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NAIST NLP 19

18451_T

The North Wind

Focus on The North Wind and analyze the abstract.

The North Wind is a painting by Australian painter Frederick McCubbin, thought to have been painted in around 1888. The painting depicts a young family—the woman and child in a dray, the man and a dog on foot—making "its way down a bush track, buffeted by the treacherous ‘north wind’".The painting was acquired by the National Gallery of Victoria (NGV) in 1941 through the Felton Bequest. The NGV undertook a major restoration of the painting in 2014 funded with assistance from the Bank of America Merrill Lynch Art Conservation Project.

18451_NT

The North Wind

Focus on this artwork and analyze the abstract.

The North Wind is a painting by Australian painter Frederick McCubbin, thought to have been painted in around 1888. The painting depicts a young family—the woman and child in a dray, the man and a dog on foot—making "its way down a bush track, buffeted by the treacherous ‘north wind’".The painting was acquired by the National Gallery of Victoria (NGV) in 1941 through the Felton Bequest. The NGV undertook a major restoration of the painting in 2014 funded with assistance from the Bank of America Merrill Lynch Art Conservation Project.

18452_T

Landscape with the Fall of Icarus

In Landscape with the Fall of Icarus, how is the abstract discussed?

Landscape with the Fall of Icarus is a painting in oil on canvas measuring 73.5 by 112 centimetres (28.9 in × 44.1 in) now in the Royal Museums of Fine Arts of Belgium in Brussels. It was long thought to be by the leading painter of Dutch and Flemish Renaissance painting, Pieter Bruegel the Elder. However, following technical examinations in 1996 of the painting hanging in the Brussels museum, that attribution is regarded as very doubtful, and the painting, perhaps painted in the 1560s, is now usually seen as a good early copy by an unknown artist of Bruegel's lost original, perhaps from about 1558. According to the museum: "It is doubtful the execution is by Bruegel the Elder, but the composition can be said with certainty to be his", although recent technical research has re-opened the question. Largely derived from Ovid, the painting is described in W. H. Auden's famous poem "Musée des Beaux-Arts", named after the museum in Brussels which holds the painting, and became the subject of a poem of the same name by William Carlos Williams, as well as "Lines on Bruegel's 'Icarus'" by Michael Hamburger.Though the world landscape, a type of work with the title subject represented by small figures in the distance, was an established type in Early Netherlandish painting, pioneered by Joachim Patinir, to have a much larger unrelated "genre" figure in the foreground is original and represents something of a blow against the emerging hierarchy of genres. Other landscapes by Bruegel, for example The Hunters in the Snow (1565) and others in that series of paintings showing the seasons, show genre figures in a raised foreground, but not so large relative to the size of the image, nor with a subject from a "higher" class of painting in the background. However, paintings from the same period by the Antwerp artist Pieter Aertsen had large kitchen or market genre scenes, with large figures in the foreground, and in the distant background a glimpse of a scene from the Life of Christ. Giving more prominence to "low" subject-matter than "high" in the same work is a feature of some Northern Mannerist art, often called "Mannerist inversion". The traditional moral of the Icarus story, warning against excessive ambition, is reinforced by (literally) fore-grounding humbler figures who appear content to fill useful agricultural roles in life.

18452_NT

Landscape with the Fall of Icarus

In this artwork, how is the abstract discussed?

Landscape with the Fall of Icarus is a painting in oil on canvas measuring 73.5 by 112 centimetres (28.9 in × 44.1 in) now in the Royal Museums of Fine Arts of Belgium in Brussels. It was long thought to be by the leading painter of Dutch and Flemish Renaissance painting, Pieter Bruegel the Elder. However, following technical examinations in 1996 of the painting hanging in the Brussels museum, that attribution is regarded as very doubtful, and the painting, perhaps painted in the 1560s, is now usually seen as a good early copy by an unknown artist of Bruegel's lost original, perhaps from about 1558. According to the museum: "It is doubtful the execution is by Bruegel the Elder, but the composition can be said with certainty to be his", although recent technical research has re-opened the question. Largely derived from Ovid, the painting is described in W. H. Auden's famous poem "Musée des Beaux-Arts", named after the museum in Brussels which holds the painting, and became the subject of a poem of the same name by William Carlos Williams, as well as "Lines on Bruegel's 'Icarus'" by Michael Hamburger.Though the world landscape, a type of work with the title subject represented by small figures in the distance, was an established type in Early Netherlandish painting, pioneered by Joachim Patinir, to have a much larger unrelated "genre" figure in the foreground is original and represents something of a blow against the emerging hierarchy of genres. Other landscapes by Bruegel, for example The Hunters in the Snow (1565) and others in that series of paintings showing the seasons, show genre figures in a raised foreground, but not so large relative to the size of the image, nor with a subject from a "higher" class of painting in the background. However, paintings from the same period by the Antwerp artist Pieter Aertsen had large kitchen or market genre scenes, with large figures in the foreground, and in the distant background a glimpse of a scene from the Life of Christ. Giving more prominence to "low" subject-matter than "high" in the same work is a feature of some Northern Mannerist art, often called "Mannerist inversion". The traditional moral of the Icarus story, warning against excessive ambition, is reinforced by (literally) fore-grounding humbler figures who appear content to fill useful agricultural roles in life.

18453_T

Landscape with the Fall of Icarus

Focus on Landscape with the Fall of Icarus and explore the Description.

In Greek mythology, Icarus succeeded in flying, with wings made by his father Daedalus, using feathers secured with beeswax. Ignoring his father's warnings, Icarus chose to fly too close to the sun, melting the wax, and fell into the sea and drowned. His legs can be seen in the water just below the ship. The sun, already half-set on the horizon, is a long way away; the flight did not reach anywhere near it. Daedalus does not appear in this version of the painting, though he does, still flying, in the van Buuren one (see left). The ploughman, shepherd and angler are mentioned in Ovid's account of the legend; they are: "astonished and think to see gods approaching them through the aether", which is not entirely the impression given in the painting. The shepherd gazing into the air, away from the ship, may be explained by another version of the composition (see below); in the original work there was probably also a figure of Daedalus in the sky to the left, at which he stares. There is also a Flemish proverb (of the sort imaged in other works by Bruegel): "And the farmer continued to plough..." (En de boer ... hij ploegde voort") pointing out the ignorance of people to fellow men's suffering. The painting may, as Auden's poem suggests, depict humankind's indifference to suffering by highlighting the ordinary events which continue to occur, despite the unobserved death of Icarus.

18453_NT

Landscape with the Fall of Icarus

Focus on this artwork and explore the Description.

In Greek mythology, Icarus succeeded in flying, with wings made by his father Daedalus, using feathers secured with beeswax. Ignoring his father's warnings, Icarus chose to fly too close to the sun, melting the wax, and fell into the sea and drowned. His legs can be seen in the water just below the ship. The sun, already half-set on the horizon, is a long way away; the flight did not reach anywhere near it. Daedalus does not appear in this version of the painting, though he does, still flying, in the van Buuren one (see left). The ploughman, shepherd and angler are mentioned in Ovid's account of the legend; they are: "astonished and think to see gods approaching them through the aether", which is not entirely the impression given in the painting. The shepherd gazing into the air, away from the ship, may be explained by another version of the composition (see below); in the original work there was probably also a figure of Daedalus in the sky to the left, at which he stares. There is also a Flemish proverb (of the sort imaged in other works by Bruegel): "And the farmer continued to plough..." (En de boer ... hij ploegde voort") pointing out the ignorance of people to fellow men's suffering. The painting may, as Auden's poem suggests, depict humankind's indifference to suffering by highlighting the ordinary events which continue to occur, despite the unobserved death of Icarus.

18454_T

Landscape with the Fall of Icarus

Focus on Landscape with the Fall of Icarus and explain the Mentions in other media.

