central Arnhem Land, in the Northern Territory. Artists who participated in its creation included David Malangi and George Milpurrurru. The work was created to coincide with the Australian Bicentenary and commemorates those Indigenous Australians who died as a result of European settlement. It was acquired by the National Gallery of Australia, where it is on permanent display. Its first exhibition was at the Sydney Biennale in 1988, and it was the centrepiece of an exhibition of Indigenous art at Russia's Hermitage Museum in 2000.

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Aboriginal Memorial

Focus on Aboriginal Memorial and discuss the Creation.

In 1988, Australia marked 200 years since its first official white settlement, established by Captain Arthur Phillip on Sydney Harbour in 1788. While some Indigenous Australians protested the event, and referred to the occasion as Invasion Day rather than Australia Day, a group of Aboriginal artists from Ramingining in the Northern Territory decided to create an artwork to mark the anniversary. The project was initiated by Djon Mundine, an Indigenous art advisor and curator, who was working at Bula'Bula Arts at Ramingining prior to the Bicentenary. A small group of artists including David Malangi, Paddy Dhathangu, George Milpurrurru, and Jimmy Wululu decided the form of the project, but ultimately 43 artists from the region contributed pieces to the Memorial.The work takes the form of 200 hollow log coffins, known as dupun: the number was chosen to mark the years of European settlement. Such coffins are a form of funerary art and are used throughout the Arnhem Land region for reburial ceremonies. The items displayed in Aboriginal Memorial, however, were created for the purpose of the artwork and have not at any stage contained human remains, nor been used in reburial ceremonies. The work was intended "to commemorate the thousands of Aboriginal people who had perished in the course of European settlement, and for whom it has not been possible to conduct appropriate mortuary rites". The intention behind the work drew attention in 2005 when Melbourne newspaper The Age ran an editorial asking whether it might be appropriate to commemorate Aboriginal resistance to white settlement at the Australian War Memorial, and to move the Aboriginal Memorial to that location as part of that commemoration.Log coffins are made from trees that have been naturally hollowed out by termites. They are cut, cleaned and then painted with natural pigments during a ceremonial camp. The Aboriginal Memorial decorations reflect traditional clan designs and significant dreamings for which the artists had responsibility.

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Aboriginal Memorial

Focus on this artwork and discuss the Creation.

In 1988, Australia marked 200 years since its first official white settlement, established by Captain Arthur Phillip on Sydney Harbour in 1788. While some Indigenous Australians protested the event, and referred to the occasion as Invasion Day rather than Australia Day, a group of Aboriginal artists from Ramingining in the Northern Territory decided to create an artwork to mark the anniversary. The project was initiated by Djon Mundine, an Indigenous art advisor and curator, who was working at Bula'Bula Arts at Ramingining prior to the Bicentenary. A small group of artists including David Malangi, Paddy Dhathangu, George Milpurrurru, and Jimmy Wululu decided the form of the project, but ultimately 43 artists from the region contributed pieces to the Memorial.The work takes the form of 200 hollow log coffins, known as dupun: the number was chosen to mark the years of European settlement. Such coffins are a form of funerary art and are used throughout the Arnhem Land region for reburial ceremonies. The items displayed in Aboriginal Memorial, however, were created for the purpose of the artwork and have not at any stage contained human remains, nor been used in reburial ceremonies. The work was intended "to commemorate the thousands of Aboriginal people who had perished in the course of European settlement, and for whom it has not been possible to conduct appropriate mortuary rites". The intention behind the work drew attention in 2005 when Melbourne newspaper The Age ran an editorial asking whether it might be appropriate to commemorate Aboriginal resistance to white settlement at the Australian War Memorial, and to move the Aboriginal Memorial to that location as part of that commemoration.Log coffins are made from trees that have been naturally hollowed out by termites. They are cut, cleaned and then painted with natural pigments during a ceremonial camp. The Aboriginal Memorial decorations reflect traditional clan designs and significant dreamings for which the artists had responsibility.

