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1751_T
|
Little Girl in a Blue Armchair
|
Focus on Little Girl in a Blue Armchair and explain the The Painting.
|
The museum page provenance suggests the painting was possibly shown at the Fourth Impressionist Exhibition 1879 as Portrait de petite fille.By 1877 Cassatt had come into frank conflict with the official French art establishment and had had both her submissions for that year rejected by the Salon. So when Edgar Degas invited her to join the Impressionists the same year, a group similarly disaffected by the Salon system, she accepted with eagerness. A planned 1878 exhibition did not take place, because of what Degas judged would be competition from the World's Fair held in Paris that year, but she did hold what amounted to a show of her own at the Spring 1879 Impressionist exhibition, exhibiting a dozen oils and pastels. Exactly which works these all were is not now known with certainty, but it is likely that Little Girl in a Blue Armchair was amongst them.Cassatt submitted the painting to the Art Gallery of the American pavilion at the 1878 World's Fair, along with another that cannot now be identified. To her intense annoyance it was rejected, although the other was accepted. She expressed her irritation in a 1903 letter to the Parisian art dealer Ambroise Vollard, which makes it plain how much Degas had been involved (he also supplied the model, a daughter of friends of his): "It was the portrait of a friend of M. Degas. I had done the child in the armchair and he found it good and advised me on the background and he even worked on it. I sent it to the American section of the big exposition [of 1878], they refused it ... I was furious, all the more so since he had worked on it. At that time this appeared new and the jury consisted of three people of which one was a pharmacist!" Indeed, the painting is often cited as an example of Degas' influence.Recent cleaning and infra-red photography at the National Gallery of Art has confirmed Degas' contribution.The painting is described as "it dazzles with its predominant hue of deep turquoise" and has been regarded to be a masterpiece by Karen Rosenberg in a New York Times review.The dog pictured lying in the armchair next the little girl's in Little Girl in a Blue Armchair is a Brussels Griffon. Cassatt was probably introduced to this breed while in Antwerp 1873. Degas presented her with a pup he had procured from fellow Impressionist Ludovic-Napoléon Lepic, a dog lover who bred them, and Cassatt went on to keep them the rest of her life.
The painting was purchased from the artist by Ambroise Vollard of Paris around 1903 for his gallery, and was later acquired by Hector Brame of Paris. It was sold in 1963 to Mr. and Mrs. Paul Mellon. They lent it to the National Gallery of Art for exhibitions and eventually gifted it in 1983 to NGA.
|
[
"Impressionists",
"World's Fair",
"Edgar Degas",
"National Gallery of Art",
"Paul Mellon",
"Ludovic-Napoléon Lepic",
"provenance",
"Salon",
"Ambroise Vollard",
"Brussels Griffon"
] |
|
1751_NT
|
Little Girl in a Blue Armchair
|
Focus on this artwork and explain the The Painting.
|
The museum page provenance suggests the painting was possibly shown at the Fourth Impressionist Exhibition 1879 as Portrait de petite fille.By 1877 Cassatt had come into frank conflict with the official French art establishment and had had both her submissions for that year rejected by the Salon. So when Edgar Degas invited her to join the Impressionists the same year, a group similarly disaffected by the Salon system, she accepted with eagerness. A planned 1878 exhibition did not take place, because of what Degas judged would be competition from the World's Fair held in Paris that year, but she did hold what amounted to a show of her own at the Spring 1879 Impressionist exhibition, exhibiting a dozen oils and pastels. Exactly which works these all were is not now known with certainty, but it is likely that Little Girl in a Blue Armchair was amongst them.Cassatt submitted the painting to the Art Gallery of the American pavilion at the 1878 World's Fair, along with another that cannot now be identified. To her intense annoyance it was rejected, although the other was accepted. She expressed her irritation in a 1903 letter to the Parisian art dealer Ambroise Vollard, which makes it plain how much Degas had been involved (he also supplied the model, a daughter of friends of his): "It was the portrait of a friend of M. Degas. I had done the child in the armchair and he found it good and advised me on the background and he even worked on it. I sent it to the American section of the big exposition [of 1878], they refused it ... I was furious, all the more so since he had worked on it. At that time this appeared new and the jury consisted of three people of which one was a pharmacist!" Indeed, the painting is often cited as an example of Degas' influence.Recent cleaning and infra-red photography at the National Gallery of Art has confirmed Degas' contribution.The painting is described as "it dazzles with its predominant hue of deep turquoise" and has been regarded to be a masterpiece by Karen Rosenberg in a New York Times review.The dog pictured lying in the armchair next the little girl's in Little Girl in a Blue Armchair is a Brussels Griffon. Cassatt was probably introduced to this breed while in Antwerp 1873. Degas presented her with a pup he had procured from fellow Impressionist Ludovic-Napoléon Lepic, a dog lover who bred them, and Cassatt went on to keep them the rest of her life.
The painting was purchased from the artist by Ambroise Vollard of Paris around 1903 for his gallery, and was later acquired by Hector Brame of Paris. It was sold in 1963 to Mr. and Mrs. Paul Mellon. They lent it to the National Gallery of Art for exhibitions and eventually gifted it in 1983 to NGA.
|
[
"Impressionists",
"World's Fair",
"Edgar Degas",
"National Gallery of Art",
"Paul Mellon",
"Ludovic-Napoléon Lepic",
"provenance",
"Salon",
"Ambroise Vollard",
"Brussels Griffon"
] |
|
1752_T
|
Little Girl in a Blue Armchair
|
Explore the Commentaries of this artwork, Little Girl in a Blue Armchair.
|
Griselda Pollock declares the painting one of the most radical images of childhood of the time. Germaine Greer calls it Cassatt's first real stunner: "As an icon of the awfulness of being at once controlled by adults and ignored by them, this bold work could hardly be bettered", a view echoed by Ben Pollitt in his description of the painting as capturing the huffing and puffing tiresomeness that a child feels within the social constraints of an adult world.John Bullard likens the chairs to bump cars at an amusement park. The portion Degas worked on was probably the oddly-shaped patch of floor between the chairs, as well as the play of light through the windows. The entire painting shows Degas' influence in the asymmetrical composition, the use of pattern, and the cropping of the image in the manner of the Japanese prints he had introduced Cassatt to. He finds the picture an image of the contented boredom of a comfortable bourgeois life, although the slightly languid and provocative pose of the child is disconcerting.Judith Barter discounts the idea that the jury at the American Pavilion were affronted by the physicality of the girl's pose. A rather similar painting, in terms of the pose, by the Belgian painter Alfred Cluysenaar had been accepted by the Belgian Pavilion. Where they differed was in their treatment, Cluysenaar's being conventional whereas Cassatt's was radical in her handling of the background, and more nuanced in its psychologism. In Clusysenaar's portrait his son holds the viewer in a direct uncomplicated gaze, whereas Cassatt's little girl's gaze is a more elusive sideways glance that asserts her own independence. Cassatt's compelling motivation in her images of children was their care, reflecting the most advanced ideas of the time concerning maternity and the raising of children. The pastel Mother and Child, for example, continues her Degas-like preoccupation with pattern but primarily addresses the strong emotional bond between mother and child.The painting is referenced in Harriett Chessman's influential 1993 essay Mary Cassatt and the Maternal Body. Extending Griselda Pollock's notion of the "spaces of femininity", Chessman suggests that Cassatt used the child's body in her mother and child paintings as a way of encoding female sexuality. Judith Barter observes that in Cassatt's social millieu the only proper expression of a woman's sexuality was her maternity. In a painting such as Breakfast in Bed we are aware that we have interrupted an intimate moment, but we have not done so improperly. Chessman describes Breakfast in Bed as an allegory of the maternal body.
|
[
"Griselda Pollock",
"Mary Cassatt",
"Breakfast in Bed",
"Germaine Greer",
"Harriett Chessman",
"Alfred Cluysenaar"
] |
|
1752_NT
|
Little Girl in a Blue Armchair
|
Explore the Commentaries of this artwork.
|
Griselda Pollock declares the painting one of the most radical images of childhood of the time. Germaine Greer calls it Cassatt's first real stunner: "As an icon of the awfulness of being at once controlled by adults and ignored by them, this bold work could hardly be bettered", a view echoed by Ben Pollitt in his description of the painting as capturing the huffing and puffing tiresomeness that a child feels within the social constraints of an adult world.John Bullard likens the chairs to bump cars at an amusement park. The portion Degas worked on was probably the oddly-shaped patch of floor between the chairs, as well as the play of light through the windows. The entire painting shows Degas' influence in the asymmetrical composition, the use of pattern, and the cropping of the image in the manner of the Japanese prints he had introduced Cassatt to. He finds the picture an image of the contented boredom of a comfortable bourgeois life, although the slightly languid and provocative pose of the child is disconcerting.Judith Barter discounts the idea that the jury at the American Pavilion were affronted by the physicality of the girl's pose. A rather similar painting, in terms of the pose, by the Belgian painter Alfred Cluysenaar had been accepted by the Belgian Pavilion. Where they differed was in their treatment, Cluysenaar's being conventional whereas Cassatt's was radical in her handling of the background, and more nuanced in its psychologism. In Clusysenaar's portrait his son holds the viewer in a direct uncomplicated gaze, whereas Cassatt's little girl's gaze is a more elusive sideways glance that asserts her own independence. Cassatt's compelling motivation in her images of children was their care, reflecting the most advanced ideas of the time concerning maternity and the raising of children. The pastel Mother and Child, for example, continues her Degas-like preoccupation with pattern but primarily addresses the strong emotional bond between mother and child.The painting is referenced in Harriett Chessman's influential 1993 essay Mary Cassatt and the Maternal Body. Extending Griselda Pollock's notion of the "spaces of femininity", Chessman suggests that Cassatt used the child's body in her mother and child paintings as a way of encoding female sexuality. Judith Barter observes that in Cassatt's social millieu the only proper expression of a woman's sexuality was her maternity. In a painting such as Breakfast in Bed we are aware that we have interrupted an intimate moment, but we have not done so improperly. Chessman describes Breakfast in Bed as an allegory of the maternal body.
|
[
"Griselda Pollock",
"Mary Cassatt",
"Breakfast in Bed",
"Germaine Greer",
"Harriett Chessman",
"Alfred Cluysenaar"
] |
|
1753_T
|
Statue of Kamehameha I (Kapaau, Hawaii)
|
Focus on Statue of Kamehameha I (Kapaau, Hawaii) and analyze the abstract.
|
The Kamehameha I statue (original cast) is an outdoor sculpture by American artist Thomas Ridgeway Gould, cast in 1880 and installed in 1883. It stands in front of the old country courthouse in the town of Kapaʻau, located in North Kohala on the Island of Hawaiʻi. Made of cast brass and painted with lifelike colors, it depicts Kamehameha I, and represents an important cultural and spiritual object for the local community.
|
[
"Thomas Ridgeway Gould",
"North Kohala",
"brass",
"Island of Hawaiʻi",
"Kapaʻau",
"outdoor sculpture",
"Kamehameha I"
] |
|
1753_NT
|
Statue of Kamehameha I (Kapaau, Hawaii)
|
Focus on this artwork and analyze the abstract.
|
The Kamehameha I statue (original cast) is an outdoor sculpture by American artist Thomas Ridgeway Gould, cast in 1880 and installed in 1883. It stands in front of the old country courthouse in the town of Kapaʻau, located in North Kohala on the Island of Hawaiʻi. Made of cast brass and painted with lifelike colors, it depicts Kamehameha I, and represents an important cultural and spiritual object for the local community.
|
[
"Thomas Ridgeway Gould",
"North Kohala",
"brass",
"Island of Hawaiʻi",
"Kapaʻau",
"outdoor sculpture",
"Kamehameha I"
] |
|
1754_T
|
Statue of Kamehameha I (Kapaau, Hawaii)
|
In Statue of Kamehameha I (Kapaau, Hawaii), how is the Description discussed?
|
The Kamehameha I sculpture is an oversized painted brass casting of King Kamehameha I, the ruler credited with unifying the Hawaiian Islands in the early nineteenth century and establishing the Kingdom of Hawaiʻi in 1810. Though the surface of the sculpture was originally finished with a brown chemical patina and gold leaf, it has become local tradition to paint the statue with lifelike colors, and it appears as such to this day. Originally commissioned to celebrate the centennial of Captain Cook’s arrival to the Hawaiian Islands and to stand in front of the Aliʻiōlani Hale government building in Honolulu, extenuating circumstances during its delivery to Hawaiʻi delayed its arrival, and resulted in its being placed instead in Kapaʻau, near Kamehameha I's birthplace.
|
[
"Captain Cook",
"Honolulu",
"gold leaf",
"brass",
"centennial",
"Hawaiian Islands",
"Kapaʻau",
"patina",
"Aliʻiōlani Hale",
"Hawaii",
"Kamehameha I",
"Kingdom of Hawaiʻi"
] |
|
1754_NT
|
Statue of Kamehameha I (Kapaau, Hawaii)
|
In this artwork, how is the Description discussed?
|
The Kamehameha I sculpture is an oversized painted brass casting of King Kamehameha I, the ruler credited with unifying the Hawaiian Islands in the early nineteenth century and establishing the Kingdom of Hawaiʻi in 1810. Though the surface of the sculpture was originally finished with a brown chemical patina and gold leaf, it has become local tradition to paint the statue with lifelike colors, and it appears as such to this day. Originally commissioned to celebrate the centennial of Captain Cook’s arrival to the Hawaiian Islands and to stand in front of the Aliʻiōlani Hale government building in Honolulu, extenuating circumstances during its delivery to Hawaiʻi delayed its arrival, and resulted in its being placed instead in Kapaʻau, near Kamehameha I's birthplace.
|
[
"Captain Cook",
"Honolulu",
"gold leaf",
"brass",
"centennial",
"Hawaiian Islands",
"Kapaʻau",
"patina",
"Aliʻiōlani Hale",
"Hawaii",
"Kamehameha I",
"Kingdom of Hawaiʻi"
] |
|
1755_T
|
Statue of Kamehameha I (Kapaau, Hawaii)
|
In the context of Statue of Kamehameha I (Kapaau, Hawaii), explain the Commission and delivery to Hawaiʻi of the Historical information.
|
The statue had its origins in 1878 when Walter M. Gibson, a member of the Hawaiian legislature at the time, decided to commission a sculpture to commemorate the 100 year arrival of Captain Cook to the Hawaiian Islands. The legislature appropriated $10,000 for the project and made Gibson chairman of the Commemorative Monument Committee formed to oversee the process. While the committee did include Native Hawaiians, it was strongly directed by Gibson and by King David Kalākaua. After searching several prominent U.S. cities for an appropriate artist, Gibson contracted Thomas Ridgeway Gould, a Boston sculptor living abroad in Florence, Italy, to create the statue.By 1880, Gould finished the full-size plaster model for the work and sent it to the Barbedienne Foundry in Paris, France to be cast in brass. The finished brass sculpture was shipped from Bremen, Germany in August 1880 en route to Hawaiʻi, but after encountering a storm in the south Atlantic, a fire broke out on deck and the ship sank near the Falkland Islands. Its entire cargo, including the sculpture, was presumed lost. When news of the shipwreck reached Honolulu, officials decided to commission a second cast using the insurance funds collected after the loss of the original. Ironically, and unbeknownst to Honolulu officials, fishermen managed to recover the sunken statue, which was recognized and bought by a British ship captain who then sold it in 1882 to the Hawaiian government for $875. Now in possession of two identical statues, government officials decided to place the second cast, in considerably better condition than the original that had been damaged in the shipwreck, in the location originally intended to receive the statue, the Aliʻiōlani Hale government building in Honolulu. After some debate, the original was installed near Kamehameha I's birthplace in North Kohala. Due to the shipwreck, neither statue was on-hand in Hawaiʻi to fulfill Gibson's original plan of celebrating the 100th anniversary of Cook's arrival to the islands. However, Gibson was able to convince King Kalākaua to incorporate the unveiling of the Honolulu cast into his coronation ceremonies in February, 1883.
|
[
"France",
"Thomas Ridgeway Gould",
"Captain Cook",
"North Kohala",
"Honolulu",
"brass",
"Germany",
"Hawaiian Islands",
"Florence",
"Iron",
"Italy",
"Falkland Islands",
"Kalākaua",
"mana",
"Paris",
"Bremen",
"Aliʻiōlani Hale",
"Walter M. Gibson",
"Hawaii",
"Kamehameha I"
] |
|
1755_NT
|
Statue of Kamehameha I (Kapaau, Hawaii)
|
In the context of this artwork, explain the Commission and delivery to Hawaiʻi of the Historical information.