The painting is shown in Nicolas Roeg's film The Man Who Fell to Earth (1976), where a character opens a book of paintings to an image of it. On the facing page a description points out that the scene remains calm, the event of the fall hardly noticed. The painting also figures into the Walter Tevis novel on which the film is based. The characters of Newton and Bryce discuss the painting near the end of chapter four, part two. Tevis also mentions the painting in his 1980 novel Mockingbird. In chapter five of the first section narrated by the character Mary Lou, the robot Spofforth brings the painting to her. Eric Steele, whose film The Bridge (2006) documents the suicides of two-dozen people who jumped off the world's most popular suicide site – the Golden Gate Bridge – throughout 2004, has compared images captured in his documentary to those of Bruegel's Landscape With the Fall of Icarus, because the fatal leaps go almost unnoticed by passersby.Composer Brian Ferneyhough's 1988 chamber work La Chute d'Icare was inspired by the painting:What this piece attempts to suggest is ... less a reflection on the heroic-tragic dimension of the underlying myth than a transcription of the strange sensation of "already having been" which is brilliantly evoked by Breughel in the view of a world serenely pursuing its own concerns, completely oblivious to the almost invisible tiny pair of legs waving pathetically out of the water, the only record of the apocalyptic event being a pair of feathers floating disconsolately down in the wake of their erstwhile owner. The painting features prominently in Frank Ceruzzi's dystopian play Round Went the Wheel (2019), where children take control of the world and use the painting and the Icarus myth as a way to teach the adult population about hubris and the dangers of technology. The painting was included in the 1980 television series 100 Great Paintings. The painting is mentioned by W. H. Auden in his 1938 poem, "Musée des Beaux Arts", in which Icarus's fall is perceived by the ploughman as "not an important failure".The painting is also the subject of the Titus Andronicus song "Upon Viewing Bruegel's Landscape with the Fall of Icarus":In the painting from the original song, in the corner, you see this tiny guy falling into the ocean. It's been interpreted as: It's a big world, and people go about their business, and little tragedies are happening all the time, and what are you going to do? — Patrick Stickles, Titus Andronicus The painting appears in a background of the music video for the song Blood Sweat & Tears by South Korean group BTS. The video opens in a museum with another Bruegel painting, "The Fall of the Rebel Angels" featured prominently.

18454_NT

Landscape with the Fall of Icarus

Focus on this artwork and explain the Mentions in other media.

The painting is shown in Nicolas Roeg's film The Man Who Fell to Earth (1976), where a character opens a book of paintings to an image of it. On the facing page a description points out that the scene remains calm, the event of the fall hardly noticed. The painting also figures into the Walter Tevis novel on which the film is based. The characters of Newton and Bryce discuss the painting near the end of chapter four, part two. Tevis also mentions the painting in his 1980 novel Mockingbird. In chapter five of the first section narrated by the character Mary Lou, the robot Spofforth brings the painting to her. Eric Steele, whose film The Bridge (2006) documents the suicides of two-dozen people who jumped off the world's most popular suicide site – the Golden Gate Bridge – throughout 2004, has compared images captured in his documentary to those of Bruegel's Landscape With the Fall of Icarus, because the fatal leaps go almost unnoticed by passersby.Composer Brian Ferneyhough's 1988 chamber work La Chute d'Icare was inspired by the painting:What this piece attempts to suggest is ... less a reflection on the heroic-tragic dimension of the underlying myth than a transcription of the strange sensation of "already having been" which is brilliantly evoked by Breughel in the view of a world serenely pursuing its own concerns, completely oblivious to the almost invisible tiny pair of legs waving pathetically out of the water, the only record of the apocalyptic event being a pair of feathers floating disconsolately down in the wake of their erstwhile owner. The painting features prominently in Frank Ceruzzi's dystopian play Round Went the Wheel (2019), where children take control of the world and use the painting and the Icarus myth as a way to teach the adult population about hubris and the dangers of technology. The painting was included in the 1980 television series 100 Great Paintings. The painting is mentioned by W. H. Auden in his 1938 poem, "Musée des Beaux Arts", in which Icarus's fall is perceived by the ploughman as "not an important failure".The painting is also the subject of the Titus Andronicus song "Upon Viewing Bruegel's Landscape with the Fall of Icarus":In the painting from the original song, in the corner, you see this tiny guy falling into the ocean. It's been interpreted as: It's a big world, and people go about their business, and little tragedies are happening all the time, and what are you going to do? — Patrick Stickles, Titus Andronicus The painting appears in a background of the music video for the song Blood Sweat & Tears by South Korean group BTS. The video opens in a museum with another Bruegel painting, "The Fall of the Rebel Angels" featured prominently.

18455_T

Portrait of Manuel Godoy

Explore the abstract of this artwork, Portrait of Manuel Godoy.

Portrait of Manuel Godoy is a large 1801 oil-on-canvas painting by the Spanish artist Francisco de Goya, now in the Real Academia de Bellas Artes de San Fernando. It was commissioned by the Spanish Prime Minister Manuel Godoy to commemorate his victory in the brief War of the Oranges against Portugal. The portrait is an incisive psychological characterisation. The subject's self belief is depicted via his unusual reclining posture, the surrounding horses, and the phallic baton situated between his legs. The painting metaphorically places Godoy sitting at the apex of the Spanish government. The artist captures Godoy's arrogance through his posture, and the inclusion of Portuguese flags. The choice of lighting gives intensity to the piece. In 1801 Godoy was the height of his power, having won in the War of the Oranges he was now Generalissimo of "land and sea" and "Prince of Peace"; pompous titles he willingly accepted. He and Goya were friends, Godoy owned two of the artist's portraits of Majas, which he may have commissioned. He was close to and held influence over the Charles IV of Spain's wife, Maria Luisa of Parma, and married into the royal family via the Countess of Chinchon, a cousin of the king. Goya had earlier portrayed Godoy in 1794 when he was Duke of Alcudia, with a small equestrian portrait. His career ended in disgrace and after the Spanish War of Independence, after which he was banished to live in poverty. He died in exile in Paris in 1851. Despite his fall he continued to speak favourably for the artist, and in his memoirs referred to Goya's Caprichos with extreme favour, as if he himself had seen them published.

18455_NT

Portrait of Manuel Godoy

Explore the abstract of this artwork.

Portrait of Manuel Godoy is a large 1801 oil-on-canvas painting by the Spanish artist Francisco de Goya, now in the Real Academia de Bellas Artes de San Fernando. It was commissioned by the Spanish Prime Minister Manuel Godoy to commemorate his victory in the brief War of the Oranges against Portugal. The portrait is an incisive psychological characterisation. The subject's self belief is depicted via his unusual reclining posture, the surrounding horses, and the phallic baton situated between his legs. The painting metaphorically places Godoy sitting at the apex of the Spanish government. The artist captures Godoy's arrogance through his posture, and the inclusion of Portuguese flags. The choice of lighting gives intensity to the piece. In 1801 Godoy was the height of his power, having won in the War of the Oranges he was now Generalissimo of "land and sea" and "Prince of Peace"; pompous titles he willingly accepted. He and Goya were friends, Godoy owned two of the artist's portraits of Majas, which he may have commissioned. He was close to and held influence over the Charles IV of Spain's wife, Maria Luisa of Parma, and married into the royal family via the Countess of Chinchon, a cousin of the king. Goya had earlier portrayed Godoy in 1794 when he was Duke of Alcudia, with a small equestrian portrait. His career ended in disgrace and after the Spanish War of Independence, after which he was banished to live in poverty. He died in exile in Paris in 1851. Despite his fall he continued to speak favourably for the artist, and in his memoirs referred to Goya's Caprichos with extreme favour, as if he himself had seen them published.

18456_T

Manfred on the Jungfrau (Martin)

Focus on Manfred on the Jungfrau (Martin) and discuss the abstract.

Manfred on the Jungfrau is an 1837 watercolour painting by the English artist John Martin, now in Birmingham Museum and Art Gallery. The subject of the painting comes from Lord Byron's poem Manfred, specifically Act I scene II. It was painted by a number of 19th-century artists.

18456_NT

Manfred on the Jungfrau (Martin)

Focus on this artwork and discuss the abstract.

Manfred on the Jungfrau is an 1837 watercolour painting by the English artist John Martin, now in Birmingham Museum and Art Gallery. The subject of the painting comes from Lord Byron's poem Manfred, specifically Act I scene II. It was painted by a number of 19th-century artists.

18457_T

Dippy (statue)

How does Dippy (statue) elucidate its History?