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Aboriginal Memorial

How does Aboriginal Memorial elucidate its Exhibition and critical reception?

The creators of the Aboriginal Memorial always intended that it be publicly displayed, and in 1987 the work was offered to the National Gallery of Australia, which helped fund its completion. After being first exhibited at the Sydney Biennale in 1988, it was moved to the National Gallery, its present home. In 2000, the Memorial formed the centrepiece of a major exhibition of Australian Indigenous art held in the prestigious Nicholas Hall at the Hermitage Museum in Russia. The exhibition received a positive reception from Russian critics, one of whom wrote: This is an exhibition of contemporary art, not in the sense that it was done recently, but in that it is cased in the mentality, technology and philosophy of radical art of the most recent times. No one, other than the Aborigines of Australia, has succeeded in exhibiting such art at the Hermitage. Described as an icon of the National Gallery's collection, and "one of the outstanding works of art to have been created in Australia", the memorial is laid out with a central pathway between the log-coffins representing the passage of the Glyde River through central Arnhem Land. In the late 2000s, the work was included in the list of the 20 most valuable artworks in the Gallery's collection, and was the only Australian artwork to make that list. At that time, of the 20 most valuable Australian artworks in the collection, it was also the only one by Indigenous artists. Andrew Sayers, former head of Australia's National Portrait Gallery and the National Museum of Australia, described the work as "among the most profound works of art to emerge from the last 20 years".In the late 2000s, the work was temporarily withdrawn from display to undergo significant conservation work. Completed in October 2009, the restoration was followed by the work's relocation in 2010 to the entrance area of the new gallery building, where it was intended to be the first work seen by visitors to the gallery. Aboriginal Memorial was relocated to level 1 of the NGA in June 2022. The gallery stated that this move placed the work in the "heart of the National Gallery, helping make the most important work in the national collection central to all visitors’ art experience".

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Aboriginal Memorial

How does this artwork elucidate its Exhibition and critical reception?

The creators of the Aboriginal Memorial always intended that it be publicly displayed, and in 1987 the work was offered to the National Gallery of Australia, which helped fund its completion. After being first exhibited at the Sydney Biennale in 1988, it was moved to the National Gallery, its present home. In 2000, the Memorial formed the centrepiece of a major exhibition of Australian Indigenous art held in the prestigious Nicholas Hall at the Hermitage Museum in Russia. The exhibition received a positive reception from Russian critics, one of whom wrote: This is an exhibition of contemporary art, not in the sense that it was done recently, but in that it is cased in the mentality, technology and philosophy of radical art of the most recent times. No one, other than the Aborigines of Australia, has succeeded in exhibiting such art at the Hermitage. Described as an icon of the National Gallery's collection, and "one of the outstanding works of art to have been created in Australia", the memorial is laid out with a central pathway between the log-coffins representing the passage of the Glyde River through central Arnhem Land. In the late 2000s, the work was included in the list of the 20 most valuable artworks in the Gallery's collection, and was the only Australian artwork to make that list. At that time, of the 20 most valuable Australian artworks in the collection, it was also the only one by Indigenous artists. Andrew Sayers, former head of Australia's National Portrait Gallery and the National Museum of Australia, described the work as "among the most profound works of art to emerge from the last 20 years".In the late 2000s, the work was temporarily withdrawn from display to undergo significant conservation work. Completed in October 2009, the restoration was followed by the work's relocation in 2010 to the entrance area of the new gallery building, where it was intended to be the first work seen by visitors to the gallery. Aboriginal Memorial was relocated to level 1 of the NGA in June 2022. The gallery stated that this move placed the work in the "heart of the National Gallery, helping make the most important work in the national collection central to all visitors’ art experience".

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The Pupils

Focus on The Pupils and analyze the abstract.