|
The statue had its origins in 1878 when Walter M. Gibson, a member of the Hawaiian legislature at the time, decided to commission a sculpture to commemorate the 100 year arrival of Captain Cook to the Hawaiian Islands. The legislature appropriated $10,000 for the project and made Gibson chairman of the Commemorative Monument Committee formed to oversee the process. While the committee did include Native Hawaiians, it was strongly directed by Gibson and by King David Kalākaua. After searching several prominent U.S. cities for an appropriate artist, Gibson contracted Thomas Ridgeway Gould, a Boston sculptor living abroad in Florence, Italy, to create the statue.By 1880, Gould finished the full-size plaster model for the work and sent it to the Barbedienne Foundry in Paris, France to be cast in brass. The finished brass sculpture was shipped from Bremen, Germany in August 1880 en route to Hawaiʻi, but after encountering a storm in the south Atlantic, a fire broke out on deck and the ship sank near the Falkland Islands. Its entire cargo, including the sculpture, was presumed lost. When news of the shipwreck reached Honolulu, officials decided to commission a second cast using the insurance funds collected after the loss of the original. Ironically, and unbeknownst to Honolulu officials, fishermen managed to recover the sunken statue, which was recognized and bought by a British ship captain who then sold it in 1882 to the Hawaiian government for $875. Now in possession of two identical statues, government officials decided to place the second cast, in considerably better condition than the original that had been damaged in the shipwreck, in the location originally intended to receive the statue, the Aliʻiōlani Hale government building in Honolulu. After some debate, the original was installed near Kamehameha I's birthplace in North Kohala. Due to the shipwreck, neither statue was on-hand in Hawaiʻi to fulfill Gibson's original plan of celebrating the 100th anniversary of Cook's arrival to the islands. However, Gibson was able to convince King Kalākaua to incorporate the unveiling of the Honolulu cast into his coronation ceremonies in February, 1883.
|
[
"France",
"Thomas Ridgeway Gould",
"Captain Cook",
"North Kohala",
"Honolulu",
"brass",
"Germany",
"Hawaiian Islands",
"Florence",
"Iron",
"Italy",
"Falkland Islands",
"Kalākaua",
"mana",
"Paris",
"Bremen",
"Aliʻiōlani Hale",
"Walter M. Gibson",
"Hawaii",
"Kamehameha I"
] |
|
1756_T
|
Statue of Kamehameha I (Kapaau, Hawaii)
|
Explore the Features about the Historical information of this artwork, Statue of Kamehameha I (Kapaau, Hawaii).
|
During the initial stages of the statue's design, Gould and Gibson made efforts to create an accurate likeness of King Kamehameha's face, body, and clothing. This proved to be a challenging task, as there was no consensus on what exactly Kamehameha I looked like. When in Boston, Gibson provided Gould with an engraving of King Kamehameha, a French copy of a Chinese copy of the king's official watercolor portrait by Russian artist Louis Choris in 1816. Gibson directed Gould to use this copy of a copy of a copy, but to portray Kamehameha at approximately age forty-five, much younger than he appeared in the original watercolor. Attention was also focused on the proper way to depict Kamehameha's body; it was eventually determined that to convey his heroic and larger-than-life status, Kamehameha should be depicted with typical Herculean features, including a broad back and shoulders, strong, powerful arms, and a commanding chin.Some evidence exists to support the claim that Gould used the Roman sculpture of Augustus Caesar from Prima Porta (see Augustus of Prima Porta) as a model for Kamehameha the Great (original cast). The Augustus sculpture was well known throughout the United States and Europe at the time, and would most certainly have been known by Gould, whose neoclassical work was often inspired by Classical pieces. In addition, there are striking similarities between the Augustus of Prima Porta and Kamehameha the Great (original cast), including the raised right arm and the fact that Kamehameha holds his spear in his left hand like Augustus, even though Kamehameha was thought to have been right-handed. It has been argued that this fusion of Hawaiian cultural attributes with Roman heroic imagery was a deliberate attempt to portray Kamehameha I as a “Pacific Hero” and bolster the Hawaiian monarchy at a time of political and economic instability.
For use as reference for Gould, King Kalākaua commissioned a series of photographs of Hawaiians modeling King Kamehameha's.
Of the photographs that were sent to Gould, certain features of the statues were influenced by Hawaiian brothers John Tamatoa Baker and Robert Hoapili Baker. Two photographs of the former survive, one in its original form and another in the form of a composite photograph with the bare legs of a Hawaiian fisherman. These photographs featured the original feathered garments, which had been passed down over the generations. The garments, now on display at the Bernice Pauahi Bishop Museum, included a kāʻei (sash), tied around the figure's waist and draped over his left shoulder, his mahiole (helmet), and his ʻahu ʻula (cloak). The sash consists of a central band of tiny red feathers, likely from the ʻiʻiwi, the Hawaiian honeycreeper (Vestiaria coccinea), surrounded on either side by bands of yellow feathers from the ʻōʻō (Moho nobilis). The ʻahu ʻula is composed of nearly 450,000 golden feathers from the now-extinct mamo.In order to avoid criticism from both American and Native Hawaiian critics, Gould and Kalākaua made an effort to observe the many complex customs and ritualistic insignia needed to produce an accurate representation of a high-ranking Native Hawaiian chief. Still, some aspects of Kamehameha's depiction draw heavy criticism to this day. The main point of contention is the pair of sandals adorning Kamehameha's feet. While at the time, Hawaiians did wear sandals, it was only for traveling long distances or over heavy terrain, and the obviously Western Classical style of the shoes only compounds their inaccuracy. Additional problems include the fact that Kamehameha's sash drags on the ground behind him like a royal European train (an arrangement that would be considered degrading by Native Hawaiians and that would also damage the delicate feathers composing the sash), and Gould's decision to adorn the cloak with a European-style tassel. Although no early criticisms on the subject have been found, contemporary critics also take issue with Kamehameha's open-hand gesture, since traditional Hawaiian beckons are made with the palm down, not the palm up.
|
[
"right",
"Bishop Museum",
"John Tamatoa Baker",
"ʻōʻō",
"Kalākaua",
"Augustus of Prima Porta",
"Robert Hoapili Baker",
"Hawaiian honeycreeper",
"Hawaii",
"Kamehameha I",
"Bernice Pauahi Bishop Museum",
"mamo"
] |
|
1756_NT
|
Statue of Kamehameha I (Kapaau, Hawaii)
|
Explore the Features about the Historical information of this artwork.
|
During the initial stages of the statue's design, Gould and Gibson made efforts to create an accurate likeness of King Kamehameha's face, body, and clothing. This proved to be a challenging task, as there was no consensus on what exactly Kamehameha I looked like. When in Boston, Gibson provided Gould with an engraving of King Kamehameha, a French copy of a Chinese copy of the king's official watercolor portrait by Russian artist Louis Choris in 1816. Gibson directed Gould to use this copy of a copy of a copy, but to portray Kamehameha at approximately age forty-five, much younger than he appeared in the original watercolor. Attention was also focused on the proper way to depict Kamehameha's body; it was eventually determined that to convey his heroic and larger-than-life status, Kamehameha should be depicted with typical Herculean features, including a broad back and shoulders, strong, powerful arms, and a commanding chin.Some evidence exists to support the claim that Gould used the Roman sculpture of Augustus Caesar from Prima Porta (see Augustus of Prima Porta) as a model for Kamehameha the Great (original cast). The Augustus sculpture was well known throughout the United States and Europe at the time, and would most certainly have been known by Gould, whose neoclassical work was often inspired by Classical pieces. In addition, there are striking similarities between the Augustus of Prima Porta and Kamehameha the Great (original cast), including the raised right arm and the fact that Kamehameha holds his spear in his left hand like Augustus, even though Kamehameha was thought to have been right-handed. It has been argued that this fusion of Hawaiian cultural attributes with Roman heroic imagery was a deliberate attempt to portray Kamehameha I as a “Pacific Hero” and bolster the Hawaiian monarchy at a time of political and economic instability.
For use as reference for Gould, King Kalākaua commissioned a series of photographs of Hawaiians modeling King Kamehameha's.
Of the photographs that were sent to Gould, certain features of the statues were influenced by Hawaiian brothers John Tamatoa Baker and Robert Hoapili Baker. Two photographs of the former survive, one in its original form and another in the form of a composite photograph with the bare legs of a Hawaiian fisherman. These photographs featured the original feathered garments, which had been passed down over the generations. The garments, now on display at the Bernice Pauahi Bishop Museum, included a kāʻei (sash), tied around the figure's waist and draped over his left shoulder, his mahiole (helmet), and his ʻahu ʻula (cloak). The sash consists of a central band of tiny red feathers, likely from the ʻiʻiwi, the Hawaiian honeycreeper (Vestiaria coccinea), surrounded on either side by bands of yellow feathers from the ʻōʻō (Moho nobilis). The ʻahu ʻula is composed of nearly 450,000 golden feathers from the now-extinct mamo.In order to avoid criticism from both American and Native Hawaiian critics, Gould and Kalākaua made an effort to observe the many complex customs and ritualistic insignia needed to produce an accurate representation of a high-ranking Native Hawaiian chief. Still, some aspects of Kamehameha's depiction draw heavy criticism to this day. The main point of contention is the pair of sandals adorning Kamehameha's feet. While at the time, Hawaiians did wear sandals, it was only for traveling long distances or over heavy terrain, and the obviously Western Classical style of the shoes only compounds their inaccuracy. Additional problems include the fact that Kamehameha's sash drags on the ground behind him like a royal European train (an arrangement that would be considered degrading by Native Hawaiians and that would also damage the delicate feathers composing the sash), and Gould's decision to adorn the cloak with a European-style tassel. Although no early criticisms on the subject have been found, contemporary critics also take issue with Kamehameha's open-hand gesture, since traditional Hawaiian beckons are made with the palm down, not the palm up.
|
[
"right",
"Bishop Museum",
"John Tamatoa Baker",
"ʻōʻō",
"Kalākaua",
"Augustus of Prima Porta",
"Robert Hoapili Baker",
"Hawaiian honeycreeper",
"Hawaii",
"Kamehameha I",
"Bernice Pauahi Bishop Museum",
"mamo"
] |
|
1757_T
|
Statue of Kamehameha I (Kapaau, Hawaii)
|
Focus on Statue of Kamehameha I (Kapaau, Hawaii) and discuss the Conservation history.
|
Throughout its history, maintenance of the sculpture has proven to be challenging to carry out due to jurisdictional confusion—though the statue is located on county land, it is unclear if it belongs to the state or not, and therefore deciding who should be responsible for caring for it can be difficult to determine. Older residents of the island claim that during the plantation era, the sugar company bosses maintained the sculpture. Sometime after World War II, the County Department of Public Works in Hilo, Hawaii assumed responsibility for the statue's care; after government reorganization in 1973, the crew tasked with cleaning and repainting the sculpture was transferred to state control. Having little to no experience caring for public works of art, the crews often utilized materials and techniques that would be considered aggressive and potentially damaging by modern art conservators, including wire brushes, power washers, and house paint. When funds for this maintenance dried up in 1992, state crews stopped repainting the sculpture. Though the Art in Public Places Division of the Hawaii State Foundation on Culture and the Arts maintains most Hawaiian public art, including Kamehameha the Great (second cast), it does not allocate funds to care for the North Kohala cast. Local residents suspect this may be due to the agency's disapproval of painting the sculpture. Between 1992 and 2001, any repainting and general maintenance the statue received was from local volunteers working with common household materials.In early 2001, Honolulu-contracted and the California-based conservator Glenn Wharton, who led an effort to conserve the statue. After helping to regild Kamehameha the Great (second cast) in 1994, Wharton visited the North Kohala statue in the spring of 1996 with the initial intent of determining and then restoring the statue to its original nineteenth-century appearance. Upon visiting the sculpture for the first time, Wharton discovered that the statue's current coat of paint had faded due to ultraviolet (UV) light from the Sun, was lifting in many areas, and in some places had flaked away completely to reveal underlying corrosion. Wharton later identified this as bronze disease, a detrimental form of corrosion that can occur on copper, brass, and bronze surfaces when exposed to chloride salts, water, and oxygen, and, when left untreated, can eat away into the surface of the metal. In addition, Wharton noted signs of corrosion of the interior iron armature (See armature (sculpture)), and stress cracks in the metal base, all issues which would need to be dealt with in the final treatment plan.One of the most challenging aspects of the conservation of Kamehameha the Great (original cast) was determining the original appearance of the statue. Since conservators traditionally strive to uphold the artist's intent when caring for an artwork, figuring out this piece of information was of critical importance. While the Honolulu cast sported a patinated surface with gilt (See gilding) garments, the North Kohala cast had been painted in lifelike colors for as long as any local residents of the island could remember, and it wasn't clear whether the statue had been originally gilt or painted. Historical accounts provided little assistance to the investigation, as articles written on the sculpture at the time of its unveiling in the 1880s offered conflicting and often contradictory descriptions of the artwork. However, by analyzing paint chip samples taken from the statue's surface using X-ray fluorescence and X-ray diffraction, Wharton was eventually able to gather evidence of 24kt gold leaf residue beneath the layers of paint, effectively concluding that the statue had, like its Honolulu counterpart, an original patinated and gilded surface. Wharton theorized that because of damage caused by the shipwreck, the sculpture's surface had corroded badly before its eventual transport to Hawaiʻi in 1883, and due to lack of materials and technical expertise to regild and patinate the surface, the statue was instead cleaned and then painted entirely brown in order to prepare it in time for Kalākaua’s coronation ceremony. At some point between 1883 and 1912, the tradition of painting the sculpture in multiple colors began.Because of the complexity of the decision as well as the deep cultural connection many local residents felt to the statue, Wharton devised a novel scheme to allow the Hawaiian people to decide if the statue should remain painted with lifelike colors or be restored to its original gilded appearance. An effort was made to interest young children and local students in the sculpture, in order to get adults talking about the Kamehameha the Great as a conservation object. Teachers coordinated art projects centering on the sculpture, and local community groups also got involved, making crafts and conducting research projects to increase awareness of the sculpture and the efforts to restore it. Journalists reported on the ongoing projects in the local newspapers, sometimes offering their own opinions on whether the statue should be painted or gilt. Debate centered on whether it was best to restore the statue's gilded surface, which would uphold the artist's original intent and, some argued, make the statue more aesthetically appealing, or to repaint, which would honor a local tradition and increase the statue's lifelike appearance. Eventually, after listening to the input of the kūpuna (community elders), who spoke out in favor of painting the sculpture, a local ballot was held in late 2000. The results were 71% in favor of repainting.Hands-on work began on the sculpture in February 2001. After documenting the statue's initial condition, the paint was stripped away using a combination of pressure washers, propane torching, and solvent application. Once the brass surface had been cleaned, Wharton assessed the various stress cracks and gouges in the metal and determined that the damage was all relatively old, probably dating back to the shipwreck and its recovery from the sea. (Ref: Wharton 148–152.) In addition, much of the bronze disease once visible on the surface of the sculpture had been blasted away during the paint stripping process. After it was determined that the statue was in stable condition, any holes or gaps in the metal were filled in using a pH-neutral epoxy putty, and the brass surface was misted with a benzotriazole solution in order to prevent future corrosion. To repaint the sculpture, Wharton selected a hearty paint system that could withstand the harsh Hawaiian sun and rain, which consisted of an automotive epoxy primer (See primer (paint)), a polyurethane paint, and a polyurethane clear top coat. Special care was taken to choose the proper colors for Kamehameha's skin tone and red and yellow feathered garments. Once the treatment was complete, Wharton helped train a group of local volunteers to carry out annual maintenance on the sculpture, and to watch for and record any condition changes or damage.
|
[
"North Kohala",
"Honolulu",
"gold leaf",
"polyurethane",
"pressure washers",
"solvent",
"brass",
"armature (sculpture)",
"Hawaii State Foundation on Culture and the Arts",
"gilding",
"propane",
"bronze disease",
"ultraviolet",
"primer (paint)",
"bronze",
"Kalākaua",
"X-ray diffraction",
"X-ray fluorescence",
"patina",
"benzotriazole",
"Hawaii",
"iron",
"epoxy",
"Hilo, Hawaii",
"ultraviolet (UV)",
"epoxy putty",
"copper"
] |
|
1757_NT
|
Statue of Kamehameha I (Kapaau, Hawaii)
|
Focus on this artwork and discuss the Conservation history.