Dippy was created in 1999 by the Carnegie Museums in tribute to the 100th anniversary of an expedition—financed by Andrew Carnegie—which discovered Diplodocus fossils in the badlands of Wyoming. The study of the specimen was overseen by John Bell Hatcher. The best specimen the team uncovered on July 4, 1899, was a nearly complete fossil skeleton of Diplodocus. Team member Arthur Coggeshall joked that the fossil should be called "Star-Spangled Dinosaur", because of its July 4 finding. Carnegie's friends, however, dubbed it "Dippy", which was first displayed to great acclaim in 1907. The name has stuck ever since. King Edward VII, when he visited at Carnegie's Skibo Castle in Scotland, asked for a plaster cast to be displayed in London, and the cast was first displayed in 1905. Kaiser Wilhelm II and other European heads of state asked for copies. Even 100 years later copies of Dippy are displayed in the Natural History Museum in London, the Natural Science Museum in Madrid, the Senckenberg Museum in Frankfurt, Germany, and the Field Museum of Natural History in Chicago. Dippy the sculpture was created during a nine-month process from the original fossil, which still stands indoors in the museum's Dinosaur Hall. In addition to its service as a mascot for the museum, Dippy has been seen sporting the Terrible Towel of the Pittsburgh Steelers and the colors of University of Pittsburgh's athletic teams. Sometimes when it's cold out the staff dresses him up with a gigantic scarf.Dippy is a featured Pittsburgh landmark on Yinztagram.

18457_NT

Dippy (statue)

How does this artwork elucidate its History?

Dippy was created in 1999 by the Carnegie Museums in tribute to the 100th anniversary of an expedition—financed by Andrew Carnegie—which discovered Diplodocus fossils in the badlands of Wyoming. The study of the specimen was overseen by John Bell Hatcher. The best specimen the team uncovered on July 4, 1899, was a nearly complete fossil skeleton of Diplodocus. Team member Arthur Coggeshall joked that the fossil should be called "Star-Spangled Dinosaur", because of its July 4 finding. Carnegie's friends, however, dubbed it "Dippy", which was first displayed to great acclaim in 1907. The name has stuck ever since. King Edward VII, when he visited at Carnegie's Skibo Castle in Scotland, asked for a plaster cast to be displayed in London, and the cast was first displayed in 1905. Kaiser Wilhelm II and other European heads of state asked for copies. Even 100 years later copies of Dippy are displayed in the Natural History Museum in London, the Natural Science Museum in Madrid, the Senckenberg Museum in Frankfurt, Germany, and the Field Museum of Natural History in Chicago. Dippy the sculpture was created during a nine-month process from the original fossil, which still stands indoors in the museum's Dinosaur Hall. In addition to its service as a mascot for the museum, Dippy has been seen sporting the Terrible Towel of the Pittsburgh Steelers and the colors of University of Pittsburgh's athletic teams. Sometimes when it's cold out the staff dresses him up with a gigantic scarf.Dippy is a featured Pittsburgh landmark on Yinztagram.

18458_T

The Rooftops of Ostend

Focus on The Rooftops of Ostend and analyze the abstract.

The Rooftops of Ostend is an oil-on-canvas painting by the Flemish expressionist painter James Ensor. This painting is on the official inventory of Flemish masterpieces. The Rooftops of Ostend is in the possession of Royal Museum of Fine Arts Antwerp.

18458_NT

The Rooftops of Ostend

Focus on this artwork and analyze the abstract.

The Rooftops of Ostend is an oil-on-canvas painting by the Flemish expressionist painter James Ensor. This painting is on the official inventory of Flemish masterpieces. The Rooftops of Ostend is in the possession of Royal Museum of Fine Arts Antwerp.

18459_T

The Rooftops of Ostend

In The Rooftops of Ostend, how is the Background discussed?

Ensor painted the view of his window from his attic studio three times during his career. The artist's attic studio was located in his parental home in Ostend, Belgium. However, it is difficult to determine which parts of Ostend was depicted in this painting since the city has changed significantly from Ensor's time.Ensor never travelled afar in search of exotic or extraordinary settings. He was mostly interested in his immediate surroundings and was able to find enough inspiration for painting in Ostend, since he was intrigued by the nearby sea as well as Ostend's townscape.

18459_NT

The Rooftops of Ostend

In this artwork, how is the Background discussed?

Ensor painted the view of his window from his attic studio three times during his career. The artist's attic studio was located in his parental home in Ostend, Belgium. However, it is difficult to determine which parts of Ostend was depicted in this painting since the city has changed significantly from Ensor's time.Ensor never travelled afar in search of exotic or extraordinary settings. He was mostly interested in his immediate surroundings and was able to find enough inspiration for painting in Ostend, since he was intrigued by the nearby sea as well as Ostend's townscape.

18460_T

The Rooftops of Ostend

Focus on The Rooftops of Ostend and explore the Description.

Storm is the main theme of the painting. The stormy clouds covering the city of Ostend attract the viewer's attention, and only a small portion of the painting depicts the roofs and the houses. Ensor's delicate use of dark colours and the scarcity of light depict a threatening landscape that suggests a near destruction for the city.This portrayal of Ostend is surprising and inconsistent with Ensor's writings and notes in which he praises Ostend and his native land.

18460_NT

The Rooftops of Ostend

Focus on this artwork and explore the Description.

Storm is the main theme of the painting. The stormy clouds covering the city of Ostend attract the viewer's attention, and only a small portion of the painting depicts the roofs and the houses. Ensor's delicate use of dark colours and the scarcity of light depict a threatening landscape that suggests a near destruction for the city.This portrayal of Ostend is surprising and inconsistent with Ensor's writings and notes in which he praises Ostend and his native land.

18461_T

St. John the Evangelist on Patmos

Focus on St. John the Evangelist on Patmos and explain the abstract.

St. John on Patmos is an oil on panel painting by Hieronymus Bosch, created c. 1489. The painting is held in the Gemäldegalerie, in Berlin, Germany. The reverse is also painted, the title of that picture is Scenes from the Passion of Christ and the Pelican with Her Young.

18461_NT

St. John the Evangelist on Patmos

Focus on this artwork and explain the abstract.

St. John on Patmos is an oil on panel painting by Hieronymus Bosch, created c. 1489. The painting is held in the Gemäldegalerie, in Berlin, Germany. The reverse is also painted, the title of that picture is Scenes from the Passion of Christ and the Pelican with Her Young.

18462_T

St. John the Evangelist on Patmos

Explore the Related work of this artwork, St. John the Evangelist on Patmos.

St. John the Evangelist on Patmos forms a pair with St. John the Baptist in the Wilderness, which is in Madrid. It was noted in the 1940s that the two paintings may have been designed as wings of an altarpiece. Such an origin would explain the grisaille painting on the reverse, as it is characteristic of polyptychs to have both sides of folding panels decorated. It has since been suggested that the altarpiece in question was an artwork which is known to have been made for St. John's Cathedral, 's-Hertogenbosch. The painting is difficult to date. If the 's-Hertogenbosch hypothesis is correct, the date would be around 1489, although later dates have been proposed based on other criteria.

18462_NT

St. John the Evangelist on Patmos

Explore the Related work of this artwork.

St. John the Evangelist on Patmos forms a pair with St. John the Baptist in the Wilderness, which is in Madrid. It was noted in the 1940s that the two paintings may have been designed as wings of an altarpiece. Such an origin would explain the grisaille painting on the reverse, as it is characteristic of polyptychs to have both sides of folding panels decorated. It has since been suggested that the altarpiece in question was an artwork which is known to have been made for St. John's Cathedral, 's-Hertogenbosch. The painting is difficult to date. If the 's-Hertogenbosch hypothesis is correct, the date would be around 1489, although later dates have been proposed based on other criteria.

18463_T

A Place to Sit

Focus on A Place to Sit and discuss the abstract.

A Place to Sit is a public artwork by American artist Kathryn E. Martin, located along the Art Look of the Hank Aaron State Trail, situated on the south side of the Menomonee River, in the city of Milwaukee, Milwaukee County, Wisconsin. The work was dedicated on October 8, 2009.

18463_NT

A Place to Sit

Focus on this artwork and discuss the abstract.

A Place to Sit is a public artwork by American artist Kathryn E. Martin, located along the Art Look of the Hank Aaron State Trail, situated on the south side of the Menomonee River, in the city of Milwaukee, Milwaukee County, Wisconsin. The work was dedicated on October 8, 2009.

18464_T

A Place to Sit

How does A Place to Sit elucidate its Historical information?