The Pupils is an oil on canvas painting made in 2001 by the Belgian Michaël Borremans. It depicts three young men, each looking down at an upturned head, with thin white lines between the eyes of the heads above and below. The title plays with the two meanings of the word pupil. Critics have described how the impression of The Pupils changes as the viewer discovers its details. They say it may reflect the relationship between the painting and viewer, it appears both familiar and incomprehensible, and it may be about self-doubt. It was shown at a Borremans exhibition held in Ghent, London, and Dublin in 2005.

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The Pupils

Focus on this artwork and analyze the abstract.

The Pupils is an oil on canvas painting made in 2001 by the Belgian Michaël Borremans. It depicts three young men, each looking down at an upturned head, with thin white lines between the eyes of the heads above and below. The title plays with the two meanings of the word pupil. Critics have described how the impression of The Pupils changes as the viewer discovers its details. They say it may reflect the relationship between the painting and viewer, it appears both familiar and incomprehensible, and it may be about self-doubt. It was shown at a Borremans exhibition held in Ghent, London, and Dublin in 2005.

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The Pupils

In The Pupils, how is the Analysis and reception discussed?

The title of The Pupils is originally in English and intentionally ambiguous, as it refers both to students and the pupils of the eyes. Aidan Dunne of The Irish Times says the young men first looked like "trainee optometrists", and The Guardian's Adrian Searle says he thought they were being trained in dentistry or cosmetic surgery before he spotted the thin lines, which he describes as "pure light or tears". The art historian and curator Ziba de Weck Ardalan says she thought they might be medical students before seeing that the heads below look identical to those of the pupils, who appear to be crying into the eyes below them. As the viewer discovers more details in the painting, Weck Ardalan says a number of possibilities arise: the three pupils could be one man from different angles, the subject of the painting might be "the human agony of self-doubt", and the men are perhaps looking or crying into their own images. Sam Steverlynck of De Standaard says they are creating replicas of their own heads.Searle compares the lines between the eyes to the connection between the painting and its observers. He says The Pupils seems to depict work, is a work and makes the viewer work, and like many Borremans paintings has a both gentle and sinister atmosphere. Weck Ardalan sees the painting as an example of how Borremans uses balance and colour to create a sense of timelessness and nostalgia, reminiscent of old film stills, despite portraying unusual subjects. Although the techniques are similar, she differentiates Borremans' works from Romantic paintings because they do not focus on the feelings of the individual, but on existence in human society, the absurd in life within a complex world and the tension between the animate and the inanimate, inviting viewers to an irrational perspective. Weck Ardalan says The Pupils shows people engaged in an activity that appears both ordinary and incomprehensible. Steverlynck says Borremans paints with "an almost classical mastery". He says The Pupils is mysterious, hard to place in time and because of its "uneasy atmosphere, diluted with a hefty dash of absurdity, the work remains on your retina".

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The Pupils

In this artwork, how is the Analysis and reception discussed?

The title of The Pupils is originally in English and intentionally ambiguous, as it refers both to students and the pupils of the eyes. Aidan Dunne of The Irish Times says the young men first looked like "trainee optometrists", and The Guardian's Adrian Searle says he thought they were being trained in dentistry or cosmetic surgery before he spotted the thin lines, which he describes as "pure light or tears". The art historian and curator Ziba de Weck Ardalan says she thought they might be medical students before seeing that the heads below look identical to those of the pupils, who appear to be crying into the eyes below them. As the viewer discovers more details in the painting, Weck Ardalan says a number of possibilities arise: the three pupils could be one man from different angles, the subject of the painting might be "the human agony of self-doubt", and the men are perhaps looking or crying into their own images. Sam Steverlynck of De Standaard says they are creating replicas of their own heads.Searle compares the lines between the eyes to the connection between the painting and its observers. He says The Pupils seems to depict work, is a work and makes the viewer work, and like many Borremans paintings has a both gentle and sinister atmosphere. Weck Ardalan sees the painting as an example of how Borremans uses balance and colour to create a sense of timelessness and nostalgia, reminiscent of old film stills, despite portraying unusual subjects. Although the techniques are similar, she differentiates Borremans' works from Romantic paintings because they do not focus on the feelings of the individual, but on existence in human society, the absurd in life within a complex world and the tension between the animate and the inanimate, inviting viewers to an irrational perspective. Weck Ardalan says The Pupils shows people engaged in an activity that appears both ordinary and incomprehensible. Steverlynck says Borremans paints with "an almost classical mastery". He says The Pupils is mysterious, hard to place in time and because of its "uneasy atmosphere, diluted with a hefty dash of absurdity, the work remains on your retina".