|
Throughout its history, maintenance of the sculpture has proven to be challenging to carry out due to jurisdictional confusion—though the statue is located on county land, it is unclear if it belongs to the state or not, and therefore deciding who should be responsible for caring for it can be difficult to determine. Older residents of the island claim that during the plantation era, the sugar company bosses maintained the sculpture. Sometime after World War II, the County Department of Public Works in Hilo, Hawaii assumed responsibility for the statue's care; after government reorganization in 1973, the crew tasked with cleaning and repainting the sculpture was transferred to state control. Having little to no experience caring for public works of art, the crews often utilized materials and techniques that would be considered aggressive and potentially damaging by modern art conservators, including wire brushes, power washers, and house paint. When funds for this maintenance dried up in 1992, state crews stopped repainting the sculpture. Though the Art in Public Places Division of the Hawaii State Foundation on Culture and the Arts maintains most Hawaiian public art, including Kamehameha the Great (second cast), it does not allocate funds to care for the North Kohala cast. Local residents suspect this may be due to the agency's disapproval of painting the sculpture. Between 1992 and 2001, any repainting and general maintenance the statue received was from local volunteers working with common household materials.In early 2001, Honolulu-contracted and the California-based conservator Glenn Wharton, who led an effort to conserve the statue. After helping to regild Kamehameha the Great (second cast) in 1994, Wharton visited the North Kohala statue in the spring of 1996 with the initial intent of determining and then restoring the statue to its original nineteenth-century appearance. Upon visiting the sculpture for the first time, Wharton discovered that the statue's current coat of paint had faded due to ultraviolet (UV) light from the Sun, was lifting in many areas, and in some places had flaked away completely to reveal underlying corrosion. Wharton later identified this as bronze disease, a detrimental form of corrosion that can occur on copper, brass, and bronze surfaces when exposed to chloride salts, water, and oxygen, and, when left untreated, can eat away into the surface of the metal. In addition, Wharton noted signs of corrosion of the interior iron armature (See armature (sculpture)), and stress cracks in the metal base, all issues which would need to be dealt with in the final treatment plan.One of the most challenging aspects of the conservation of Kamehameha the Great (original cast) was determining the original appearance of the statue. Since conservators traditionally strive to uphold the artist's intent when caring for an artwork, figuring out this piece of information was of critical importance. While the Honolulu cast sported a patinated surface with gilt (See gilding) garments, the North Kohala cast had been painted in lifelike colors for as long as any local residents of the island could remember, and it wasn't clear whether the statue had been originally gilt or painted. Historical accounts provided little assistance to the investigation, as articles written on the sculpture at the time of its unveiling in the 1880s offered conflicting and often contradictory descriptions of the artwork. However, by analyzing paint chip samples taken from the statue's surface using X-ray fluorescence and X-ray diffraction, Wharton was eventually able to gather evidence of 24kt gold leaf residue beneath the layers of paint, effectively concluding that the statue had, like its Honolulu counterpart, an original patinated and gilded surface. Wharton theorized that because of damage caused by the shipwreck, the sculpture's surface had corroded badly before its eventual transport to Hawaiʻi in 1883, and due to lack of materials and technical expertise to regild and patinate the surface, the statue was instead cleaned and then painted entirely brown in order to prepare it in time for Kalākaua’s coronation ceremony. At some point between 1883 and 1912, the tradition of painting the sculpture in multiple colors began.Because of the complexity of the decision as well as the deep cultural connection many local residents felt to the statue, Wharton devised a novel scheme to allow the Hawaiian people to decide if the statue should remain painted with lifelike colors or be restored to its original gilded appearance. An effort was made to interest young children and local students in the sculpture, in order to get adults talking about the Kamehameha the Great as a conservation object. Teachers coordinated art projects centering on the sculpture, and local community groups also got involved, making crafts and conducting research projects to increase awareness of the sculpture and the efforts to restore it. Journalists reported on the ongoing projects in the local newspapers, sometimes offering their own opinions on whether the statue should be painted or gilt. Debate centered on whether it was best to restore the statue's gilded surface, which would uphold the artist's original intent and, some argued, make the statue more aesthetically appealing, or to repaint, which would honor a local tradition and increase the statue's lifelike appearance. Eventually, after listening to the input of the kūpuna (community elders), who spoke out in favor of painting the sculpture, a local ballot was held in late 2000. The results were 71% in favor of repainting.Hands-on work began on the sculpture in February 2001. After documenting the statue's initial condition, the paint was stripped away using a combination of pressure washers, propane torching, and solvent application. Once the brass surface had been cleaned, Wharton assessed the various stress cracks and gouges in the metal and determined that the damage was all relatively old, probably dating back to the shipwreck and its recovery from the sea. (Ref: Wharton 148–152.) In addition, much of the bronze disease once visible on the surface of the sculpture had been blasted away during the paint stripping process. After it was determined that the statue was in stable condition, any holes or gaps in the metal were filled in using a pH-neutral epoxy putty, and the brass surface was misted with a benzotriazole solution in order to prevent future corrosion. To repaint the sculpture, Wharton selected a hearty paint system that could withstand the harsh Hawaiian sun and rain, which consisted of an automotive epoxy primer (See primer (paint)), a polyurethane paint, and a polyurethane clear top coat. Special care was taken to choose the proper colors for Kamehameha's skin tone and red and yellow feathered garments. Once the treatment was complete, Wharton helped train a group of local volunteers to carry out annual maintenance on the sculpture, and to watch for and record any condition changes or damage.
|
[
"North Kohala",
"Honolulu",
"gold leaf",
"polyurethane",
"pressure washers",
"solvent",
"brass",
"armature (sculpture)",
"Hawaii State Foundation on Culture and the Arts",
"gilding",
"propane",
"bronze disease",
"ultraviolet",
"primer (paint)",
"bronze",
"Kalākaua",
"X-ray diffraction",
"X-ray fluorescence",
"patina",
"benzotriazole",
"Hawaii",
"iron",
"epoxy",
"Hilo, Hawaii",
"ultraviolet (UV)",
"epoxy putty",
"copper"
] |
|
1758_T
|
Statue of Kamehameha I (Kapaau, Hawaii)
|
How does Statue of Kamehameha I (Kapaau, Hawaii) elucidate its Spiritual and cultural significance?
|
Since its unveiling in 1883, Kamehameha the Great has come to be regarded by Hawaiians as an important cultural, economic, and spiritual object. Despite its Western origins, influences and artist, and despite the fact that the statue was not considered a spiritual object at the time of its creation (Ref: Wharton, 78), some Hawaiians consider the statue a receptacle of mana, a term that translates to “supernatural or divine power,” and associations have been drawn between it and kiʻi, figurative sculptures created by Native Hawaiians prior to Cook's arrival to the Islands. While scholars debate the exact functions of these sculptures, Hawaiian oral traditions describe that kiʻi could represent various entities, including akua (spirits, divinities) and manifestations of natural phenomena, and could serve as āumaka sculptures (family or personal gods, deified ancestors). It was believed that through various prayers and ho‘okupu (offerings), the mana held within these figures increased. For some Hawaiians, any image of Kamehameha is considered a very strong kiʻi, even a Western facsimile such as Kamehameha the Great (original cast), and it is common to find offerings of food, ribbons, and pōhaku left as tribute upon the sculpture's pedestal. Even Hawaiians who do not believe the statue contains mana often still respect the statue as a representation of the spirit of Kamehameha I, and regard it as a connection to their ancestral history.One of the statue's most important cultural functions is its role in the annual celebration of Kamehameha Day, a two-day festival starting on June 11 in which much of the Hawaiian population participates. Activities include hula, chanting, singing, and telling stories about Kamehameha and the significance of the holiday. Various cultural groups, including representatives of each island, travel to the sculpture to present and drape it with long lei (See lei (garland).) In addition, a parade takes place during the festival, beginning in Hāwī (See Hawi, Hawaii) and ending at a location just past the sculpture in Kapaʻau. Those participating often stop at the sculpture to bestow offerings before moving on.Kamehameha the Great (original cast) has also become an important political symbol for the Hawaiian Islands. It is featured on the official Hawaiian state seal (See Seal of Hawaii), and in the logo of the Kamehameha Schools, which has campuses located throughout the Islands. In 1959, a replica of the statue was cast and placed inside the United States Capitol as part of the National Statuary Hall Collection to honor Hawaiʻi becoming the fiftieth state. Various businesses, especially those working in the tourist trade, have capitalized on the resulting popularity of the sculpture; its image has been used to decorate brochures, postcards, T-shirts, folk-art, etc., and small reproductions of the sculpture are popular souvenirs in many shops.
|
[
"kiʻi",
"Kamehameha Schools",
"Kamehameha Day",
"hula",
"Hawaiian Islands",
"Seal of Hawaii",
"National Statuary Hall Collection",
"Kapaʻau",
"mana",
"lei (garland)",
"Hawaii",
"Kamehameha I",
"replica of the statue",
"United States Capitol"
] |
|
1758_NT
|
Statue of Kamehameha I (Kapaau, Hawaii)
|
How does this artwork elucidate its Spiritual and cultural significance?
|
Since its unveiling in 1883, Kamehameha the Great has come to be regarded by Hawaiians as an important cultural, economic, and spiritual object. Despite its Western origins, influences and artist, and despite the fact that the statue was not considered a spiritual object at the time of its creation (Ref: Wharton, 78), some Hawaiians consider the statue a receptacle of mana, a term that translates to “supernatural or divine power,” and associations have been drawn between it and kiʻi, figurative sculptures created by Native Hawaiians prior to Cook's arrival to the Islands. While scholars debate the exact functions of these sculptures, Hawaiian oral traditions describe that kiʻi could represent various entities, including akua (spirits, divinities) and manifestations of natural phenomena, and could serve as āumaka sculptures (family or personal gods, deified ancestors). It was believed that through various prayers and ho‘okupu (offerings), the mana held within these figures increased. For some Hawaiians, any image of Kamehameha is considered a very strong kiʻi, even a Western facsimile such as Kamehameha the Great (original cast), and it is common to find offerings of food, ribbons, and pōhaku left as tribute upon the sculpture's pedestal. Even Hawaiians who do not believe the statue contains mana often still respect the statue as a representation of the spirit of Kamehameha I, and regard it as a connection to their ancestral history.One of the statue's most important cultural functions is its role in the annual celebration of Kamehameha Day, a two-day festival starting on June 11 in which much of the Hawaiian population participates. Activities include hula, chanting, singing, and telling stories about Kamehameha and the significance of the holiday. Various cultural groups, including representatives of each island, travel to the sculpture to present and drape it with long lei (See lei (garland).) In addition, a parade takes place during the festival, beginning in Hāwī (See Hawi, Hawaii) and ending at a location just past the sculpture in Kapaʻau. Those participating often stop at the sculpture to bestow offerings before moving on.Kamehameha the Great (original cast) has also become an important political symbol for the Hawaiian Islands. It is featured on the official Hawaiian state seal (See Seal of Hawaii), and in the logo of the Kamehameha Schools, which has campuses located throughout the Islands. In 1959, a replica of the statue was cast and placed inside the United States Capitol as part of the National Statuary Hall Collection to honor Hawaiʻi becoming the fiftieth state. Various businesses, especially those working in the tourist trade, have capitalized on the resulting popularity of the sculpture; its image has been used to decorate brochures, postcards, T-shirts, folk-art, etc., and small reproductions of the sculpture are popular souvenirs in many shops.
|
[
"kiʻi",
"Kamehameha Schools",
"Kamehameha Day",
"hula",
"Hawaiian Islands",
"Seal of Hawaii",
"National Statuary Hall Collection",
"Kapaʻau",
"mana",
"lei (garland)",
"Hawaii",
"Kamehameha I",
"replica of the statue",
"United States Capitol"
] |
|
1759_T
|
Galaxy of Musicians
|
Focus on Galaxy of Musicians and analyze the abstract.
|
Galaxy of Musicians is an 1889 painting by the Indian artist Raja Ravi Varma.
|
[
"Raja Ravi Varma"
] |
|
1759_NT
|
Galaxy of Musicians
|
Focus on this artwork and analyze the abstract.
|
Galaxy of Musicians is an 1889 painting by the Indian artist Raja Ravi Varma.
|
[
"Raja Ravi Varma"
] |
|
1760_T
|
Galaxy of Musicians
|
In Galaxy of Musicians, how is the Description discussed?
|
The painting shows a group of Indian women from various backgrounds playing their traditional instruments; from the Muslim courtesan on the right to the Nair woman playing a veena on the left and Marathi woman at centre the painting emphasizes the dresses and adornments of women from all over India. Originally painted for the Maharaja of Mysore, Ravi Varma focused in one painting on each group's customs and how they all characterized music.
|
[
"veena",
"Mysore",
"Nair",
"Indian women",
"Marathi",
"Muslim"
] |
|
1760_NT
|
Galaxy of Musicians
|
In this artwork, how is the Description discussed?
|
The painting shows a group of Indian women from various backgrounds playing their traditional instruments; from the Muslim courtesan on the right to the Nair woman playing a veena on the left and Marathi woman at centre the painting emphasizes the dresses and adornments of women from all over India. Originally painted for the Maharaja of Mysore, Ravi Varma focused in one painting on each group's customs and how they all characterized music.
|
[
"veena",
"Mysore",
"Nair",
"Indian women",
"Marathi",
"Muslim"
] |
|
1761_T
|
The Clubfoot
|
Focus on The Clubfoot and explore the abstract.
|
The Clubfoot (also known as The Club-Footed Boy) is a 1642 oil on canvas painting by Jusepe de Ribera. It is housed in the Musée du Louvre in Paris (part of the La Caze bequest of 1869), and was painted in Naples. Art historian Ellis Waterhouse wrote of it as "a touchstone by which we can interpret the whole of Ribera's art".Commissioned by a Flemish dealer, the painting features a Neapolitan beggar boy with a deformed foot. Behind him is a vast and luminous landscape, against which the boy stands with a gap-toothed grin, wearing earth-toned clothes and holding his crutch slung over his left shoulder. Written in Latin on the paper in the boy's hand is the sentence "DA MIHI ELEMOSINAM PROPTER AMOREM DEI" ("Give me alms, for the love of God").
|
[
"La Caze bequest",
"Musée du Louvre",
"Jusepe de Ribera",
"Naples",
"Latin",
"Flemish",
"Louvre",
"Paris",
"Ellis Waterhouse"
] |
|
1761_NT
|
The Clubfoot
|
Focus on this artwork and explore the abstract.
|
The Clubfoot (also known as The Club-Footed Boy) is a 1642 oil on canvas painting by Jusepe de Ribera. It is housed in the Musée du Louvre in Paris (part of the La Caze bequest of 1869), and was painted in Naples. Art historian Ellis Waterhouse wrote of it as "a touchstone by which we can interpret the whole of Ribera's art".Commissioned by a Flemish dealer, the painting features a Neapolitan beggar boy with a deformed foot. Behind him is a vast and luminous landscape, against which the boy stands with a gap-toothed grin, wearing earth-toned clothes and holding his crutch slung over his left shoulder. Written in Latin on the paper in the boy's hand is the sentence "DA MIHI ELEMOSINAM PROPTER AMOREM DEI" ("Give me alms, for the love of God").
|
[
"La Caze bequest",
"Musée du Louvre",
"Jusepe de Ribera",
"Naples",
"Latin",
"Flemish",
"Louvre",
"Paris",
"Ellis Waterhouse"
] |
|
1762_T
|
The Clubfoot
|
Focus on The Clubfoot and explain the History.
|
This is one of the painter's last works, and one of the most bitter. The contrast of light and shade gave him pleasure. He studied the composition of the Renaissance painters in Italy, and perhaps also the work of Flemish artists, but in spite of all that, he clung to the profoundly Spanish tradition of realism, even after having spent nearly all his life in Italy.Moved by a Christian awareness of human weakness, Spanish artists often painted pictures of the poor and disabled. Here the young Neapolitan vagabond seems to be making game of his own infirmity; he is also careful to inform us, by means of the scrap of writing he holds, that he is dumb as well as crippled, because he appeals to the charity of the passer-by with that card written in Latin.The motif is surely a derivation of taste for scenes of low life in art, as instituted by Caravaggio and followed by Ribera, who was in Naples his most fervent admirer in the realist vein.
|
[
"Naples",
"Latin",
"Renaissance painters",
"Spanish",
"Caravaggio",
"realism",
"Italy",
"Flemish",
"Christian"
] |
|
1762_NT
|
The Clubfoot
|
Focus on this artwork and explain the History.
|
This is one of the painter's last works, and one of the most bitter. The contrast of light and shade gave him pleasure. He studied the composition of the Renaissance painters in Italy, and perhaps also the work of Flemish artists, but in spite of all that, he clung to the profoundly Spanish tradition of realism, even after having spent nearly all his life in Italy.Moved by a Christian awareness of human weakness, Spanish artists often painted pictures of the poor and disabled. Here the young Neapolitan vagabond seems to be making game of his own infirmity; he is also careful to inform us, by means of the scrap of writing he holds, that he is dumb as well as crippled, because he appeals to the charity of the passer-by with that card written in Latin.The motif is surely a derivation of taste for scenes of low life in art, as instituted by Caravaggio and followed by Ribera, who was in Naples his most fervent admirer in the realist vein.
|
[
"Naples",
"Latin",
"Renaissance painters",
"Spanish",
"Caravaggio",
"realism",
"Italy",
"Flemish",
"Christian"
] |
|
1763_T
|
Portrait of Alof de Wignacourt and his Page
|
Explore the abstract of this artwork, Portrait of Alof de Wignacourt and his Page.
|
Portrait of Alof de Wignacourt with his Page (c. 1607-1608) is a painting by the Italian master Caravaggio, in the Louvre of Paris.