A Place to Sit is a site-specific public artwork located in the Hank Aaron State Trail art loop. It consists of high-back chairs on which you can actually sit. "kathryn e. martin was selected for this installation through a Request for Proposal and juried process by the Art Committee of the Friends of the Hank Aaron State Trail.""The high-back chairs of A Place to Sit honor the spirit and people of Wisconsin's American Indian tribes."Before the onset of industry and European settlement, the Menomonee Valley was a vast marsh that extended from Lake Michigan to Miller Park. This was fertile ground for the harvesting of wild rice by American Indians. On an annual basis, various tribes came together peacefully to harvest rice, to carry them through the long winter. The arrival of Europeans disrupted Native American life. As Europeans began to settle in the area, American Indians were displaced and the marsh was filled to provide land for industry. Local historian John Gurda describes the turmoil as a "game of musical chairs. In the end, it was the Indians who had nowhere to sit."

18464_NT

A Place to Sit

How does this artwork elucidate its Historical information?

A Place to Sit is a site-specific public artwork located in the Hank Aaron State Trail art loop. It consists of high-back chairs on which you can actually sit. "kathryn e. martin was selected for this installation through a Request for Proposal and juried process by the Art Committee of the Friends of the Hank Aaron State Trail.""The high-back chairs of A Place to Sit honor the spirit and people of Wisconsin's American Indian tribes."Before the onset of industry and European settlement, the Menomonee Valley was a vast marsh that extended from Lake Michigan to Miller Park. This was fertile ground for the harvesting of wild rice by American Indians. On an annual basis, various tribes came together peacefully to harvest rice, to carry them through the long winter. The arrival of Europeans disrupted Native American life. As Europeans began to settle in the area, American Indians were displaced and the marsh was filled to provide land for industry. Local historian John Gurda describes the turmoil as a "game of musical chairs. In the end, it was the Indians who had nowhere to sit."

18465_T

A Place to Sit

In the context of A Place to Sit, analyze the Location history of the Historical information.

A Place to Sit was made specifically for the Art Loop of the Hank Aaron State Trail thanks to Melissa Cook, Wisconsin Department of Natural Resources manager of the Valley's Hank Aaron State Trail, and Annemarie Sawkins, chair of the Friends of the Hank Aaron State Trail public art committee

18465_NT

A Place to Sit

In the context of this artwork, analyze the Location history of the Historical information.

A Place to Sit was made specifically for the Art Loop of the Hank Aaron State Trail thanks to Melissa Cook, Wisconsin Department of Natural Resources manager of the Valley's Hank Aaron State Trail, and Annemarie Sawkins, chair of the Friends of the Hank Aaron State Trail public art committee

18466_T

A Place to Sit

In A Place to Sit, how is the Artist discussed?

kathryn e. martin is an instructor at the University of Wisconsin–Milwaukee (UWM) where she teaches to Foundation and upper level Sculpture students. martin, who does not capitalize her name, received a BFA in Sculpture and Art History from MIAD, and an MA and MFA from UWM in InterMedia Studies. This was her first permanent, public sculpture. She is also known under the name Katie Martin-Meurer.

18466_NT

A Place to Sit

In this artwork, how is the Artist discussed?

kathryn e. martin is an instructor at the University of Wisconsin–Milwaukee (UWM) where she teaches to Foundation and upper level Sculpture students. martin, who does not capitalize her name, received a BFA in Sculpture and Art History from MIAD, and an MA and MFA from UWM in InterMedia Studies. This was her first permanent, public sculpture. She is also known under the name Katie Martin-Meurer.

18467_T

The Knifegrinder (Goya)

Focus on The Knifegrinder (Goya) and explore the abstract.

The Knifegrinder (Spanish: El afilador) is an oil painting on canvas executed ca. 1808–1812 by the Spanish artist Francisco de Goya. It is now in the Museum of Fine Arts in Budapest.

18467_NT

The Knifegrinder (Goya)

Focus on this artwork and explore the abstract.

The Knifegrinder (Spanish: El afilador) is an oil painting on canvas executed ca. 1808–1812 by the Spanish artist Francisco de Goya. It is now in the Museum of Fine Arts in Budapest.

18468_T

The Knifegrinder (Goya)

Focus on The Knifegrinder (Goya) and explain the History.

The art historian Juliet Wilson–Bareau suggests that this work and The Water Bearer were painted for the painter's house in Madrid. The painting was still in the possession of the artist in 1812. On the death of his wife Josefa Bayeu, he made an inventory of his paintings at Fuendetodos. The Knifegrinder was valued at 300 reales and catalogued under number 13, the same number as The Water Bearer and The Servant with a Pitcher.According to the art historian Manuela Mena, the painting was sold directly to prince Alois Wenzel Kaunitz (ambassador to Spain from the Austrian Empire) by the painter after the Peninsular War. Shortly afterwards it was sold to Nicolas Esterházy - the Esterházy collection was acquired by the Hungarian state in 1870, forming the nucleus of the Museum of Fine Arts.

18468_NT

The Knifegrinder (Goya)

Focus on this artwork and explain the History.

The art historian Juliet Wilson–Bareau suggests that this work and The Water Bearer were painted for the painter's house in Madrid. The painting was still in the possession of the artist in 1812. On the death of his wife Josefa Bayeu, he made an inventory of his paintings at Fuendetodos. The Knifegrinder was valued at 300 reales and catalogued under number 13, the same number as The Water Bearer and The Servant with a Pitcher.According to the art historian Manuela Mena, the painting was sold directly to prince Alois Wenzel Kaunitz (ambassador to Spain from the Austrian Empire) by the painter after the Peninsular War. Shortly afterwards it was sold to Nicolas Esterházy - the Esterházy collection was acquired by the Hungarian state in 1870, forming the nucleus of the Museum of Fine Arts.

18469_T

Funeral Composition

Explore the abstract of this artwork, Funeral Composition.

Funeral Composition is painting by Yiannis Moralis from 1958.

18469_NT

Funeral Composition

Explore the abstract of this artwork.

Funeral Composition is painting by Yiannis Moralis from 1958.

18470_T

Funeral Composition

Focus on Funeral Composition and discuss the Description.

The painting has dimensions of 204 x 224 centimeters. It is in the collection of the National Gallery-Museum Alexandros Soutzos (Ex. 2432).

18470_NT

Funeral Composition

Focus on this artwork and discuss the Description.

The painting has dimensions of 204 x 224 centimeters. It is in the collection of the National Gallery-Museum Alexandros Soutzos (Ex. 2432).

18471_T

Funeral Composition

How does Funeral Composition elucidate its Analysis?

This work of Yannis Moralis brings together a number of key features that seem of interest and concern to the artist since the early 1950s. It manifests the experimentation taking place in the broader displacement of Greek painting in the 1950s and 1960 to formalities. The subject of the composition is a farewell scene with clear references to thematic and component level to the ancient columns as he acknowledges: "The first to have correlated these works with ancient monuments and the tombstone was Manolis Hatzidakis, Angelos Prokopios, Elias Petropoulos, George Savvides. They followed other analyzes, more scientific. Seferis says, [...] the interpretation of each project is the interpretation of ourselves. But, it is true that there is in these works a sense of death that was taught by ancient monuments." The same had decisively affect the Pompeian painting .. Even Xenagontas' students of the Athens School of Fine Arts, in the course of their visit to the National Gallery rooms in 1988, will stop in front of the particular project and referring to it will say: "Here the common denominator is the background color, preparation (ocher, black). the use as color, like a shadow, like the Byzantine and post the protroplasm. We work piecemeal, but must not lose the image of the whole. and do not hesitate to sacrifice. You start to paint when you start sacrifice, as he and Delacroix. Emotionally you can start from a detail. but another motivation and another how will the symbol. The painting is a language finite, like all languages. There can be everything we want to say. When you accept this the contract in a strange way, liberate. And you learn to read your works, after making them. This will help you a lot."

18471_NT

Funeral Composition

How does this artwork elucidate its Analysis?