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The Pupils

Focus on The Pupils and explore the Provenance.

The Pupils was part of Borremans' solo exhibition The Performance, first held at the Stedelijk Museum voor Actuele Kunst in Ghent from 5 February to 17 April 2005. The Performance was then held at the Parasol Unit Foundation for Contemporary Art in London from 4 May to 30 June 2005 and the Royal Hibernian Academy in Dublin from 14 July to 4 September 2005. The Pupils was part of the group exhibition Eklips at Moderna Museet in Stockholm in 2008.

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The Pupils

Focus on this artwork and explore the Provenance.

The Pupils was part of Borremans' solo exhibition The Performance, first held at the Stedelijk Museum voor Actuele Kunst in Ghent from 5 February to 17 April 2005. The Performance was then held at the Parasol Unit Foundation for Contemporary Art in London from 4 May to 30 June 2005 and the Royal Hibernian Academy in Dublin from 14 July to 4 September 2005. The Pupils was part of the group exhibition Eklips at Moderna Museet in Stockholm in 2008.

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Statue of Christopher Columbus (Baltimore)

Focus on Statue of Christopher Columbus (Baltimore) and explain the abstract.

The Christopher Columbus Monument was a marble statue of the explorer Christopher Columbus in the Little Italy neighborhood of Downtown Baltimore, Maryland. The monument was brought down by protesters and dumped into the Inner Harbor on July 4, 2020, one of numerous monuments removed during the George Floyd protests. The statue is being reproduced by the Knights of Columbus.

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Statue of Christopher Columbus (Baltimore)

Focus on this artwork and explain the abstract.

The Christopher Columbus Monument was a marble statue of the explorer Christopher Columbus in the Little Italy neighborhood of Downtown Baltimore, Maryland. The monument was brought down by protesters and dumped into the Inner Harbor on July 4, 2020, one of numerous monuments removed during the George Floyd protests. The statue is being reproduced by the Knights of Columbus.

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Statue of Christopher Columbus (Baltimore)

Explore the Description of this artwork, Statue of Christopher Columbus (Baltimore).

The marble sculpture depicted Christopher Columbus. The memorial included a marble base featuring the three ships of the Columbus fleet: the Niña, the Pinta, and the Santa María. It bore the inscription "Discoverer of America."

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Statue of Christopher Columbus (Baltimore)

Explore the Description of this artwork.

The marble sculpture depicted Christopher Columbus. The memorial included a marble base featuring the three ships of the Columbus fleet: the Niña, the Pinta, and the Santa María. It bore the inscription "Discoverer of America."

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Statue of Christopher Columbus (Baltimore)

Focus on Statue of Christopher Columbus (Baltimore) and discuss the History.

The Christopher Columbus Monument was the newest of Baltimore's three monuments dedicated to the explorer Christopher Columbus. Located in Columbus Piazza, the sculpture was designed by Mauro Bigarani and was commissioned by donations from the Italian American Organization United of Maryland and the Italian American community of Baltimore. The statue was unveiled by then-Mayor William Donald Schaefer and President Ronald Reagan in October 1984.

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Statue of Christopher Columbus (Baltimore)

Focus on this artwork and discuss the History.

The Christopher Columbus Monument was the newest of Baltimore's three monuments dedicated to the explorer Christopher Columbus. Located in Columbus Piazza, the sculpture was designed by Mauro Bigarani and was commissioned by donations from the Italian American Organization United of Maryland and the Italian American community of Baltimore. The statue was unveiled by then-Mayor William Donald Schaefer and President Ronald Reagan in October 1984.