Alof de Wignacourt joined the Order of the Knights of Saint John (the Knights of Malta) in 1564, aged seventeen, and distinguished himself the next year at the Great Siege of Malta, when the Turks were defeated and never returned to the island. He was elected Grand Master in 1601, determined to enhance the prestige of the Order and its new post-siege capital, Valletta. It was not surprising, therefore, that he would welcome the opportunity to have at his court the most famous painter in Rome and Naples, Michelangelo da Caravaggio.
Caravaggio arrived in Malta from Naples in July 1607 and according to his early biographers Giovanni Baglione and Giovanni Bellori, he began at once with portraits of Wignacourt and other knights from the highest ranks of the Order. This famous portrait shows the Grand Master in formal armour, holding his baton of command, every gleaming inch an image of the military might of the Knights. At the time Wignacourt was about sixty years old. He had strengthened the fortifications of the island, built an aqueduct to guarantee water to the city, and launched several attacks on the Turks. He had turned the Knights into a sovereign power, making himself in effect a prince answerable to no-one except the Pope, with his own increasingly wealthy court.
One of his innovations had been to surround to himself with young pages, in imitation of the fashion of the princely courts. The pages were taken from the most noble Catholic families of Europe. According to John Gash and others the page in the portrait is probably Nicholas de Paris Boissy, a French aristocrat destined for a distinguished career – he became Grand Prior of France in 1657. He is placed a little awkwardly within the composition: his feet are aligned with the feet of de Wignacourt, as if standing beside de Wignacourt, but his hand and the helmet overlap Wignacourt's elbow, giving the impression that from the waist up he is in front of the knight. The fact can be explained by Caravaggio's practice of painting separately from live models – de Wignacourt and the page were apparently not together in the studio at the same time.
The boy's lively expression and alert gaze make him an attractive subject in his own right, to the extent that he was several times copied by later artists visiting Malta. Wignacourt, encased in splendid black and gold Milanese armour, stares upwards and outwards out of the frame in a dignified manner that invites the viewer to gaze upon him in awe, leaving the page, with his look of boyish interest, as the sole thoroughly human presence, and a far more sympathetic one than the self-conscious man of steel. The double-portrait with the pageboy was an unusual combination for the time. It may have been ordered by Wignacourt to stress the dignity of his court, or Caravaggio may have been inspired by a painting by Titian that he could have seen in his youth in Milan, Alfonso d'Avalos Addressing his Troops, showing the Spanish governor of the city addressing his knights with a page beside him holding his helmet.
|
[
"Knights of Malta",
"Valletta",
"M",
"Alfonso d'Avalos Addressing his Troops",
"Giovanni Bellori",
"Great Siege of Malta",
"Caravaggio",
"strengthened the fortifications",
"Italian",
"Titian",
"Wignacourt",
"Giovanni Baglione",
"an aqueduct",
"Louvre",
"Paris",
"Alof de Wignacourt"
] |
|
1763_NT
|
Portrait of Alof de Wignacourt and his Page
|
Explore the abstract of this artwork.
|
Portrait of Alof de Wignacourt with his Page (c. 1607-1608) is a painting by the Italian master Caravaggio, in the Louvre of Paris.
Alof de Wignacourt joined the Order of the Knights of Saint John (the Knights of Malta) in 1564, aged seventeen, and distinguished himself the next year at the Great Siege of Malta, when the Turks were defeated and never returned to the island. He was elected Grand Master in 1601, determined to enhance the prestige of the Order and its new post-siege capital, Valletta. It was not surprising, therefore, that he would welcome the opportunity to have at his court the most famous painter in Rome and Naples, Michelangelo da Caravaggio.
Caravaggio arrived in Malta from Naples in July 1607 and according to his early biographers Giovanni Baglione and Giovanni Bellori, he began at once with portraits of Wignacourt and other knights from the highest ranks of the Order. This famous portrait shows the Grand Master in formal armour, holding his baton of command, every gleaming inch an image of the military might of the Knights. At the time Wignacourt was about sixty years old. He had strengthened the fortifications of the island, built an aqueduct to guarantee water to the city, and launched several attacks on the Turks. He had turned the Knights into a sovereign power, making himself in effect a prince answerable to no-one except the Pope, with his own increasingly wealthy court.
One of his innovations had been to surround to himself with young pages, in imitation of the fashion of the princely courts. The pages were taken from the most noble Catholic families of Europe. According to John Gash and others the page in the portrait is probably Nicholas de Paris Boissy, a French aristocrat destined for a distinguished career – he became Grand Prior of France in 1657. He is placed a little awkwardly within the composition: his feet are aligned with the feet of de Wignacourt, as if standing beside de Wignacourt, but his hand and the helmet overlap Wignacourt's elbow, giving the impression that from the waist up he is in front of the knight. The fact can be explained by Caravaggio's practice of painting separately from live models – de Wignacourt and the page were apparently not together in the studio at the same time.
The boy's lively expression and alert gaze make him an attractive subject in his own right, to the extent that he was several times copied by later artists visiting Malta. Wignacourt, encased in splendid black and gold Milanese armour, stares upwards and outwards out of the frame in a dignified manner that invites the viewer to gaze upon him in awe, leaving the page, with his look of boyish interest, as the sole thoroughly human presence, and a far more sympathetic one than the self-conscious man of steel. The double-portrait with the pageboy was an unusual combination for the time. It may have been ordered by Wignacourt to stress the dignity of his court, or Caravaggio may have been inspired by a painting by Titian that he could have seen in his youth in Milan, Alfonso d'Avalos Addressing his Troops, showing the Spanish governor of the city addressing his knights with a page beside him holding his helmet.
|
[
"Knights of Malta",
"Valletta",
"M",
"Alfonso d'Avalos Addressing his Troops",
"Giovanni Bellori",
"Great Siege of Malta",
"Caravaggio",
"strengthened the fortifications",
"Italian",
"Titian",
"Wignacourt",
"Giovanni Baglione",
"an aqueduct",
"Louvre",
"Paris",
"Alof de Wignacourt"
] |
|
1764_T
|
The Ravine of the Peyroulets
|
Focus on The Ravine of the Peyroulets and discuss the abstract.
|
The Ravine of the Peyroulets, or The Ravine is an 1889 oil painting by the Dutch post-impressionist painter Vincent van Gogh. It is part of a large series of paintings created during a time of extraordinary creative activity for the artist in the last year of his life, after he had committed himself to the Saint-Paul Asylum near Saint-Rémy-de-Provence.
It was painted in late autumn, and Van Gogh wrote to his friend Émile Bernard: "Such subjects certainly have a fine melancholy, but then it is fun to work in rather wild places, where one has to dig one's easel in between the stones lest the wind should blow the whole caboodle over."The following spring Van Gogh sent it to Paris, where Paul Gauguin admired the painting and responded saying: "In subjects from nature you are the only one who thinks. I talked about it with your brother, and there is one that I would like to trade with you for one of mine of your choice. The one I am talking about is a mountain landscape. Two travelers, very small, seem to be climbing there in search of the unknown…Here and there, red touches like lights, the whole in a violet tone. It is beautiful and grandiose."Later another Van Gogh painting, Wild Vegetation, was discovered underneath as it had been painted over by the Dutchman. The work is now in the permanent collection of the Boston Museum of Fine Arts, most recently displayed at Gallery 244, "Dutch and Flemish Art".
|
[
"Émile Bernard",
"Saint-Rémy-de-Provence",
"Paul Gauguin",
"Dutch",
"Flemish",
"Saint-Paul Asylum",
"Museum of Fine Arts",
"Boston Museum of Fine Arts",
"Paris",
"Vincent van Gogh",
"post-impressionist",
"large series of paintings"
] |
|
1764_NT
|
The Ravine of the Peyroulets
|
Focus on this artwork and discuss the abstract.
|
The Ravine of the Peyroulets, or The Ravine is an 1889 oil painting by the Dutch post-impressionist painter Vincent van Gogh. It is part of a large series of paintings created during a time of extraordinary creative activity for the artist in the last year of his life, after he had committed himself to the Saint-Paul Asylum near Saint-Rémy-de-Provence.
It was painted in late autumn, and Van Gogh wrote to his friend Émile Bernard: "Such subjects certainly have a fine melancholy, but then it is fun to work in rather wild places, where one has to dig one's easel in between the stones lest the wind should blow the whole caboodle over."The following spring Van Gogh sent it to Paris, where Paul Gauguin admired the painting and responded saying: "In subjects from nature you are the only one who thinks. I talked about it with your brother, and there is one that I would like to trade with you for one of mine of your choice. The one I am talking about is a mountain landscape. Two travelers, very small, seem to be climbing there in search of the unknown…Here and there, red touches like lights, the whole in a violet tone. It is beautiful and grandiose."Later another Van Gogh painting, Wild Vegetation, was discovered underneath as it had been painted over by the Dutchman. The work is now in the permanent collection of the Boston Museum of Fine Arts, most recently displayed at Gallery 244, "Dutch and Flemish Art".
|
[
"Émile Bernard",
"Saint-Rémy-de-Provence",
"Paul Gauguin",
"Dutch",
"Flemish",
"Saint-Paul Asylum",
"Museum of Fine Arts",
"Boston Museum of Fine Arts",
"Paris",
"Vincent van Gogh",
"post-impressionist",
"large series of paintings"
] |
|
1765_T
|
Statue of Bedřich Smetana, Prague
|
How does Statue of Bedřich Smetana, Prague elucidate its abstract?
|
The statue of Bedřich Smetana (Czech: Socha Bedřicha Smetany) is a sculpture of the famous Czech composer Bedřich Smetana (1824–1884) located outside the Smetana Museum in Prague, Czech Republic. It was unveiled on 4 June 1984, in the centenary year of his death. The sculpture, 235 cm high and weighing about a ton, was by professor Josef Malejovský and architect Bedřich Hanák.
|
[
"Bedřich Smetana",
"Josef Malejovský",
"Prague",
"Smetana Museum"
] |
|
1765_NT
|
Statue of Bedřich Smetana, Prague
|
How does this artwork elucidate its abstract?
|
The statue of Bedřich Smetana (Czech: Socha Bedřicha Smetany) is a sculpture of the famous Czech composer Bedřich Smetana (1824–1884) located outside the Smetana Museum in Prague, Czech Republic. It was unveiled on 4 June 1984, in the centenary year of his death. The sculpture, 235 cm high and weighing about a ton, was by professor Josef Malejovský and architect Bedřich Hanák.
|
[
"Bedřich Smetana",
"Josef Malejovský",
"Prague",
"Smetana Museum"
] |
|
1766_T
|
Statues of Saints Cosmas and Damian, Charles Bridge
|
Focus on Statues of Saints Cosmas and Damian, Charles Bridge and analyze the abstract.
|
The statues of Saints Cosmas and Damian (Czech: Sousoší svatého Salvátora, Kosmy a Damiána) are outdoor sculptures by Jan Oldřich Mayer, installed on the north side of the Charles Bridge in Prague, Czech Republic.
|
[
"Jan Oldřich Mayer",
"Prague",
"Charles Bridge"
] |
|
1766_NT
|
Statues of Saints Cosmas and Damian, Charles Bridge
|
Focus on this artwork and analyze the abstract.
|
The statues of Saints Cosmas and Damian (Czech: Sousoší svatého Salvátora, Kosmy a Damiána) are outdoor sculptures by Jan Oldřich Mayer, installed on the north side of the Charles Bridge in Prague, Czech Republic.
|
[
"Jan Oldřich Mayer",
"Prague",
"Charles Bridge"
] |
|
1767_T
|
The American People Series 20: Die
|
In The American People Series 20: Die, how is the abstract discussed?
|
The American People Series #20: Die is an oil on canvas painting made by American artist Faith Ringgold in 1967. Inspired by Pablo Picasso's painting Guernica (1937) and painted amidst the riots and uprisings of the 1960s, Die is a two-panel work depicting a group of Black and white men, women, and children, most of whom are wounded or covered in blood, variously fighting, fleeing, or dying against an abstract grey background. The piece has been extensively cited as among Ringgold's most important and iconic artworks.
|
[
"riots",
"oil on canvas",
"Faith Ringgold",
"Guernica",
"riots and uprisings",
"Pablo Picasso"
] |
|
1767_NT
|
The American People Series 20: Die
|
In this artwork, how is the abstract discussed?
|
The American People Series #20: Die is an oil on canvas painting made by American artist Faith Ringgold in 1967. Inspired by Pablo Picasso's painting Guernica (1937) and painted amidst the riots and uprisings of the 1960s, Die is a two-panel work depicting a group of Black and white men, women, and children, most of whom are wounded or covered in blood, variously fighting, fleeing, or dying against an abstract grey background. The piece has been extensively cited as among Ringgold's most important and iconic artworks.
|
[
"riots",
"oil on canvas",
"Faith Ringgold",
"Guernica",
"riots and uprisings",
"Pablo Picasso"
] |
|
1768_T
|
The American People Series 20: Die
|
Focus on The American People Series 20: Die and explore the History.
|
Die was painted during the riots and uprisings of the 1960s and following the 1965 assassination of Malcolm X, and was finished the year before the assassination of Martin Luther King Jr. and the riots that followed. As the final work in The American People Series, Die represents the endpoint of the series' tonal shift from optimism to violence as the early successes of the Civil Rights Movement gave way to political assassinations and widespread bouts of violence in Black communities during the summer months. Ringgold was inspired to paint the work in part by her extensive viewing of Pablo Picasso's painting Guernica (1937) during its longterm loan to the Museum of Modern Art (MoMA) in New York that began in 1939. Additionally, Ringgold was inspired by Jacob Lawrence's reimaginings of historical portraiture.Die was shown for the first time at Ringgold's debut solo show, American People, in 1967 at Spectrum Gallery in New York. The opening reception for the show was attended by Romare Bearden and Richard Mayhew along with hundreds of the artist's friends and family; the gallery owner set up a record player and children danced to Motown music. Ringgold has said that an unidentified woman at the reception, upon seeing Die when exiting the elevator into the gallery, immediately "let out a yelp" and left the building. The artist has referred to the work as a mural since its original showing, despite the fact that political murals by Black artists of the era were generally painted on buildings or shown in public spaces; critics have argued that this distinction was meant to communicate Ringgold's desire to bring Black artists, aesthetics, and politics into traditionally white institutional art spaces.Following its original showing, Ringgold kept the work in storage along with The American People Series #18: The Flag is Bleeding (1967) for over 40 years. Prior to 2010, Die had only been brought out of storage for Ringgold's solo survey at the Rutgers University Art Gallery in 1973 and for Tradition and Conflict: Images of a Turbulent Decade, 1963-1967 at the Studio Museum in Harlem in 1985. The work was shown in 2010 in Ringgold's retrospective American People, Black Light at the Neuberger Museum of Art, Purchase, New York, which traveled in 2013 to the National Museum of Women in the Arts in Washington, DC; in 2014 at the Museu Picasso's exhibition Post-Picasso: Contemporary Reactions in Barcelona; and in 2017 at the Tate Modern's original showing of Soul of a Nation: Art in the Age of Black Power in London.MoMA acquired the painting in 2016 directly from Ringgold and subsequently showed it in the museum next to Picasso's painting Les Demoiselles D'Avignon (1907) starting in 2019. MoMA's choice of placement for Die was widely discussed by critics, art historians, and artists, some of whom, including Helen Molesworth, believed that placing Die next to Les Demoiselles D'Avignon served only to reiterate Picasso's place in the canon. Others, including Mark Godfrey, believed the placement reflected Ringgold's own vision of "working [both] with and against the canon," as her work directly drew upon, acknowledged, and challenged canonical artistic figures like Picasso.Following MoMA's acquisition of the work, Die was covered extensively in the media; the museum published Faith Ringgold: Die by Anne Monahan in 2018, from the One on One series of books focused on a single work, and the painting was reproduced on the cover of Artforum in January 2020. Die was featured in Ringgold's solo retrospective at the New Museum in 2022.