This work of Yannis Moralis brings together a number of key features that seem of interest and concern to the artist since the early 1950s. It manifests the experimentation taking place in the broader displacement of Greek painting in the 1950s and 1960 to formalities. The subject of the composition is a farewell scene with clear references to thematic and component level to the ancient columns as he acknowledges: "The first to have correlated these works with ancient monuments and the tombstone was Manolis Hatzidakis, Angelos Prokopios, Elias Petropoulos, George Savvides. They followed other analyzes, more scientific. Seferis says, [...] the interpretation of each project is the interpretation of ourselves. But, it is true that there is in these works a sense of death that was taught by ancient monuments." The same had decisively affect the Pompeian painting .. Even Xenagontas' students of the Athens School of Fine Arts, in the course of their visit to the National Gallery rooms in 1988, will stop in front of the particular project and referring to it will say: "Here the common denominator is the background color, preparation (ocher, black). the use as color, like a shadow, like the Byzantine and post the protroplasm. We work piecemeal, but must not lose the image of the whole. and do not hesitate to sacrifice. You start to paint when you start sacrifice, as he and Delacroix. Emotionally you can start from a detail. but another motivation and another how will the symbol. The painting is a language finite, like all languages. There can be everything we want to say. When you accept this the contract in a strange way, liberate. And you learn to read your works, after making them. This will help you a lot."

18472_T

Funeral Composition

Focus on Funeral Composition and analyze the The Venice Biennale (1958) and the first solo exhibition in Athens (1959).

The painting composition Funeral Composition is also of interest in connection with the participation of the artist in two reports important for his resume: his participation, along with Yannis Tsarouhis and Anthony Soho in 1958 at the Venice Biennale, where of course, Commissioner of Tonis Spiteris, representing Greece, and organize the first solo exhibition the artist held in Athens, showroom Armos particular, the next years. The painting was between projects Moralis presented in both cases. In an international environment where most dominating remove, anthropocentric painting of Moralis and Tsarouhis initiate the interest of Gio Ponti, who will devote their magazine Domus "three pages, with plenty of pictures and text very laudatory", which of course will delight both dialectical artists, considering how hard it was for a Greek painter distract abroad. indeed will be the occasion to discuss all those features of representational painting involving removal, even if this sounds as paradox. Giò Ponti: There is a secret sect, the sect of those who know how to depict the human form. [...] And feel passionate bliss to enjoy with animal joy the opportunity to represent this form in all activities and on the physiognomy display fleeting expressions and to distinguish the characteristics of a precise contours [...] to depict seeing in this image, in this profile an extreme limit of humanity expression, human history but also the history of our time described simultaneously. The two Greek painters Yannis Moralis and John Tsarouhis belong to this "mystical company." because as I saw in Venice their projects, and was glad, because to the same sect, I belonged too.

18472_NT

Funeral Composition

Focus on this artwork and analyze the The Venice Biennale (1958) and the first solo exhibition in Athens (1959).

The painting composition Funeral Composition is also of interest in connection with the participation of the artist in two reports important for his resume: his participation, along with Yannis Tsarouhis and Anthony Soho in 1958 at the Venice Biennale, where of course, Commissioner of Tonis Spiteris, representing Greece, and organize the first solo exhibition the artist held in Athens, showroom Armos particular, the next years. The painting was between projects Moralis presented in both cases. In an international environment where most dominating remove, anthropocentric painting of Moralis and Tsarouhis initiate the interest of Gio Ponti, who will devote their magazine Domus "three pages, with plenty of pictures and text very laudatory", which of course will delight both dialectical artists, considering how hard it was for a Greek painter distract abroad. indeed will be the occasion to discuss all those features of representational painting involving removal, even if this sounds as paradox. Giò Ponti: There is a secret sect, the sect of those who know how to depict the human form. [...] And feel passionate bliss to enjoy with animal joy the opportunity to represent this form in all activities and on the physiognomy display fleeting expressions and to distinguish the characteristics of a precise contours [...] to depict seeing in this image, in this profile an extreme limit of humanity expression, human history but also the history of our time described simultaneously. The two Greek painters Yannis Moralis and John Tsarouhis belong to this "mystical company." because as I saw in Venice their projects, and was glad, because to the same sect, I belonged too.

18473_T

Virgin of the Burning Bush (Damaskinos)

In Virgin of the Burning Bush (Damaskinos), how is the abstract discussed?

The Virgin of the Burning Bush was a painting made of egg tempera and gold leaf on a wood panel. The portable icon was signed by Greek painter Michael Damaskinos. Damaskinos has over 100 known works. He was a distinguished member of the Cretan school of painting. He was from Crete. His contemporaries included Georgios Klontzas and El Greco. Damaskinos spent over twenty years traveling all over Italy. He spent a significant time in Venice. He adopted Italian artistic mannerisms which he applied to his paintings.Moses was a biblical figure who received Tablets of Stone inscribed with the Ten Commandments in Mount Sinai, Egypt as written in the Book of Exodus. In the biblical narrative, Moses was also appointed by Yahweh to lead the Israelites out of Egypt and into Canaan at the Burning Bush. Both themes are an integral part of Damaskinos's work. His painting is a rare depiction of the Virgin and Child with Moses. The painting served as an inspiration to Ieremias Palladas's painting of Saint Catherine. Palladas features some of Damaskinos's work in the background of his painting of the Egyptian martyr. Both works are a tribute to Catherine of Alexandria and Mount Sinai, Egypt. The Virgin of the Burning Bush is now in the Monastery of Agia Aikaterini in Heraklion, Crete.

18473_NT

Virgin of the Burning Bush (Damaskinos)

In this artwork, how is the abstract discussed?

The Virgin of the Burning Bush was a painting made of egg tempera and gold leaf on a wood panel. The portable icon was signed by Greek painter Michael Damaskinos. Damaskinos has over 100 known works. He was a distinguished member of the Cretan school of painting. He was from Crete. His contemporaries included Georgios Klontzas and El Greco. Damaskinos spent over twenty years traveling all over Italy. He spent a significant time in Venice. He adopted Italian artistic mannerisms which he applied to his paintings.Moses was a biblical figure who received Tablets of Stone inscribed with the Ten Commandments in Mount Sinai, Egypt as written in the Book of Exodus. In the biblical narrative, Moses was also appointed by Yahweh to lead the Israelites out of Egypt and into Canaan at the Burning Bush. Both themes are an integral part of Damaskinos's work. His painting is a rare depiction of the Virgin and Child with Moses. The painting served as an inspiration to Ieremias Palladas's painting of Saint Catherine. Palladas features some of Damaskinos's work in the background of his painting of the Egyptian martyr. Both works are a tribute to Catherine of Alexandria and Mount Sinai, Egypt. The Virgin of the Burning Bush is now in the Monastery of Agia Aikaterini in Heraklion, Crete.

18474_T

Virgin of the Burning Bush (Damaskinos)

Focus on Virgin of the Burning Bush (Damaskinos) and explore the Description.

The painting was created in the second half of the 16th century. The height of the painting is 43.7 in. (110.9 cm) and the width is 34 in. (86.4 cm). The material was tempera painting and gold leaf on wood panel. The icon is roughly the same size as Damaskinos's Adoration of the Kings. The painting stylistically resembles the Adoration of the Kings. The central figure in both paintings is against a mountain. The artist also crowds his figures in both works. The Virgin of the Burning Bush is a rare depiction of the Virgin and Child with Moses. Byzantine theologian John of Damascus wrote about the Burning Bush. He said the bush was an image of God's Mother, and as Moses was about to approach, God Said: Put off the shoes from thy feet, for the place whereon thou standest is holy ground.The painting creates a visual story of Moses's encounters with the divine on Mount Sinai incorporating the writings of John of Damascus. To our left, Moses stands before the Burning Bush. An angel appears out of the flames, below is another image of Moses removing his sandals. In the center of the image, the Virgin and Child appear enthroned within the Burning Bush (Θεοτόκος ή Βάτις). In the lower right-hand corner John of Damascus holds a scroll. In the background, two scenes from Moses's life from the Book of Exodus are present. To the left of the mountain, Moses strikes the rock with his holy staff and a spring appears for the Israelites to drink. To the right of the mountain, the scene of the Golden calf is depicted. At the top of the image, God and angles are passing the tablets to Moses. The final scene is of angels bringing Saint Catherine's body to Jebel Katrina, one of the three peaks of Mount Sinai.The painting follows the typical Damaskinos technique. His painting features the Italian renaissance cangiante. The Virgin is enthroned in the Burning Bush following the traditional hodegetria stance. The Burning Bush is depicted as receding into space. The figures in the foreground of Moses and John of Damascus promote three-dimensionality namely in the drapery folds. Moses is at the peak of the middle mountain above the Virgin Mary. Moses and the faces of the figures around him are facing the Virgin Mary. There are also two other mountains. All three mountains form a triangle They are painted in the traditional Cretan style. The artist clearly creates a visual distinction of spatial depth.