|
[
"Artforum",
"Washington, DC",
"New Museum",
"Purchase, New York",
"Tate Modern",
"assassination of Malcolm X",
"Neuberger Museum of Art",
"riots",
"Barcelona",
"Mark Godfrey",
"The American People Series #18: The Flag is Bleeding",
"Les Demoiselles D'Avignon",
"Civil Rights Movement",
"New York",
"Museu Picasso",
"National Museum of Women in the Arts",
"Jacob Lawrence",
"Romare Bearden",
"Studio Museum in Harlem",
"Faith Ringgold",
"assassination of Martin Luther King Jr.",
"Guernica",
"Museum of Modern Art",
"Helen Molesworth",
"Motown",
"Richard Mayhew",
"mural",
"London",
"Museum of Modern Art (MoMA)",
"Rutgers University Art Gallery",
"canon",
"riots and uprisings",
"Pablo Picasso"
] |
|
1768_NT
|
The American People Series 20: Die
|
Focus on this artwork and explore the History.
|
Die was painted during the riots and uprisings of the 1960s and following the 1965 assassination of Malcolm X, and was finished the year before the assassination of Martin Luther King Jr. and the riots that followed. As the final work in The American People Series, Die represents the endpoint of the series' tonal shift from optimism to violence as the early successes of the Civil Rights Movement gave way to political assassinations and widespread bouts of violence in Black communities during the summer months. Ringgold was inspired to paint the work in part by her extensive viewing of Pablo Picasso's painting Guernica (1937) during its longterm loan to the Museum of Modern Art (MoMA) in New York that began in 1939. Additionally, Ringgold was inspired by Jacob Lawrence's reimaginings of historical portraiture.Die was shown for the first time at Ringgold's debut solo show, American People, in 1967 at Spectrum Gallery in New York. The opening reception for the show was attended by Romare Bearden and Richard Mayhew along with hundreds of the artist's friends and family; the gallery owner set up a record player and children danced to Motown music. Ringgold has said that an unidentified woman at the reception, upon seeing Die when exiting the elevator into the gallery, immediately "let out a yelp" and left the building. The artist has referred to the work as a mural since its original showing, despite the fact that political murals by Black artists of the era were generally painted on buildings or shown in public spaces; critics have argued that this distinction was meant to communicate Ringgold's desire to bring Black artists, aesthetics, and politics into traditionally white institutional art spaces.Following its original showing, Ringgold kept the work in storage along with The American People Series #18: The Flag is Bleeding (1967) for over 40 years. Prior to 2010, Die had only been brought out of storage for Ringgold's solo survey at the Rutgers University Art Gallery in 1973 and for Tradition and Conflict: Images of a Turbulent Decade, 1963-1967 at the Studio Museum in Harlem in 1985. The work was shown in 2010 in Ringgold's retrospective American People, Black Light at the Neuberger Museum of Art, Purchase, New York, which traveled in 2013 to the National Museum of Women in the Arts in Washington, DC; in 2014 at the Museu Picasso's exhibition Post-Picasso: Contemporary Reactions in Barcelona; and in 2017 at the Tate Modern's original showing of Soul of a Nation: Art in the Age of Black Power in London.MoMA acquired the painting in 2016 directly from Ringgold and subsequently showed it in the museum next to Picasso's painting Les Demoiselles D'Avignon (1907) starting in 2019. MoMA's choice of placement for Die was widely discussed by critics, art historians, and artists, some of whom, including Helen Molesworth, believed that placing Die next to Les Demoiselles D'Avignon served only to reiterate Picasso's place in the canon. Others, including Mark Godfrey, believed the placement reflected Ringgold's own vision of "working [both] with and against the canon," as her work directly drew upon, acknowledged, and challenged canonical artistic figures like Picasso.Following MoMA's acquisition of the work, Die was covered extensively in the media; the museum published Faith Ringgold: Die by Anne Monahan in 2018, from the One on One series of books focused on a single work, and the painting was reproduced on the cover of Artforum in January 2020. Die was featured in Ringgold's solo retrospective at the New Museum in 2022.
|
[
"Artforum",
"Washington, DC",
"New Museum",
"Purchase, New York",
"Tate Modern",
"assassination of Malcolm X",
"Neuberger Museum of Art",
"riots",
"Barcelona",
"Mark Godfrey",
"The American People Series #18: The Flag is Bleeding",
"Les Demoiselles D'Avignon",
"Civil Rights Movement",
"New York",
"Museu Picasso",
"National Museum of Women in the Arts",
"Jacob Lawrence",
"Romare Bearden",
"Studio Museum in Harlem",
"Faith Ringgold",
"assassination of Martin Luther King Jr.",
"Guernica",
"Museum of Modern Art",
"Helen Molesworth",
"Motown",
"Richard Mayhew",
"mural",
"London",
"Museum of Modern Art (MoMA)",
"Rutgers University Art Gallery",
"canon",
"riots and uprisings",
"Pablo Picasso"
] |
|
1769_T
|
The American People Series 20: Die
|
Focus on The American People Series 20: Die and explain the Reception.
|
In a review in The New York Times of Ringgold's 1973 survey at the Rutgers University Art Gallery, critic Piri Halasz described Die as "an immense cry of rage," and called the series "Ringgold's most overtly ideological protests."Critic Holland Cotter has praised the work, calling it "an accurate gauge of the mood of the day" in a 2010 review in The New York Times of Ringgold's Neuberger Museum of Art retrospective. He went on to describe the work in 2022 in the Times as "an explosive scene" and "a star attraction of the Museum of Modern Art’s much-watched 2019 permanent collection rehang."Writing in The Washington Post in 2020, critic Sebastian Smee said Die "feels prophetically realistic" and that "its citrus palette of pinks and oranges against grays and blacks is nothing short of a masterpiece."
|
[
"The New York Times",
"The Washington Post",
"Neuberger Museum of Art",
"Piri Halasz",
"New York",
"Museum of Modern Art",
"Sebastian Smee",
"Holland Cotter",
"Rutgers University Art Gallery"
] |
|
1769_NT
|
The American People Series 20: Die
|
Focus on this artwork and explain the Reception.
|
In a review in The New York Times of Ringgold's 1973 survey at the Rutgers University Art Gallery, critic Piri Halasz described Die as "an immense cry of rage," and called the series "Ringgold's most overtly ideological protests."Critic Holland Cotter has praised the work, calling it "an accurate gauge of the mood of the day" in a 2010 review in The New York Times of Ringgold's Neuberger Museum of Art retrospective. He went on to describe the work in 2022 in the Times as "an explosive scene" and "a star attraction of the Museum of Modern Art’s much-watched 2019 permanent collection rehang."Writing in The Washington Post in 2020, critic Sebastian Smee said Die "feels prophetically realistic" and that "its citrus palette of pinks and oranges against grays and blacks is nothing short of a masterpiece."
|
[
"The New York Times",
"The Washington Post",
"Neuberger Museum of Art",
"Piri Halasz",
"New York",
"Museum of Modern Art",
"Sebastian Smee",
"Holland Cotter",
"Rutgers University Art Gallery"
] |
|
1770_T
|
Roots of Knowledge
|
Explore the abstract of this artwork, Roots of Knowledge.
|
Roots of Knowledge is a permanent stained glass display completed in 2016 at Utah Valley University (UVU) in Orem, Utah, United States. The creation of the exhibit was designed and overseen by stained glass artists Tom Holdman and Cameron Oscarson. It took over 12 years and cost US$4.5 million to complete.
|
[
"Tom Holdman",
"stained glass",
"Utah Valley University",
"Utah Valley",
"Orem, Utah"
] |
|
1770_NT
|
Roots of Knowledge
|
Explore the abstract of this artwork.
|
Roots of Knowledge is a permanent stained glass display completed in 2016 at Utah Valley University (UVU) in Orem, Utah, United States. The creation of the exhibit was designed and overseen by stained glass artists Tom Holdman and Cameron Oscarson. It took over 12 years and cost US$4.5 million to complete.
|
[
"Tom Holdman",
"stained glass",
"Utah Valley University",
"Utah Valley",
"Orem, Utah"
] |
|
1771_T
|
Roots of Knowledge
|
Focus on Roots of Knowledge and discuss the Description.
|
The Roots of Knowledge is a permanent stained glass exhibit in the Ira A. and Mary Lou Fulton Library at Utah Valley University in Orem, Utah in the United States. It is 200 feet (61 m) long, about 10 feet (3.0 m) tall, and comprising 80 separate panes. Each of the panels was handcrafted from over 43,000 pieces of glass depicting part of the progress of human knowledge during recorded history. The exhibit depicts both religious and secular events and objects.In addition to the stained, blown, fused, and carved glass used for most of the window, other objects were incorporated into the display. These included a shark's tooth, part of the Berlin Wall, a Purple Heart medal, a $5 bill from 1777, and glass from NASA. Part of the window incorporates a replication of the oldest stained glass known: a window created in 647 AD at The Abbey Church of Saint Peter and Saint Paul, Monkwearmouth–Jarrow in England.
|
[
"Berlin Wall",
"stained glass",
"Utah Valley University",
"Utah Valley",
"NASA",
"Purple Heart",
"Orem, Utah",
"The Abbey Church of Saint Peter and Saint Paul, Monkwearmouth–Jarrow",
"$5 bill"
] |
|
1771_NT
|
Roots of Knowledge
|
Focus on this artwork and discuss the Description.
|
The Roots of Knowledge is a permanent stained glass exhibit in the Ira A. and Mary Lou Fulton Library at Utah Valley University in Orem, Utah in the United States. It is 200 feet (61 m) long, about 10 feet (3.0 m) tall, and comprising 80 separate panes. Each of the panels was handcrafted from over 43,000 pieces of glass depicting part of the progress of human knowledge during recorded history. The exhibit depicts both religious and secular events and objects.In addition to the stained, blown, fused, and carved glass used for most of the window, other objects were incorporated into the display. These included a shark's tooth, part of the Berlin Wall, a Purple Heart medal, a $5 bill from 1777, and glass from NASA. Part of the window incorporates a replication of the oldest stained glass known: a window created in 647 AD at The Abbey Church of Saint Peter and Saint Paul, Monkwearmouth–Jarrow in England.
|
[
"Berlin Wall",
"stained glass",
"Utah Valley University",
"Utah Valley",
"NASA",
"Purple Heart",
"Orem, Utah",
"The Abbey Church of Saint Peter and Saint Paul, Monkwearmouth–Jarrow",
"$5 bill"
] |
|
1772_T
|
Roots of Knowledge
|
How does Roots of Knowledge elucidate its History?
|
The idea to create the stained glass exhibit began in 2004. For the next 12 years, Holdman and Oscarson worked to design and create the 80 panels included in the final exhibit. Each panel was handcrafted by the original designers, Tom Holdman and Cameron Oscarson, who worked with over 350 student artists, 26 faculty members, and 40 other artists during the construction of the exhibit.The US$4.5 million project was funded through private donations, including through sponsorships of individual pieces of glass. It was officially unveiled on November 18, 2016, as part of the 75th anniversary of the university.
|
[
"Tom Holdman",
"stained glass"
] |
|
1772_NT
|
Roots of Knowledge
|
How does this artwork elucidate its History?
|
The idea to create the stained glass exhibit began in 2004. For the next 12 years, Holdman and Oscarson worked to design and create the 80 panels included in the final exhibit. Each panel was handcrafted by the original designers, Tom Holdman and Cameron Oscarson, who worked with over 350 student artists, 26 faculty members, and 40 other artists during the construction of the exhibit.The US$4.5 million project was funded through private donations, including through sponsorships of individual pieces of glass. It was officially unveiled on November 18, 2016, as part of the 75th anniversary of the university.
|
[
"Tom Holdman",
"stained glass"
] |
|
1773_T
|
Roots of Knowledge
|
Focus on Roots of Knowledge and analyze the Reception.
|
The installation was described as a "tour de force" by the curator of ceramics and glass at the Victoria and Albert Museum in London. The windows have been compared to those in several European cathedrals, including the Cologne Cathedral in Germany, Sainte-Chapelle in France, and York Minster in England. The Utah Education Network worked with Holdman and UVU to create curriculum and field trips based on the project.The project is the subject of a one-hour documentary created for PBS by Lee Groberg.
|
[
"PBS",
"York Minster",
"Utah Education Network",
"Cologne Cathedral",
"field trip",
"Sainte-Chapelle",
"curriculum",
"Victoria and Albert Museum",
"London",
"Lee Groberg"
] |
|
1773_NT
|
Roots of Knowledge
|
Focus on this artwork and analyze the Reception.
|
The installation was described as a "tour de force" by the curator of ceramics and glass at the Victoria and Albert Museum in London. The windows have been compared to those in several European cathedrals, including the Cologne Cathedral in Germany, Sainte-Chapelle in France, and York Minster in England. The Utah Education Network worked with Holdman and UVU to create curriculum and field trips based on the project.The project is the subject of a one-hour documentary created for PBS by Lee Groberg.
|
[
"PBS",
"York Minster",
"Utah Education Network",
"Cologne Cathedral",
"field trip",
"Sainte-Chapelle",
"curriculum",
"Victoria and Albert Museum",
"London",
"Lee Groberg"
] |
|
1774_T
|
Everything is going to be alright
|
In Everything is going to be alright, how is the abstract discussed?
|
EVERYTHING IS GOING TO BE ALRIGHT is a series of installations by British artist Martin Creed. Each installation consists solely of the artwork title, formed in large neon letters and is numbered individually in Creed's catalogue. The artworks have been described as one of Creed's most iconic works.
|
[
"installations",
"Martin Creed",
"neon letters"
] |
|
1774_NT
|
Everything is going to be alright
|
In this artwork, how is the abstract discussed?
|
EVERYTHING IS GOING TO BE ALRIGHT is a series of installations by British artist Martin Creed. Each installation consists solely of the artwork title, formed in large neon letters and is numbered individually in Creed's catalogue. The artworks have been described as one of Creed's most iconic works.
|
[
"installations",
"Martin Creed",
"neon letters"
] |
|
1775_T
|
Everything is going to be alright
|
Focus on Everything is going to be alright and explore the Works.
|
The first installation to be given this title was Work No. 203 (1999), a temporary commission for the Clapton Portico in Hackney, London. Since then, a series of similar artworks have been installed in different social and geographical settings around the world, including:Creed has since used neon lettering in several artworks spelling other phrases, including "DON'T WORRY" and "MOTHERS".
|
[
"Hackney, London"
] |
|
1775_NT
|
Everything is going to be alright
|
Focus on this artwork and explore the Works.
|
The first installation to be given this title was Work No. 203 (1999), a temporary commission for the Clapton Portico in Hackney, London. Since then, a series of similar artworks have been installed in different social and geographical settings around the world, including:Creed has since used neon lettering in several artworks spelling other phrases, including "DON'T WORRY" and "MOTHERS".
|
[
"Hackney, London"
] |
|
1776_T
|
Everything is going to be alright
|
Focus on Everything is going to be alright and explain the Reaction.
|
The installation has been described as 'visually spectacular'. Tate Britain curator Debra Lennard described the artworks as "tak[ing] on slightly different inflections according to the circumstances of their display". While some reviewers have noted the hopeful and familiar tone of the phrase, others have interpreted the artwork as suggesting that "everything might not be alright" and an "ironic comment on today’s consumer-driven world".
|
[] |
|
1776_NT
|
Everything is going to be alright
|
Focus on this artwork and explain the Reaction.
|
The installation has been described as 'visually spectacular'. Tate Britain curator Debra Lennard described the artworks as "tak[ing] on slightly different inflections according to the circumstances of their display". While some reviewers have noted the hopeful and familiar tone of the phrase, others have interpreted the artwork as suggesting that "everything might not be alright" and an "ironic comment on today’s consumer-driven world".
|
[] |
|
1777_T
|
Bentivoglio Altarpiece
|
Explore the abstract of this artwork, Bentivoglio Altarpiece.
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The Bentivoglio Altarpiece is a painting by the Italian Renaissance painter Lorenzo Costa, dating to August 1488. It is displayed in the Bentivoglio Chapel of the church of San Giacomo Maggiore, Bologna, Italy.
It was commissioned by Giovanni II Bentivoglio, lord of Bologna, as a thanksgiving for the family's escape from an attempted massacre by the Malvezzi family [1].
|
[
"San Giacomo Maggiore, Bologna",
"Bologna",
"Giovanni II Bentivoglio",
"Italy",
"San Giacomo Maggiore",
"Italian",
"Lorenzo Costa"
] |
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1777_NT
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Bentivoglio Altarpiece
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Explore the abstract of this artwork.
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The Bentivoglio Altarpiece is a painting by the Italian Renaissance painter Lorenzo Costa, dating to August 1488. It is displayed in the Bentivoglio Chapel of the church of San Giacomo Maggiore, Bologna, Italy.
It was commissioned by Giovanni II Bentivoglio, lord of Bologna, as a thanksgiving for the family's escape from an attempted massacre by the Malvezzi family [1].
|
[
"San Giacomo Maggiore, Bologna",
"Bologna",
"Giovanni II Bentivoglio",
"Italy",
"San Giacomo Maggiore",
"Italian",
"Lorenzo Costa"
] |
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1778_T
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Bentivoglio Altarpiece
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Focus on Bentivoglio Altarpiece and discuss the Description.
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The painting is a large canvas, executed by Costa together with other two works on the chapel's walls, the Triumph of Fame and the Triumph of Death. It features, above a sumptuous Renaissance architecture, a marble altar with a rich frieze; at the top of is a throne on which the Madonna and Child sit. At the sides, kneeling, are the two donor husband and wife, Giovanni II Bentivoglio and Ginevra Sforza. In the foreground, at the feet of the throne, are their eleven children. On the left are the daughters (from left, Camilla, Bianca, Francesca, Violante - future spouse of Pandolfo IV Malatesta, Laura, Isotta and Eleonora); on the right the four children (Ermes, Alessandro, Anton Galeazzo and the elder one, Annibale).
|
[
"Pandolfo IV Malatesta",
"Ginevra Sforza",
"Giovanni II Bentivoglio",
"Annibale",
"Alessandro",
"Ermes"
] |
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1778_NT
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Bentivoglio Altarpiece
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Focus on this artwork and discuss the Description.
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The painting is a large canvas, executed by Costa together with other two works on the chapel's walls, the Triumph of Fame and the Triumph of Death. It features, above a sumptuous Renaissance architecture, a marble altar with a rich frieze; at the top of is a throne on which the Madonna and Child sit. At the sides, kneeling, are the two donor husband and wife, Giovanni II Bentivoglio and Ginevra Sforza. In the foreground, at the feet of the throne, are their eleven children. On the left are the daughters (from left, Camilla, Bianca, Francesca, Violante - future spouse of Pandolfo IV Malatesta, Laura, Isotta and Eleonora); on the right the four children (Ermes, Alessandro, Anton Galeazzo and the elder one, Annibale).
|
[
"Pandolfo IV Malatesta",
"Ginevra Sforza",
"Giovanni II Bentivoglio",
"Annibale",
"Alessandro",
"Ermes"
] |
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1779_T
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Four Southern Poets Monument
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How does Four Southern Poets Monument elucidate its Description and history?
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The memorial was unveiled in April 1913 and commemorates Paul Hamilton Hayne (1830–1886), Sidney Lanier (1842–1881), James Ryder Randall (1839–1908), and Abram Joseph Ryan (1838–1886). All four poets lived in Georgia and loosely associated with the Confederate States of America.
The monument was donated by Anna Russell Cole, the wife of Confederate veteran and railroad executive Edmund William Cole of Nashville, Tennessee, "as a memorial to her father", Henry F. Russell, who was the first Democratic mayor of Augusta after the Civil War. According to The Tennessean, it was also meant as "a memorial to the men who have preserved the gallantry and chivalry of the Old South in the lyric sweetness of their songs."The monument was made by the Tennessee Granite & Marble Company. Its dedication on April 28, 1913 was attended by a thousand people, including Mrs Cole, Augusta's mayor, and James Hampton Kirkland, the chancellor of Vanderbilt University, who gave a speech.
|
[
"Democratic",
"Sidney Lanier",
"James Hampton Kirkland",
"James Ryder Randall",
"Edmund William Cole",
"The Tennessean",
"Confederate States of America",
"Nashville, Tennessee",
"Vanderbilt University",
"Old South",
"Abram Joseph Ryan",
"Paul Hamilton Hayne"
] |
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1779_NT
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Four Southern Poets Monument
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How does this artwork elucidate its Description and history?
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The memorial was unveiled in April 1913 and commemorates Paul Hamilton Hayne (1830–1886), Sidney Lanier (1842–1881), James Ryder Randall (1839–1908), and Abram Joseph Ryan (1838–1886). All four poets lived in Georgia and loosely associated with the Confederate States of America.
The monument was donated by Anna Russell Cole, the wife of Confederate veteran and railroad executive Edmund William Cole of Nashville, Tennessee, "as a memorial to her father", Henry F. Russell, who was the first Democratic mayor of Augusta after the Civil War. According to The Tennessean, it was also meant as "a memorial to the men who have preserved the gallantry and chivalry of the Old South in the lyric sweetness of their songs."The monument was made by the Tennessee Granite & Marble Company. Its dedication on April 28, 1913 was attended by a thousand people, including Mrs Cole, Augusta's mayor, and James Hampton Kirkland, the chancellor of Vanderbilt University, who gave a speech.
|
[
"Democratic",
"Sidney Lanier",
"James Hampton Kirkland",
"James Ryder Randall",
"Edmund William Cole",
"The Tennessean",
"Confederate States of America",
"Nashville, Tennessee",
"Vanderbilt University",
"Old South",
"Abram Joseph Ryan",
"Paul Hamilton Hayne"
] |
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1780_T
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Portrait of Lorenzo di Credi
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Focus on Portrait of Lorenzo di Credi and analyze the abstract.
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The Portrait of Lorenzo di Credi is a painting by the Italian Renaissance artist Perugino, dating to around 1504 and housed in the National Gallery of Art, Washington, DC, United States.
|
[
"Lorenzo di Credi",
"Washington, DC",
"National Gallery of Art",
"Perugino"
] |
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1780_NT
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Portrait of Lorenzo di Credi
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Focus on this artwork and analyze the abstract.
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The Portrait of Lorenzo di Credi is a painting by the Italian Renaissance artist Perugino, dating to around 1504 and housed in the National Gallery of Art, Washington, DC, United States.
|
[
"Lorenzo di Credi",
"Washington, DC",
"National Gallery of Art",
"Perugino"
] |
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1781_T
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Portrait of Lorenzo di Credi
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In Portrait of Lorenzo di Credi, how is the Description discussed?
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Before the painting was transferred to canvas, the wooden support had the inscription "Lorenzo di Credi, pittore più eccellente, 1488, età 32 anni, 8 mesi", perhaps added in the 16th century. For centuries, this was thought to be a self-portrait signature: however, starting from the 20th centuries the work was attributed, due to styilistical considerations, to Pietro Perugino (in particular, for the similitarities to the Portrait of Francesco delle Opere at the Uffizi), who had studied with Lorenzo in Verrocchio's workshop.
The painter is portrayed from three-quarters, with a rocky and hilly landscape in the background. He wears a black berret and a blouse of the same color, the collar of a white shirt barely visible at the neck. The melancholic expression, as well as the black clothes, are perhaps connected to the death of the common master Verrocchio, which occurred in 1488.
|
[
"Lorenzo di Credi",
"Verrocchio",
"Pietro Perugino",
"Portrait of Francesco delle Opere",
"Perugino",
"transferred to canvas",
"Uffizi"
] |
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1781_NT
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Portrait of Lorenzo di Credi
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In this artwork, how is the Description discussed?
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Before the painting was transferred to canvas, the wooden support had the inscription "Lorenzo di Credi, pittore più eccellente, 1488, età 32 anni, 8 mesi", perhaps added in the 16th century. For centuries, this was thought to be a self-portrait signature: however, starting from the 20th centuries the work was attributed, due to styilistical considerations, to Pietro Perugino (in particular, for the similitarities to the Portrait of Francesco delle Opere at the Uffizi), who had studied with Lorenzo in Verrocchio's workshop.
The painter is portrayed from three-quarters, with a rocky and hilly landscape in the background. He wears a black berret and a blouse of the same color, the collar of a white shirt barely visible at the neck. The melancholic expression, as well as the black clothes, are perhaps connected to the death of the common master Verrocchio, which occurred in 1488.
|
[
"Lorenzo di Credi",
"Verrocchio",
"Pietro Perugino",
"Portrait of Francesco delle Opere",
"Perugino",
"transferred to canvas",
"Uffizi"
] |
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1782_T
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Statue of John Wesley, St Paul's Churchyard
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Focus on Statue of John Wesley, St Paul's Churchyard and explore the abstract.
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The statue of John Wesley, St Paul's Churchyard is an outdoor bronze sculpture depicting the theologian, cleric and co-founder of the religious movement known as Methodism, John Wesley. The statue is located northwest corner of St Paul's Churchyard, London, England, and was erected in 1988. It was cast from a sculpture created by Samuel Manning and his son between 1825 and 1849.From 24 to 26 May 1738, Wesley worshipped in the nearby Chancel of the Cathedral. The statue is 5 foot 1 inches high, Wesley's height in life, and depicts him wearing a cassock and holding a bible in his left hand. An inscription on the front of the plinth reads:
By Grace ye are saved through Faith
John Wesley, Father of Methodism, 1703–1791, priest, poet, teacher of the Faith.
On the rear of the plinth is a plaque reading 'Property of Aldersgate Trustees of the Methodist Church – 17 September 1988'.Samuel Manning's original sculpture was in plaster and was exhibited at the Royal Academy in 1825. After Manning the Elder's death, his son recreated the sculpture in marble, and it is now situated in the Methodist Central Hall, Westminster.
|
[
"Methodism",
"St Paul's Churchyard",
"London",
"England",
"Methodist Central Hall, Westminster",
"Samuel Manning",
"John Wesley"
] |
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1782_NT
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Statue of John Wesley, St Paul's Churchyard
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Focus on this artwork and explore the abstract.
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The statue of John Wesley, St Paul's Churchyard is an outdoor bronze sculpture depicting the theologian, cleric and co-founder of the religious movement known as Methodism, John Wesley. The statue is located northwest corner of St Paul's Churchyard, London, England, and was erected in 1988. It was cast from a sculpture created by Samuel Manning and his son between 1825 and 1849.From 24 to 26 May 1738, Wesley worshipped in the nearby Chancel of the Cathedral. The statue is 5 foot 1 inches high, Wesley's height in life, and depicts him wearing a cassock and holding a bible in his left hand. An inscription on the front of the plinth reads:
By Grace ye are saved through Faith
John Wesley, Father of Methodism, 1703–1791, priest, poet, teacher of the Faith.
On the rear of the plinth is a plaque reading 'Property of Aldersgate Trustees of the Methodist Church – 17 September 1988'.Samuel Manning's original sculpture was in plaster and was exhibited at the Royal Academy in 1825. After Manning the Elder's death, his son recreated the sculpture in marble, and it is now situated in the Methodist Central Hall, Westminster.
|
[
"Methodism",
"St Paul's Churchyard",
"London",
"England",
"Methodist Central Hall, Westminster",
"Samuel Manning",
"John Wesley"
] |
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1783_T
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The Virgin Pantanassa (Ritzos)
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Focus on The Virgin Pantanassa (Ritzos) and explain the abstract.
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The Virgin Pantanassa is a tempera painting by Andreas Ritzos. Ritzos was a Greek painter active on the island of Crete. He flourished from 1435 to 1492. The painter has an existing catalog of over sixty works attributed to him. He signed his works in both Greek and Latin. He is one of the most influential painters of the Cretan Renaissance. He painted in the traditional Greek-Italian Byzantine style. His work was also heavily influenced by Venetian painting. His teacher was Angelos Akotantos. He was also affiliated with Andreas Pavias. His son was famous Greek painter Nikolaos Ritzos. Ritzo's Italian contemporaries were Paolo Uccello and Fra Angelico. They all painted a mixture of the Greek-Italian Byzantine and Italian Renaissance styles. The art of Crete was heavily influenced by the founder of the Venetian school Paolo Veneziano.The Virgin and Child was a popular subject matter among painters. Both Greek and Italian artists used the theme in countless works of art since the inception of the religion. The Virgin and Child enthroned was an important theme. The Greek term Pantanassa (Greek: Παντάνασσα), means the "Queen of All". The term was used to refer to the Virgin Mary as Queen of All. Greek painters created dozens of versions of the Madonna and Child Enthroned. Georgios Klontzas, Michael Damaskinos, Georgios Nomikos, and Emmanuel Tzanes are some of the painters that created their own versions. Tzanes's Lady the Lambovitissa is an example of the expert craftsmanship of the painters and the evolution of the style. Each version offers its own unique characteristics and style. The Virgin Pantanassa is one of the earliest surviving versions of the Cretan School attributed to a painter. It is located in the museum of the Monastery of Saint John the Theologian, Patmos, Greece.
|
[
"Georgios Klontzas",
"Paolo Uccello",
"Cretan Renaissance",
"Tzanes's",
"Andreas Ritzos",
"Ritzo",
"Emmanuel Tzanes",
"Angelos Akotantos",
"Venetian school",
"Monastery of Saint John the Theologian",
"Cretan School",
"Veneziano",
"Fra Angelico",
"Klontzas",
"Venetian painting",
"Andreas Pavias",
"Nikolaos Ritzos",
"Lady the Lambovitissa",
"Ritzos",
"Paolo Veneziano",
"Patmos",
"Michael Damaskinos",
"Georgios Nomikos"
] |
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1783_NT
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The Virgin Pantanassa (Ritzos)
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Focus on this artwork and explain the abstract.
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The Virgin Pantanassa is a tempera painting by Andreas Ritzos. Ritzos was a Greek painter active on the island of Crete. He flourished from 1435 to 1492. The painter has an existing catalog of over sixty works attributed to him. He signed his works in both Greek and Latin. He is one of the most influential painters of the Cretan Renaissance. He painted in the traditional Greek-Italian Byzantine style. His work was also heavily influenced by Venetian painting. His teacher was Angelos Akotantos. He was also affiliated with Andreas Pavias. His son was famous Greek painter Nikolaos Ritzos. Ritzo's Italian contemporaries were Paolo Uccello and Fra Angelico. They all painted a mixture of the Greek-Italian Byzantine and Italian Renaissance styles. The art of Crete was heavily influenced by the founder of the Venetian school Paolo Veneziano.The Virgin and Child was a popular subject matter among painters. Both Greek and Italian artists used the theme in countless works of art since the inception of the religion. The Virgin and Child enthroned was an important theme. The Greek term Pantanassa (Greek: Παντάνασσα), means the "Queen of All". The term was used to refer to the Virgin Mary as Queen of All. Greek painters created dozens of versions of the Madonna and Child Enthroned. Georgios Klontzas, Michael Damaskinos, Georgios Nomikos, and Emmanuel Tzanes are some of the painters that created their own versions. Tzanes's Lady the Lambovitissa is an example of the expert craftsmanship of the painters and the evolution of the style. Each version offers its own unique characteristics and style. The Virgin Pantanassa is one of the earliest surviving versions of the Cretan School attributed to a painter. It is located in the museum of the Monastery of Saint John the Theologian, Patmos, Greece.
|
[
"Georgios Klontzas",
"Paolo Uccello",
"Cretan Renaissance",
"Tzanes's",
"Andreas Ritzos",
"Ritzo",
"Emmanuel Tzanes",
"Angelos Akotantos",
"Venetian school",
"Monastery of Saint John the Theologian",
"Cretan School",
"Veneziano",
"Fra Angelico",
"Klontzas",
"Venetian painting",
"Andreas Pavias",
"Nikolaos Ritzos",
"Lady the Lambovitissa",
"Ritzos",
"Paolo Veneziano",
"Patmos",
"Michael Damaskinos",
"Georgios Nomikos"
] |
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1784_T
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The Virgin Pantanassa (Ritzos)
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Explore the Description of this artwork, The Virgin Pantanassa (Ritzos).