18474_NT

Virgin of the Burning Bush (Damaskinos)

Focus on this artwork and explore the Description.

The painting was created in the second half of the 16th century. The height of the painting is 43.7 in. (110.9 cm) and the width is 34 in. (86.4 cm). The material was tempera painting and gold leaf on wood panel. The icon is roughly the same size as Damaskinos's Adoration of the Kings. The painting stylistically resembles the Adoration of the Kings. The central figure in both paintings is against a mountain. The artist also crowds his figures in both works. The Virgin of the Burning Bush is a rare depiction of the Virgin and Child with Moses. Byzantine theologian John of Damascus wrote about the Burning Bush. He said the bush was an image of God's Mother, and as Moses was about to approach, God Said: Put off the shoes from thy feet, for the place whereon thou standest is holy ground.The painting creates a visual story of Moses's encounters with the divine on Mount Sinai incorporating the writings of John of Damascus. To our left, Moses stands before the Burning Bush. An angel appears out of the flames, below is another image of Moses removing his sandals. In the center of the image, the Virgin and Child appear enthroned within the Burning Bush (Θεοτόκος ή Βάτις). In the lower right-hand corner John of Damascus holds a scroll. In the background, two scenes from Moses's life from the Book of Exodus are present. To the left of the mountain, Moses strikes the rock with his holy staff and a spring appears for the Israelites to drink. To the right of the mountain, the scene of the Golden calf is depicted. At the top of the image, God and angles are passing the tablets to Moses. The final scene is of angels bringing Saint Catherine's body to Jebel Katrina, one of the three peaks of Mount Sinai.The painting follows the typical Damaskinos technique. His painting features the Italian renaissance cangiante. The Virgin is enthroned in the Burning Bush following the traditional hodegetria stance. The Burning Bush is depicted as receding into space. The figures in the foreground of Moses and John of Damascus promote three-dimensionality namely in the drapery folds. Moses is at the peak of the middle mountain above the Virgin Mary. Moses and the faces of the figures around him are facing the Virgin Mary. There are also two other mountains. All three mountains form a triangle They are painted in the traditional Cretan style. The artist clearly creates a visual distinction of spatial depth.

18475_T

The Three Pioneers

Focus on The Three Pioneers and explain the Description.

The statue features three bronze sculptures depicting Ford C. Greene, Ralph A. Long Jr., and Lawrence Williams, who, in September 1961, became the first African Americans to enroll at Georgia Tech. The statue is located in an area of the main campus called Harrison Square, named after Edwin D. Harrison, President of the institute at the time these students enrolled. Continuing the Conversation, a statue honoring Rosa Parks, is also located in the square. The statue was unveiled on September 4, 2019. That same day, The First Graduate, a statue honoring Ronald Yancey, the first African American to graduate from the institute, was also dedicated at the Clough Undergraduate Learning Commons. Collectively, the two statues are referred to as the Trailblazers statues. The statues' unveilings were attended by Greene, Long, Williams, and Yancey.

18475_NT

The Three Pioneers

Focus on this artwork and explain the Description.

The statue features three bronze sculptures depicting Ford C. Greene, Ralph A. Long Jr., and Lawrence Williams, who, in September 1961, became the first African Americans to enroll at Georgia Tech. The statue is located in an area of the main campus called Harrison Square, named after Edwin D. Harrison, President of the institute at the time these students enrolled. Continuing the Conversation, a statue honoring Rosa Parks, is also located in the square. The statue was unveiled on September 4, 2019. That same day, The First Graduate, a statue honoring Ronald Yancey, the first African American to graduate from the institute, was also dedicated at the Clough Undergraduate Learning Commons. Collectively, the two statues are referred to as the Trailblazers statues. The statues' unveilings were attended by Greene, Long, Williams, and Yancey.

18476_T

Dancing Through Life (sculpture)

Explore the abstract of this artwork, Dancing Through Life (sculpture).

Dancing Through Life is a public art work by artist Schomer Lichtner. It is installed on the Riverwalk in Pere Marquette Park in downtown Milwaukee, Wisconsin.

18476_NT

Dancing Through Life (sculpture)

Explore the abstract of this artwork.

Dancing Through Life is a public art work by artist Schomer Lichtner. It is installed on the Riverwalk in Pere Marquette Park in downtown Milwaukee, Wisconsin.

18477_T

Dancing Through Life (sculpture)

Focus on Dancing Through Life (sculpture) and discuss the Location.

Dancing Through Life occupies a prominent location at the southern entrance to Pere Marquette Park. Lichtner collaborated with the Riverwalk District BID to contribute to its RiverSculpture! program by placing the sculpture at this location.

18477_NT

Dancing Through Life (sculpture)

Focus on this artwork and discuss the Location.

Dancing Through Life occupies a prominent location at the southern entrance to Pere Marquette Park. Lichtner collaborated with the Riverwalk District BID to contribute to its RiverSculpture! program by placing the sculpture at this location.

18478_T

Equestrian statue of Charles IV of Spain

How does Equestrian statue of Charles IV of Spain elucidate its abstract?

The equestrian statue of Charles IV of Spain (also known as El Caballito) is a bronze sculpture cast by Manuel Tolsá built between 1796 and 1803 in Mexico City, Mexico in honour of King Charles IV of Spain, then the last ruler of the New Spain (later Mexico). This statue has been displayed in different points of the city and is considered one of the finest achievements of Mr. Tolsá. It now resides in Plaza Manuel Tolsá.

18478_NT

Equestrian statue of Charles IV of Spain

How does this artwork elucidate its abstract?

The equestrian statue of Charles IV of Spain (also known as El Caballito) is a bronze sculpture cast by Manuel Tolsá built between 1796 and 1803 in Mexico City, Mexico in honour of King Charles IV of Spain, then the last ruler of the New Spain (later Mexico). This statue has been displayed in different points of the city and is considered one of the finest achievements of Mr. Tolsá. It now resides in Plaza Manuel Tolsá.

18479_T

Genesee Scenery

Focus on Genesee Scenery and analyze the abstract.

Genesee Scenery, also called Mountain Landscape with Waterfall, is an 1847 oil on canvas painting by British-born American painter Thomas Cole, founder of the Hudson River School. The work depicts the Genesee River in New York State.

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Genesee Scenery

Focus on this artwork and analyze the abstract.

Genesee Scenery, also called Mountain Landscape with Waterfall, is an 1847 oil on canvas painting by British-born American painter Thomas Cole, founder of the Hudson River School. The work depicts the Genesee River in New York State.

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Genesee Scenery

In Genesee Scenery, how is the History discussed?

Cole was the first person to depict this section of the Genesee River. The work is currently owned by the Rhode Island School of Design Museum of Art.

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Genesee Scenery

In this artwork, how is the History discussed?

Cole was the first person to depict this section of the Genesee River. The work is currently owned by the Rhode Island School of Design Museum of Art.

18481_T

Madonna della Vittoria

Focus on Madonna della Vittoria and explore the abstract.

The Madonna della Vittoria is a painting by the Italian Renaissance painter Andrea Mantegna; the painting was executed in 1496.

18481_NT

Madonna della Vittoria

Focus on this artwork and explore the abstract.

The Madonna della Vittoria is a painting by the Italian Renaissance painter Andrea Mantegna; the painting was executed in 1496.

18482_T

Madonna della Vittoria

Focus on Madonna della Vittoria and explain the History.

On 6 July 1495 the French army of Charles VIII of France, retreating from Italy after the French Invasion of 1494-1498, fought the Italic League at the Battle of Fornovo. The League, commanded by Francesco II Gonzaga, Marquess of Mantua, was made up of numerous nation-states determined to prevent French dominance in Italy, and included the Holy Roman Empire, Spain, Venice, Milan, and the Papal States controlled by Pope Alexander VI. Despite the League failing in its goal to destroy the French army, taking more casualties at Fornovo, and allowing Charles VIII to retreat back to France with his army intact, Francesco claimed victory. As a sign of his self-proclaimed victory at Fornovo, he commissioned Mantegna to paint the Madonna della Vittoria.During Francesco's absence from Mantua, Daniele da Norsa, a Jewish banker, had purchased a house in the city's San Simone quarter and replaced the image of the Virgin Mary which decorated its façade with his own coat of arms. The regent, Sigismondo Gonzaga, ordered him to restore the depiction. Although Daniele agreed to do so, the populace, inflamed by anti-semitic feeling, destroyed his house. When Francesco returned, he forced Daniele to fund a chapel and a devotional painting. The painting was to be executed by the Mantuan court painter, Mantegna, and was inaugurated in 1496 on the anniversary of the duke's victory at Fornovo. The work was placed in the church of Santa Maria della Vittoria, which had been constructed over the ruins of Daniele da Norsa's house.The painting was one of the artworks looted by the French during the Napoleonic invasion of Italy, and by 1798 was being exhibited in the Louvre. The painting was never returned; the given excuse was that its large size made the transport difficult. The presence of a sulphur-crested cockatoo in the painting is considered as evidence of Arab trade in the Australasian region with the bird being a gift from Sultan al-Kamil to Frederick II.