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The materials used for the massive painting were egg tempera and gold leaf on a wood panel. The height of the icon is 164 cm (64.5 in) and the width is 92 cm (36.2 in). The painting is over five feet tall. The work was completed between 1436 and 1492. The Virgin holds the child in the position known as Our Lady of the Sign. The position is also referred to as the Platitera and Nikopoios. The Italian term for the popular position is Nostra Signora del Segno. In the two variations, artists typically place the Virgin's hand on the right or left shoulder of the child and the other hand embraces the foot or leg of Jesus. The Virgin is wearing her traditional Byzantine garment. The holy robe clings to her body. The artist painted clear diagonal lines illustrating the complexly painted garment. The infant blesses with the Sign of the cross in his right hand and he holds a scroll in his left hand. The infant's garment is also the typical orange color. Both the Virgin and Child have halo's around their heads.The furniture exemplifies early Cretan Renaissance painting. Italian masters Paolo Veneziano, Duccio, Cimabue and Giotto all created similar works in the same style. The top part of the throne is adorned with decorative wood spindles with alternating colors. Eight spindles are present. Around the Virgin's torso, the throne exhibits a triangular v-shape. The shadows and diagonal lines create a shallow space with three-dimensional characteristics. The technique was implemented by Italian masters Paolo Veneziano, Duccio, Cimabue and Giotto bringing Greek-Italian Byzantine art into the Italian Renaissance. The lower portion of the painting reflects the advancement and refinement of the Byzantine style. The steps continue to create the illusion of additional space. The throne is also decorated with inlaid red and green marbles. The pillow in Ritzos's work is comparable to pillows used in similar works created by Paolo Veneziano.There are inscriptions all over the icon. The halo above the Virgin is decorated with an Ancient Greco-Roman styled Olive wreath motif. Ancient Greek art typically featured halos around deities and dignified individuals. Both Greek and Italian painters combined pagan and Byzantine art. The Halo was inscribed with the Greek words: Μνήστητη Κύριε Νεοφύτου Αρχιεπισκόπου Καρπάθου (Lord Remember, The Archbishop Neophytos of Karpathos). Neophytos was from Patmos. He made donations to different Monasteries. The two figures at the top left and right of the Virgin Mary are James the Apostle and Saint Christodoulos of Patmos. James the Apostle is on our left and
Saint Christodoulos of Patmos is on the right. The painters signature is at the bottom of the work on the stairs of the throne ΧΕΙΡ ΑΝΔΡΕΟΥ ΡΙΤΖΟΥ.
|
[
"Cretan Renaissance",
"Ritzo",
"Our Lady of the Sign",
"Cimabue",
"Duccio",
"Veneziano",
"Olive wreath",
"Sign of the cross",
"Giotto",
"Ritzos",
"James the Apostle",
"Halo",
"Paolo Veneziano",
"Patmos"
] |
|
1784_NT
|
The Virgin Pantanassa (Ritzos)
|
Explore the Description of this artwork.
|
The materials used for the massive painting were egg tempera and gold leaf on a wood panel. The height of the icon is 164 cm (64.5 in) and the width is 92 cm (36.2 in). The painting is over five feet tall. The work was completed between 1436 and 1492. The Virgin holds the child in the position known as Our Lady of the Sign. The position is also referred to as the Platitera and Nikopoios. The Italian term for the popular position is Nostra Signora del Segno. In the two variations, artists typically place the Virgin's hand on the right or left shoulder of the child and the other hand embraces the foot or leg of Jesus. The Virgin is wearing her traditional Byzantine garment. The holy robe clings to her body. The artist painted clear diagonal lines illustrating the complexly painted garment. The infant blesses with the Sign of the cross in his right hand and he holds a scroll in his left hand. The infant's garment is also the typical orange color. Both the Virgin and Child have halo's around their heads.The furniture exemplifies early Cretan Renaissance painting. Italian masters Paolo Veneziano, Duccio, Cimabue and Giotto all created similar works in the same style. The top part of the throne is adorned with decorative wood spindles with alternating colors. Eight spindles are present. Around the Virgin's torso, the throne exhibits a triangular v-shape. The shadows and diagonal lines create a shallow space with three-dimensional characteristics. The technique was implemented by Italian masters Paolo Veneziano, Duccio, Cimabue and Giotto bringing Greek-Italian Byzantine art into the Italian Renaissance. The lower portion of the painting reflects the advancement and refinement of the Byzantine style. The steps continue to create the illusion of additional space. The throne is also decorated with inlaid red and green marbles. The pillow in Ritzos's work is comparable to pillows used in similar works created by Paolo Veneziano.There are inscriptions all over the icon. The halo above the Virgin is decorated with an Ancient Greco-Roman styled Olive wreath motif. Ancient Greek art typically featured halos around deities and dignified individuals. Both Greek and Italian painters combined pagan and Byzantine art. The Halo was inscribed with the Greek words: Μνήστητη Κύριε Νεοφύτου Αρχιεπισκόπου Καρπάθου (Lord Remember, The Archbishop Neophytos of Karpathos). Neophytos was from Patmos. He made donations to different Monasteries. The two figures at the top left and right of the Virgin Mary are James the Apostle and Saint Christodoulos of Patmos. James the Apostle is on our left and
Saint Christodoulos of Patmos is on the right. The painters signature is at the bottom of the work on the stairs of the throne ΧΕΙΡ ΑΝΔΡΕΟΥ ΡΙΤΖΟΥ.
|
[
"Cretan Renaissance",
"Ritzo",
"Our Lady of the Sign",
"Cimabue",
"Duccio",
"Veneziano",
"Olive wreath",
"Sign of the cross",
"Giotto",
"Ritzos",
"James the Apostle",
"Halo",
"Paolo Veneziano",
"Patmos"
] |
|
1785_T
|
Statue of Luis Barragán
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Focus on Statue of Luis Barragán and discuss the abstract.
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A statue of Luis Barragán is installed along the Rotonda de los Jaliscienses Ilustres, in Centro, Guadalajara, in the Mexican state of Jalisco.
|
[
"Centro",
"Rotonda de los Jaliscienses Ilustres",
"Jalisco",
"Guadalajara",
"Luis Barragán",
"Centro, Guadalajara"
] |
|
1785_NT
|
Statue of Luis Barragán
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Focus on this artwork and discuss the abstract.
|
A statue of Luis Barragán is installed along the Rotonda de los Jaliscienses Ilustres, in Centro, Guadalajara, in the Mexican state of Jalisco.
|
[
"Centro",
"Rotonda de los Jaliscienses Ilustres",
"Jalisco",
"Guadalajara",
"Luis Barragán",
"Centro, Guadalajara"
] |
|
1786_T
|
St. Jerome in His Study (Dürer, 1521)
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How does St. Jerome in His Study (Dürer, 1521) elucidate its abstract?
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St. Jerome in His Study is an oil on panel painting by German Renaissance artist Albrecht Dürer, completed March 1521. It is now in the Museu Nacional de Arte Antiga of Lisbon, Portugal.
|
[
"St. Jerome",
"Museu Nacional de Arte Antiga",
"Lisbon",
"Jerome",
"oil on panel",
"Albrecht Dürer"
] |
|
1786_NT
|
St. Jerome in His Study (Dürer, 1521)
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How does this artwork elucidate its abstract?
|
St. Jerome in His Study is an oil on panel painting by German Renaissance artist Albrecht Dürer, completed March 1521. It is now in the Museu Nacional de Arte Antiga of Lisbon, Portugal.
|
[
"St. Jerome",
"Museu Nacional de Arte Antiga",
"Lisbon",
"Jerome",
"oil on panel",
"Albrecht Dürer"
] |
|
1787_T
|
St. Jerome in His Study (Dürer, 1521)
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Focus on St. Jerome in His Study (Dürer, 1521) and analyze the History.
|
The work was executed by Dürer during his stay in the Netherlands 1520–1521, using an aged local man as model. A preparatory drawing exists in the Albertina of Vienna with an annotation of the man's age (93).
The artist donated the painting to the head of the Portuguese trade mission in the Netherlands, Rodrigo Fernandes de Almada. It remained in the latter's family collection until 1880, when it was donated to the current museum.
|
[
"Albertina",
"Vienna"
] |
|
1787_NT
|
St. Jerome in His Study (Dürer, 1521)
|
Focus on this artwork and analyze the History.
|
The work was executed by Dürer during his stay in the Netherlands 1520–1521, using an aged local man as model. A preparatory drawing exists in the Albertina of Vienna with an annotation of the man's age (93).
The artist donated the painting to the head of the Portuguese trade mission in the Netherlands, Rodrigo Fernandes de Almada. It remained in the latter's family collection until 1880, when it was donated to the current museum.
|
[
"Albertina",
"Vienna"
] |
|
1788_T
|
St. Jerome in His Study (Dürer, 1521)
|
In St. Jerome in His Study (Dürer, 1521), how is the Description discussed?
|
Among Dürer's depiction of St. Jerome, this is the one more resembling a portrait, with little space left for the study and its details (such as in his 1514 etching, where the saint is a small figure in the background).
The subject is portrayed with great care for details, including the wrinkles to the white-yellowish beard. Also differently from the etching, the memento mori suggestion of the finger above a skull has a greater visual relevance.
Details in the foreground include the inkpot at right and the bookrest at left, as well as a crucifix on the top left.
|
[
"St. Jerome",
"Jerome",
"memento mori",
"1514 etching"
] |
|
1788_NT
|
St. Jerome in His Study (Dürer, 1521)
|
In this artwork, how is the Description discussed?
|
Among Dürer's depiction of St. Jerome, this is the one more resembling a portrait, with little space left for the study and its details (such as in his 1514 etching, where the saint is a small figure in the background).
The subject is portrayed with great care for details, including the wrinkles to the white-yellowish beard. Also differently from the etching, the memento mori suggestion of the finger above a skull has a greater visual relevance.
Details in the foreground include the inkpot at right and the bookrest at left, as well as a crucifix on the top left.
|
[
"St. Jerome",
"Jerome",
"memento mori",
"1514 etching"
] |
|
1789_T
|
Family Group in a Landscape
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Focus on Family Group in a Landscape and explore the abstract.
|
Family Group in a Landscape is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted c. 1645-1648, and now in the Museo Thyssen-Bornemisza, in Madrid.
|
[
"Dutch Golden Age painter",
"Frans Hals",
"Museo Thyssen-Bornemisza",
"Madrid"
] |
|
1789_NT
|
Family Group in a Landscape
|
Focus on this artwork and explore the abstract.
|
Family Group in a Landscape is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted c. 1645-1648, and now in the Museo Thyssen-Bornemisza, in Madrid.
|
[
"Dutch Golden Age painter",
"Frans Hals",
"Museo Thyssen-Bornemisza",
"Madrid"
] |
|
1790_T
|
Family Group in a Landscape
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Focus on Family Group in a Landscape and explain the Painting.
|
The painting is one of a handful of paintings that Hals made of families in the "picnic style" of open air settings, but this is the only one featuring a black boy–something of a rarity in Haarlem during Hals' lifetime. It is also one of the largest paintings by Frans Hals, and the largest painted by him that is not devoted to the civic guards of Haarlem that Hals painted many different times throughout his career.
|
[
"Frans Hals"
] |
|
1790_NT
|
Family Group in a Landscape
|
Focus on this artwork and explain the Painting.
|
The painting is one of a handful of paintings that Hals made of families in the "picnic style" of open air settings, but this is the only one featuring a black boy–something of a rarity in Haarlem during Hals' lifetime. It is also one of the largest paintings by Frans Hals, and the largest painted by him that is not devoted to the civic guards of Haarlem that Hals painted many different times throughout his career.
|
[
"Frans Hals"
] |
|
1791_T
|
Family Group in a Landscape
|
Explore the Name of this artwork, Family Group in a Landscape.
|
In his 1910 catalog of Frans Hals works Hofstede de Groot wrote:441. A FAMILY GROUP OF FIVE PERSONS IN THE OPEN AIR, M. 89. — To the left sits a man, holding in his right hand the right hand of his wife, who is seated beside him to the right. He looks at her and she at him. The man has a slight moustache and imperial, and wears a tall black hat, a black velvet costume with a lace collar and wristhands, and high riding- boots lined on the inside. The woman wears a greenish-grey dress with a black bodice and over-skirt trimmed with yellow bows, and a white cap, collar, and wristbands all trimmed with lace. Her left hand rests on her left knee. To the left, beside the man, stands a youth, holding a stick in his right hand and resting the left at his side. He looks with a smile at the spectator. He wears a black hat, a black velvet jacket with a collar and wristbands, short breeches, and shoes. To the right, beside the woman but farther back, stands a little boy; he wears a dark-brown costume with a white collar, and looks at the spectator. Farther right again, in the same plane as the man and woman, stands their daughter, looking towards the left foreground. Her right arm hangs down at her side; in her left hand she holds a closed fan. She wears a dark dress, a white headdress with red ornaments, a thin white collar, and wristbands. Beside her to the right crouches a poodle. In the background to the left are trees, while in the right distance is a town. It is all painted in neutral grey tones, relieved only by the red of the riding-boots. Painted about 1640. Canvas, 79 inches by 112 inches. Exhibited at the Royal Academy Winter Exhibition, London, 1906, No. 102.
In the possession of the Warde family since about 1750.
In the collection of Colonel Warde, Squerries Court, Westerham, Kent; sold to a Continental collection, October 1909 (for, it is said, £55,000).
This painting came into the hands of the art dealer Joseph Duveen in 1909. It was purchased in 1910 by outbidding J.P. Morgan for $500,000 by Otto Hermann Kahn who subsequently lent it to the Metropolitan Museum of Art. In 1935 it was in the Mogmar Art Foundation in New York, from whom the Thyssen-Bornemisza collection purchased it.Little is known of the provenance of the painting in the 18th century. It was put on show at the Royal Academy in 1906 as Portraits of The Painter and his Family. Her colored underskirt and the flat collars instead of the more common millstone style show them to be wealthy burghers who could afford the latest fashion. Like the London family portrait by Hals, the background has been proposed as being painted by Pieter de Molijn; first by Neil MacLaren (in regards to the London family portrait), which was then applied to the Madrid canvas by Seymour Slive. The painting was restored in 1966 and the documentation of the process is kept by the Getty Center.
|
[
"Hofstede de Groot",
"Seymour Slive",
"Royal Academy",
"Getty Center",
"Joseph Duveen",
"Frans Hals",
"Otto Hermann Kahn",
"Pieter de Molijn",
"M.",
"J.P. Morgan",
"Metropolitan Museum of Art",
"Madrid"
] |
|
1791_NT
|
Family Group in a Landscape
|
Explore the Name of this artwork.
|
In his 1910 catalog of Frans Hals works Hofstede de Groot wrote:441. A FAMILY GROUP OF FIVE PERSONS IN THE OPEN AIR, M. 89. — To the left sits a man, holding in his right hand the right hand of his wife, who is seated beside him to the right. He looks at her and she at him. The man has a slight moustache and imperial, and wears a tall black hat, a black velvet costume with a lace collar and wristhands, and high riding- boots lined on the inside. The woman wears a greenish-grey dress with a black bodice and over-skirt trimmed with yellow bows, and a white cap, collar, and wristbands all trimmed with lace. Her left hand rests on her left knee. To the left, beside the man, stands a youth, holding a stick in his right hand and resting the left at his side. He looks with a smile at the spectator. He wears a black hat, a black velvet jacket with a collar and wristbands, short breeches, and shoes. To the right, beside the woman but farther back, stands a little boy; he wears a dark-brown costume with a white collar, and looks at the spectator. Farther right again, in the same plane as the man and woman, stands their daughter, looking towards the left foreground. Her right arm hangs down at her side; in her left hand she holds a closed fan. She wears a dark dress, a white headdress with red ornaments, a thin white collar, and wristbands. Beside her to the right crouches a poodle. In the background to the left are trees, while in the right distance is a town. It is all painted in neutral grey tones, relieved only by the red of the riding-boots. Painted about 1640. Canvas, 79 inches by 112 inches. Exhibited at the Royal Academy Winter Exhibition, London, 1906, No. 102.
In the possession of the Warde family since about 1750.
In the collection of Colonel Warde, Squerries Court, Westerham, Kent; sold to a Continental collection, October 1909 (for, it is said, £55,000).
This painting came into the hands of the art dealer Joseph Duveen in 1909. It was purchased in 1910 by outbidding J.P. Morgan for $500,000 by Otto Hermann Kahn who subsequently lent it to the Metropolitan Museum of Art. In 1935 it was in the Mogmar Art Foundation in New York, from whom the Thyssen-Bornemisza collection purchased it.Little is known of the provenance of the painting in the 18th century. It was put on show at the Royal Academy in 1906 as Portraits of The Painter and his Family. Her colored underskirt and the flat collars instead of the more common millstone style show them to be wealthy burghers who could afford the latest fashion. Like the London family portrait by Hals, the background has been proposed as being painted by Pieter de Molijn; first by Neil MacLaren (in regards to the London family portrait), which was then applied to the Madrid canvas by Seymour Slive. The painting was restored in 1966 and the documentation of the process is kept by the Getty Center.
|
[
"Hofstede de Groot",
"Seymour Slive",
"Royal Academy",
"Getty Center",
"Joseph Duveen",
"Frans Hals",
"Otto Hermann Kahn",
"Pieter de Molijn",
"M.",
"J.P. Morgan",
"Metropolitan Museum of Art",
"Madrid"
] |
|
1792_T
|
Family Group in a Landscape
|
Focus on Family Group in a Landscape and discuss the Modern inspiration.
|
In April 2017 the painting became the subject of a TED talk by Titus Kaphar, who chose to copy the painting in order to act out a bold statement about how Black people are portrayed in cultural heritage objects, including centuries-old European artworks such as this one. He paints out all figures but the Black boy in the course of his talk, his main point being that more is known about the lace collars in such paintings than about the black figures that appear in the backgrounds of them from time to time. In this specific case, the portrayed owners are equally unknown, but Kaphar has a valid point. The number of Black people in 17th-century Haarlem is virtually unknown but is assumed to be close to zero, considering the difficulties artists had portraying them, according to a popular lecture in 1770 about Facial Angles by Petrus Camper. In that lecture he claimed that another Haarlemmer was the most successful of all at this skill, naming not Hals but Cornelis Visscher.
|
[
"Facial Angles",
"Petrus Camper",
"TED talk",
"Cornelis Visscher",
"Titus Kaphar",
"TED"
] |
|
1792_NT
|
Family Group in a Landscape
|
Focus on this artwork and discuss the Modern inspiration.
|
In April 2017 the painting became the subject of a TED talk by Titus Kaphar, who chose to copy the painting in order to act out a bold statement about how Black people are portrayed in cultural heritage objects, including centuries-old European artworks such as this one. He paints out all figures but the Black boy in the course of his talk, his main point being that more is known about the lace collars in such paintings than about the black figures that appear in the backgrounds of them from time to time. In this specific case, the portrayed owners are equally unknown, but Kaphar has a valid point. The number of Black people in 17th-century Haarlem is virtually unknown but is assumed to be close to zero, considering the difficulties artists had portraying them, according to a popular lecture in 1770 about Facial Angles by Petrus Camper. In that lecture he claimed that another Haarlemmer was the most successful of all at this skill, naming not Hals but Cornelis Visscher.
|
[
"Facial Angles",
"Petrus Camper",
"TED talk",
"Cornelis Visscher",
"Titus Kaphar",
"TED"
] |
|
1793_T
|
Mary Magdalen in Ecstasy
|
How does Mary Magdalen in Ecstasy elucidate its abstract?
|
Mary Magdalen in Ecstasy (1606) is a painting by the Italian baroque artist Michelangelo Merisi da Caravaggio (1571-1610). What is believed to be the authentic version of the painting was discovered in a private collection in 2014; the painting was previously only known to art historians through a number of copies made by followers of the artist. If the painting is, in fact, authentic, it would be valued at over £20 million ($32.3 million).It is widely accepted that Caravaggio painted the work in 1606 while in hiding at the estates of the Colonna family after fleeing Rome following the killing of Ranuccio Tommason.
|
[
"Michelangelo Merisi da Caravaggio",
"Ranuccio Tommason",
"Rome",
"Caravaggio",
"baroque",
"Colonna family"
] |
|
1793_NT
|
Mary Magdalen in Ecstasy
|
How does this artwork elucidate its abstract?
|
Mary Magdalen in Ecstasy (1606) is a painting by the Italian baroque artist Michelangelo Merisi da Caravaggio (1571-1610). What is believed to be the authentic version of the painting was discovered in a private collection in 2014; the painting was previously only known to art historians through a number of copies made by followers of the artist. If the painting is, in fact, authentic, it would be valued at over £20 million ($32.3 million).It is widely accepted that Caravaggio painted the work in 1606 while in hiding at the estates of the Colonna family after fleeing Rome following the killing of Ranuccio Tommason.
|
[
"Michelangelo Merisi da Caravaggio",
"Ranuccio Tommason",
"Rome",
"Caravaggio",
"baroque",
"Colonna family"
] |
|
1794_T
|
Mary Magdalen in Ecstasy
|
Focus on Mary Magdalen in Ecstasy and analyze the Subject.
|
According to a legend popular in Caravaggio's time, after Christ's death his faithful female disciple Mary of Magdala moved to southern France, where she lived as a hermit in a cave at Sainte-Baume near Aix-en-Provence. There she was transported seven times a day by angels into the presence of God, "where she heard, with her bodily ears, the delightful harmonies of the celestial choirs." Earlier artists had depicted Mary ascending into the divine presence through multicoloured clouds accompanied by angels; Caravaggio made the supernatural an entirely interior experience, with the Magdalen alone against a featureless dark background, caught in a ray of intense light, her head lolling back and eyes stained with tears. This revolutionary naturalistic interpretation of the legend also allowed him to capture the ambiguous parallel between mystical and erotic love, in Mary's semi-reclining posture and bared shoulder. The painting was immensely influential for future treatment of the theme by artists such as Rubens and Simon Vouet (who adopted Carvaggio's earth-bound Magdalen but reintroduced the angels), and of Bernini's celebrated Ecstasy of St Theresa.
|
[
"southern France",
"Ecstasy of St Theresa",
"Caravaggio",
"Rubens",
"Bernini",
"Aix-en-Provence",
"Simon Vouet",
"Mary of Magdala",
"Christ's",
"Sainte-Baume"
] |
|
1794_NT
|
Mary Magdalen in Ecstasy
|
Focus on this artwork and analyze the Subject.
|
According to a legend popular in Caravaggio's time, after Christ's death his faithful female disciple Mary of Magdala moved to southern France, where she lived as a hermit in a cave at Sainte-Baume near Aix-en-Provence. There she was transported seven times a day by angels into the presence of God, "where she heard, with her bodily ears, the delightful harmonies of the celestial choirs." Earlier artists had depicted Mary ascending into the divine presence through multicoloured clouds accompanied by angels; Caravaggio made the supernatural an entirely interior experience, with the Magdalen alone against a featureless dark background, caught in a ray of intense light, her head lolling back and eyes stained with tears. This revolutionary naturalistic interpretation of the legend also allowed him to capture the ambiguous parallel between mystical and erotic love, in Mary's semi-reclining posture and bared shoulder. The painting was immensely influential for future treatment of the theme by artists such as Rubens and Simon Vouet (who adopted Carvaggio's earth-bound Magdalen but reintroduced the angels), and of Bernini's celebrated Ecstasy of St Theresa.
|
[
"southern France",
"Ecstasy of St Theresa",
"Caravaggio",
"Rubens",
"Bernini",
"Aix-en-Provence",
"Simon Vouet",
"Mary of Magdala",
"Christ's",
"Sainte-Baume"
] |
|
1795_T
|
Untitled (Skull)
|
In Untitled (Skull), how is the abstract discussed?
|
Untitled is a 1981 painting created by American artist Jean-Michel Basquiat in 1981. An X-ray-like vision of the head's exposed upper and lower jaw accounts for its misinterpretation as a skull. The painting was acquired by Eli and Edythe Broad in 1982, and is now housed at The Broad museum in Los Angeles.
|
[
"Jean-Michel Basquiat",
"Eli",
"Los Angeles",
"Edythe Broad",
"The Broad"
] |
|
1795_NT
|
Untitled (Skull)
|
In this artwork, how is the abstract discussed?
|
Untitled is a 1981 painting created by American artist Jean-Michel Basquiat in 1981. An X-ray-like vision of the head's exposed upper and lower jaw accounts for its misinterpretation as a skull. The painting was acquired by Eli and Edythe Broad in 1982, and is now housed at The Broad museum in Los Angeles.
|
[
"Jean-Michel Basquiat",
"Eli",
"Los Angeles",
"Edythe Broad",
"The Broad"
] |
|
1796_T
|
Untitled (Skull)
|
Focus on Untitled (Skull) and explore the History.
|
Basquiat began working on Untitled in early 1979
. Unlike most of his pieces which were completed exuberantly within a few days, Untitled remained unfinished for several months as Basquiat stalled its completion. Art historian Fred Hoffman's description alludes to a vision Basquiat may have conjured in the studio: "One can only speculate about the reasons for this hesitation, but several individuals close to the artist—including myself and Annina Nosei, the artist’s dealer at the time—suspect that this young, unseasoned artist hesitated to complete the work because he was caught off guard, possibly even frightened, by the power and energy emanating from this unexpected image."Untitled depicts both inside and outside dimensions of a head, existing between life and death. The eyes are listless as if the head was lobotomized. The subdued facial expression is a contrast to the vibrant colors that suggest an abundance of internal activity. Basquiat's use of heads and skulls are deeply rooted in his identity as a Black American and are evocative of African masks. "He developed a unique style, which combined expressive and at times violent brushstrokes with words, symbols, and a variety of materials, to confront social issues."The painting was presented as Untitled at Basquiat's debut American solo exhibition at the Annina Nosei Gallery in 1982. When it was purchased some months later, the word "Skull" was added to the title and has accompanied the painting ever since, through numerous exhibitions. Hoffman suggests the change in title was "the result of confusing the work with the more traditional iconography of the memento mori, in which a skull implies death."
|
[
"African masks",
"lobotomized",
"memento mori",
"Annina Nosei",
"Black American"
] |
|
1796_NT
|
Untitled (Skull)
|
Focus on this artwork and explore the History.
|
Basquiat began working on Untitled in early 1979
. Unlike most of his pieces which were completed exuberantly within a few days, Untitled remained unfinished for several months as Basquiat stalled its completion. Art historian Fred Hoffman's description alludes to a vision Basquiat may have conjured in the studio: "One can only speculate about the reasons for this hesitation, but several individuals close to the artist—including myself and Annina Nosei, the artist’s dealer at the time—suspect that this young, unseasoned artist hesitated to complete the work because he was caught off guard, possibly even frightened, by the power and energy emanating from this unexpected image."Untitled depicts both inside and outside dimensions of a head, existing between life and death. The eyes are listless as if the head was lobotomized. The subdued facial expression is a contrast to the vibrant colors that suggest an abundance of internal activity. Basquiat's use of heads and skulls are deeply rooted in his identity as a Black American and are evocative of African masks. "He developed a unique style, which combined expressive and at times violent brushstrokes with words, symbols, and a variety of materials, to confront social issues."The painting was presented as Untitled at Basquiat's debut American solo exhibition at the Annina Nosei Gallery in 1982. When it was purchased some months later, the word "Skull" was added to the title and has accompanied the painting ever since, through numerous exhibitions. Hoffman suggests the change in title was "the result of confusing the work with the more traditional iconography of the memento mori, in which a skull implies death."
|
[
"African masks",
"lobotomized",
"memento mori",
"Annina Nosei",
"Black American"
] |
|
1797_T
|
Portrait of a German Officer
|
Focus on Portrait of a German Officer and explain the abstract.
|
Portrait of a German Officer is an early 20th century portrait by American modernist painter Marsden Hartley. Done in oil on canvas, the portrait depicts the abstract figure of an Imperial German officer as being composed entirely of military decorations and badges of rank. The painting is currently on display at the Metropolitan Museum of Art.
|
[
"Marsden Hartley",
"Portrait",
"Imperial German officer",
"military decorations",
"portrait",
"Metropolitan Museum of Art"
] |
|
1797_NT
|
Portrait of a German Officer
|
Focus on this artwork and explain the abstract.
|
Portrait of a German Officer is an early 20th century portrait by American modernist painter Marsden Hartley. Done in oil on canvas, the portrait depicts the abstract figure of an Imperial German officer as being composed entirely of military decorations and badges of rank. The painting is currently on display at the Metropolitan Museum of Art.
|
[
"Marsden Hartley",
"Portrait",
"Imperial German officer",
"military decorations",
"portrait",
"Metropolitan Museum of Art"
] |
|
1798_T
|
Portrait of a German Officer
|
In the context of Portrait of a German Officer, discuss the Background of the Description.
|
Portrait of a German Officer was painted by American painter Marsden Hartley in late 1914 while he was living in the German imperial capital of Berlin. While in Germany, Hartley was greatly affected by the pageantry and discipline of the German army, with this interest eventually manifesting itself in some of his works. Portrait of a German Officer was intended to honor Karl von Freyburg, a German lieutenant who had died during the first few months of the First World War. It has been posited that Hartley's correspondence with Freyburg indicates that the former was romantically interested in the German officer.
|
[
"Berlin",
"Marsden Hartley",
"Portrait",
"lieutenant",
"First World War"
] |
|
1798_NT
|
Portrait of a German Officer
|
In the context of this artwork, discuss the Background of the Description.
|
Portrait of a German Officer was painted by American painter Marsden Hartley in late 1914 while he was living in the German imperial capital of Berlin. While in Germany, Hartley was greatly affected by the pageantry and discipline of the German army, with this interest eventually manifesting itself in some of his works. Portrait of a German Officer was intended to honor Karl von Freyburg, a German lieutenant who had died during the first few months of the First World War. It has been posited that Hartley's correspondence with Freyburg indicates that the former was romantically interested in the German officer.
|
[
"Berlin",
"Marsden Hartley",
"Portrait",
"lieutenant",
"First World War"
] |
|
1799_T
|
Portrait of a German Officer
|
In Portrait of a German Officer, how is the Painting of the Description elucidated?
|
Hartley's painting is highly sequential, symbolic, and heavily influenced by cubism and the school of German expressionism. The black, white, and red flag of the German Empire is placed in a prominent position in the bottom central portion of the image, while the Iron Cross (a decoration which Freyburg was awarded) is prominently featured in the top-center. The blue and white checkered flag of Freyburg's home state of Bavaria is also shown, as is an officer's white-striped epaulet. Hartly also included more personal details in the portrait; the number 24 represents Freyburg's age when he died, Freyburg's initials (K.v.F) are seen in gold-on-red, Freyburg's regimental number (4) can be seen in center of the portrait, and a spur (representing Freyburg's service as a cavalry officer) can be seen in the bottom right of the image. Hartfield also represented Germany's enemies during the war through his inclusion of the English Cross of St. George and the Belgian Tricolor, both seen at the bottom of the portrait.
|
[
"Bavaria",
"epaulet",
"cubism",
"Iron Cross",
"German expressionism",
"English Cross of St. George",
"Belgian Tricolor",
"portrait",
"spur"
] |
|
1799_NT
|
Portrait of a German Officer
|
In this artwork, how is the Painting of the Description elucidated?
|
Hartley's painting is highly sequential, symbolic, and heavily influenced by cubism and the school of German expressionism. The black, white, and red flag of the German Empire is placed in a prominent position in the bottom central portion of the image, while the Iron Cross (a decoration which Freyburg was awarded) is prominently featured in the top-center. The blue and white checkered flag of Freyburg's home state of Bavaria is also shown, as is an officer's white-striped epaulet. Hartly also included more personal details in the portrait; the number 24 represents Freyburg's age when he died, Freyburg's initials (K.v.F) are seen in gold-on-red, Freyburg's regimental number (4) can be seen in center of the portrait, and a spur (representing Freyburg's service as a cavalry officer) can be seen in the bottom right of the image. Hartfield also represented Germany's enemies during the war through his inclusion of the English Cross of St. George and the Belgian Tricolor, both seen at the bottom of the portrait.
|
[
"Bavaria",
"epaulet",
"cubism",
"Iron Cross",
"German expressionism",
"English Cross of St. George",
"Belgian Tricolor",
"portrait",
"spur"
] |
|
1800_T
|
Johnson Memorial
|
Focus on Johnson Memorial and analyze the abstract.
|
Johnson Memorial is a public artwork from the foundry of Jno. Williams, Inc., located at Rock Creek Cemetery in Washington, D.C., United States. Johnson Memorial was originally surveyed as part of the Smithsonian's Inventory of American Painting and Sculpture in 1976–1969. The monument serves as the grave site for the Johnson family, including well-known psychiatrist Loren Bascom Taber Johnson.
|
[
"Washington, D.C.",
"Jno. Williams, Inc.",
"psychiatrist",
"Smithsonian's",
"Rock Creek Cemetery",
"public artwork",
"United States"
] |
|
1800_NT
|
Johnson Memorial
|
Focus on this artwork and analyze the abstract.
|
Johnson Memorial is a public artwork from the foundry of Jno. Williams, Inc., located at Rock Creek Cemetery in Washington, D.C., United States. Johnson Memorial was originally surveyed as part of the Smithsonian's Inventory of American Painting and Sculpture in 1976–1969. The monument serves as the grave site for the Johnson family, including well-known psychiatrist Loren Bascom Taber Johnson.
|
[
"Washington, D.C.",
"Jno. Williams, Inc.",
"psychiatrist",
"Smithsonian's",
"Rock Creek Cemetery",
"public artwork",
"United States"
] |
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