18482_NT

Madonna della Vittoria

Focus on this artwork and explain the History.

On 6 July 1495 the French army of Charles VIII of France, retreating from Italy after the French Invasion of 1494-1498, fought the Italic League at the Battle of Fornovo. The League, commanded by Francesco II Gonzaga, Marquess of Mantua, was made up of numerous nation-states determined to prevent French dominance in Italy, and included the Holy Roman Empire, Spain, Venice, Milan, and the Papal States controlled by Pope Alexander VI. Despite the League failing in its goal to destroy the French army, taking more casualties at Fornovo, and allowing Charles VIII to retreat back to France with his army intact, Francesco claimed victory. As a sign of his self-proclaimed victory at Fornovo, he commissioned Mantegna to paint the Madonna della Vittoria.During Francesco's absence from Mantua, Daniele da Norsa, a Jewish banker, had purchased a house in the city's San Simone quarter and replaced the image of the Virgin Mary which decorated its façade with his own coat of arms. The regent, Sigismondo Gonzaga, ordered him to restore the depiction. Although Daniele agreed to do so, the populace, inflamed by anti-semitic feeling, destroyed his house. When Francesco returned, he forced Daniele to fund a chapel and a devotional painting. The painting was to be executed by the Mantuan court painter, Mantegna, and was inaugurated in 1496 on the anniversary of the duke's victory at Fornovo. The work was placed in the church of Santa Maria della Vittoria, which had been constructed over the ruins of Daniele da Norsa's house.The painting was one of the artworks looted by the French during the Napoleonic invasion of Italy, and by 1798 was being exhibited in the Louvre. The painting was never returned; the given excuse was that its large size made the transport difficult. The presence of a sulphur-crested cockatoo in the painting is considered as evidence of Arab trade in the Australasian region with the bird being a gift from Sultan al-Kamil to Frederick II.

18483_T

Madonna della Vittoria

Explore the Description of this artwork, Madonna della Vittoria.

The altarpiece shows Francesco Gonzaga paying homage to Mary, who sits on a high throne decorated with marbles intarsias and bas-reliefs. The base of the throne, with lion paws, has, within a medallion, the inscription "REGINA/CELI LET./ALLELVIA" (Queen of Heaven, rejoice, Alleluia); it lies on a circular basement with a bas-relief of the "Original Sin" and other stories from the Book of Genesis which are partly obscured by the praying figures. The throne's back has a large solar disc, decorated with weavings and vitreous pearls. The child Jesus, who holds two red flowers (symbols of the Passion) and Mary look at Francesco Gonzaga, who is kneeling and has a grateful and smiling expression while receiving their blessing. The protection given to Gonzaga during the battle is also symbolized by Mary's mantle, which partially covers his head. Opposite to the donor are St. John the Baptist with a cross featuring the usual cartouche saying "ECCE/AGNVS/DEI ECCE/Q[VI] TOLL/IT P[ECCATA] M[VNDI]" (Behold the Lamb of God, which takes away the sins of the world), and his mother, St. Elizabeth, protector of Isabella d'Este, wife of Francesco Gonzaga. The choice of St. Elizabeth in the place of a patron may have been chosen as a message of judgement to the Norsa who were made to pay for the work as a penalty for removing an image of the Madonna from their home. Unlike the Norsa, St. Elizabeth who is represented as a Jewess in a yellow turban, was said to be the first to recognize the sanctity of Mary.At the sides are two couples of standing saints: in the foreground are two military saints, the archangel St. Michael with a sword and St. Longinus with a broken spear, donning richly decorated armors; behind them are St. Andrew, patron saint of Mantua, with a long stick with the cross and St. George, another military saint, with a helmet and a long red lance. The scene is set in an apse formed by a pergola of leaves, flowers and fruits, with several birds; the pergola's frame has at the top a shell (an attribute of the Virgin as new Venus), from which hang threads of coral pearls and rock crystal, as well as a large piece of red coral, another hint to the Passion of Jesus. The parrot is a comment on the birth of Jesus.

18483_NT

Madonna della Vittoria

Explore the Description of this artwork.

The altarpiece shows Francesco Gonzaga paying homage to Mary, who sits on a high throne decorated with marbles intarsias and bas-reliefs. The base of the throne, with lion paws, has, within a medallion, the inscription "REGINA/CELI LET./ALLELVIA" (Queen of Heaven, rejoice, Alleluia); it lies on a circular basement with a bas-relief of the "Original Sin" and other stories from the Book of Genesis which are partly obscured by the praying figures. The throne's back has a large solar disc, decorated with weavings and vitreous pearls. The child Jesus, who holds two red flowers (symbols of the Passion) and Mary look at Francesco Gonzaga, who is kneeling and has a grateful and smiling expression while receiving their blessing. The protection given to Gonzaga during the battle is also symbolized by Mary's mantle, which partially covers his head. Opposite to the donor are St. John the Baptist with a cross featuring the usual cartouche saying "ECCE/AGNVS/DEI ECCE/Q[VI] TOLL/IT P[ECCATA] M[VNDI]" (Behold the Lamb of God, which takes away the sins of the world), and his mother, St. Elizabeth, protector of Isabella d'Este, wife of Francesco Gonzaga. The choice of St. Elizabeth in the place of a patron may have been chosen as a message of judgement to the Norsa who were made to pay for the work as a penalty for removing an image of the Madonna from their home. Unlike the Norsa, St. Elizabeth who is represented as a Jewess in a yellow turban, was said to be the first to recognize the sanctity of Mary.At the sides are two couples of standing saints: in the foreground are two military saints, the archangel St. Michael with a sword and St. Longinus with a broken spear, donning richly decorated armors; behind them are St. Andrew, patron saint of Mantua, with a long stick with the cross and St. George, another military saint, with a helmet and a long red lance. The scene is set in an apse formed by a pergola of leaves, flowers and fruits, with several birds; the pergola's frame has at the top a shell (an attribute of the Virgin as new Venus), from which hang threads of coral pearls and rock crystal, as well as a large piece of red coral, another hint to the Passion of Jesus. The parrot is a comment on the birth of Jesus.

18484_T

Aeneas, Anchises, and Ascanius

Focus on Aeneas, Anchises, and Ascanius and discuss the abstract.

Aeneas, Anchises, and Ascanius is a sculpture by the Italian artist Gian Lorenzo Bernini created c. 1618–19. Housed in the Galleria Borghese in Rome, the sculpture depicts a scene from the Aeneid, where the hero Aeneas leads his family from burning Troy.The life-sized group shows three generations of Aeneas' family. The young man is Aeneas, who carries an older man—his father, Anchises—on his shoulder. He gazes down to the side with a strong determination. Aeneas' lineage from the gods—his mother is Aphrodite—is emphasized through the lion skin draped around his body. (A lion skin commonly stands for power, and is often related to Hercules, a descendant of Zeus[2].) Behind Aeneas follows his young son, Ascanius. The statue was made by Bernini when he was twenty years old, although it is often thought that he had help from his father, Pietro Bernini [2]. Through his father, the younger Bernini was gaining renown in the higher circles of Rome; Pietro's famous Mannerist sculptures were commissioned even by the Pope. Through some minor commissions for Pope Paul V, Gianlorenzo began to be recognized as a very promising sculptor. The Pope couldn't believe that one so young could carve such work. Those sculptures, especially the antique ones, eventually caught the attention of Cardinal Scipione Borghese, who loved arts, money and male physical beauty, and who was the most powerful man in Rome after the Pope. [6] The sculpture is influenced by earlier works of other artists. Michelangelo's figure of the Risen Christ (in Santa Maria sopra Minerva) is held to have served as an example for the figure of Aeneas. The head of Aeneas appears to reflect Pietro Bernini's John the Baptist (Cappella Barberini in Sant'Andrea della Valle). It is thought that it has also elements derived from Raphael's fresco The Fire in the Borgo (Vatican Museum, Stanze di Borgo) and from Federico Barocci's own painted interpretation of the Flight of Aeneas (Villa Borghese)[2]. Also, the stance of the sculpture echoes another work that his father created, the Saint Matthew with Angel. Aeneas' left foot and Ascanius' right foot are standing forward, whereas in Pietro's sculpture of Saint Matthew the stance is the same, but mirrored[2].

18484_NT

Aeneas, Anchises, and Ascanius

Focus on this artwork and discuss the abstract.

Aeneas, Anchises, and Ascanius is a sculpture by the Italian artist Gian Lorenzo Bernini created c. 1618–19. Housed in the Galleria Borghese in Rome, the sculpture depicts a scene from the Aeneid, where the hero Aeneas leads his family from burning Troy.The life-sized group shows three generations of Aeneas' family. The young man is Aeneas, who carries an older man—his father, Anchises—on his shoulder. He gazes down to the side with a strong determination. Aeneas' lineage from the gods—his mother is Aphrodite—is emphasized through the lion skin draped around his body. (A lion skin commonly stands for power, and is often related to Hercules, a descendant of Zeus[2].) Behind Aeneas follows his young son, Ascanius. The statue was made by Bernini when he was twenty years old, although it is often thought that he had help from his father, Pietro Bernini [2]. Through his father, the younger Bernini was gaining renown in the higher circles of Rome; Pietro's famous Mannerist sculptures were commissioned even by the Pope. Through some minor commissions for Pope Paul V, Gianlorenzo began to be recognized as a very promising sculptor. The Pope couldn't believe that one so young could carve such work. Those sculptures, especially the antique ones, eventually caught the attention of Cardinal Scipione Borghese, who loved arts, money and male physical beauty, and who was the most powerful man in Rome after the Pope. [6] The sculpture is influenced by earlier works of other artists. Michelangelo's figure of the Risen Christ (in Santa Maria sopra Minerva) is held to have served as an example for the figure of Aeneas. The head of Aeneas appears to reflect Pietro Bernini's John the Baptist (Cappella Barberini in Sant'Andrea della Valle). It is thought that it has also elements derived from Raphael's fresco The Fire in the Borgo (Vatican Museum, Stanze di Borgo) and from Federico Barocci's own painted interpretation of the Flight of Aeneas (Villa Borghese)[2]. Also, the stance of the sculpture echoes another work that his father created, the Saint Matthew with Angel. Aeneas' left foot and Ascanius' right foot are standing forward, whereas in Pietro's sculpture of Saint Matthew the stance is the same, but mirrored[2].

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Aeneas, Anchises, and Ascanius

How does Aeneas, Anchises, and Ascanius elucidate its Patronage?

This was the Bernini's first commission from Cardinal Scipione Borghese. It probably started around 1618 and finished the succeeding year. It was one of a number of sculptures that would end up in the Villa Borghese, now the Galleria Borghese.

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Aeneas, Anchises, and Ascanius

How does this artwork elucidate its Patronage?

This was the Bernini's first commission from Cardinal Scipione Borghese. It probably started around 1618 and finished the succeeding year. It was one of a number of sculptures that would end up in the Villa Borghese, now the Galleria Borghese.

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Aeneas, Anchises, and Ascanius

Focus on Aeneas, Anchises, and Ascanius and analyze the Story.

Bernini's inspiration for the work was the Aeneid, the Latin epic poem which tells the story of Aeneas, a Trojan who left his home city and eventually ended up in Italy, where he became a progenitor of the Roman people. The precise scene depicted is the moment when Aeneas carries his father, the elderly Anchises, and his son Ascanius from Troy, after it has been sacked by the Greek army. In his hand, Anchises carries a vessel with his ancestors' ashes, on the top of which are two tiny statues of Di Penates, Roman household gods.

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Aeneas, Anchises, and Ascanius

Focus on this artwork and analyze the Story.

Bernini's inspiration for the work was the Aeneid, the Latin epic poem which tells the story of Aeneas, a Trojan who left his home city and eventually ended up in Italy, where he became a progenitor of the Roman people. The precise scene depicted is the moment when Aeneas carries his father, the elderly Anchises, and his son Ascanius from Troy, after it has been sacked by the Greek army. In his hand, Anchises carries a vessel with his ancestors' ashes, on the top of which are two tiny statues of Di Penates, Roman household gods.

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Aeneas, Anchises, and Ascanius

In Aeneas, Anchises, and Ascanius, how is the Artistic influences discussed?

Bernini has only just passed twenty when the work was completed. Therefore, it is not unusual to see that the style of execution still owed much to other artists - his own style would become more apparent with the other pieces commissioned by Cardinal Scipione Borghese. The influence of his father Pietro Bernini was evident in the rather lumpy handling of the figures. Elements of the sixteenth-century sculptor Giambologna occur, particular in how Bernini attempted to construct a sense of movement upwards from the boy Ascansius to his grandfather Anchises. The figure of Aeneas may be modelled on Michelangelo's sculpture of Risen Christ.Two painted influences are also cited. Firstly, the painting by Federico Barocci of the same topic, which was also in Cardinal Borghese's collection. But the more famous influence is from Raphael's fresco in the Vatican, The Fire in the Borgo, which depicts a similar scene, showing a man carrying his father with his son beside them.

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Aeneas, Anchises, and Ascanius

In this artwork, how is the Artistic influences discussed?

Bernini has only just passed twenty when the work was completed. Therefore, it is not unusual to see that the style of execution still owed much to other artists - his own style would become more apparent with the other pieces commissioned by Cardinal Scipione Borghese. The influence of his father Pietro Bernini was evident in the rather lumpy handling of the figures. Elements of the sixteenth-century sculptor Giambologna occur, particular in how Bernini attempted to construct a sense of movement upwards from the boy Ascansius to his grandfather Anchises. The figure of Aeneas may be modelled on Michelangelo's sculpture of Risen Christ.Two painted influences are also cited. Firstly, the painting by Federico Barocci of the same topic, which was also in Cardinal Borghese's collection. But the more famous influence is from Raphael's fresco in the Vatican, The Fire in the Borgo, which depicts a similar scene, showing a man carrying his father with his son beside them.

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Statue of Alexander Hamilton (Boston)

Focus on Statue of Alexander Hamilton (Boston) and explore the abstract.

A statue of Alexander Hamilton by William Rimmer is installed along Commonwealth Avenue, between Arlington and Berkeley Streets, in Boston, Massachusetts, United States.

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Statue of Alexander Hamilton (Boston)

Focus on this artwork and explore the abstract.

A statue of Alexander Hamilton by William Rimmer is installed along Commonwealth Avenue, between Arlington and Berkeley Streets, in Boston, Massachusetts, United States.

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Statue of Alexander Hamilton (Boston)

Focus on Statue of Alexander Hamilton (Boston) and explain the Description.

The 1864–1865 granite statue measures approximately 10 ft. x 3 ft. 4 in. x 3 ft. 4 in., and rests on a granite base measuring 8 ft. 5 in. x 5 ft. 4 in. x 5 ft. 4 in. The base has three relief portrait busts depicting Hamilton, John Jay, and George Washington.

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Statue of Alexander Hamilton (Boston)

Focus on this artwork and explain the Description.

The 1864–1865 granite statue measures approximately 10 ft. x 3 ft. 4 in. x 3 ft. 4 in., and rests on a granite base measuring 8 ft. 5 in. x 5 ft. 4 in. x 5 ft. 4 in. The base has three relief portrait busts depicting Hamilton, John Jay, and George Washington.

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Statue of Alexander Hamilton (Boston)

Explore the History of this artwork, Statue of Alexander Hamilton (Boston).

The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.

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Statue of Alexander Hamilton (Boston)

Explore the History of this artwork.

The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.

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Statue of Alexander Hamilton (Boston)

Focus on Statue of Alexander Hamilton (Boston) and discuss the Reception.

The statue was widely regarded as a failure by nineteenth-century commentators. The critic George B. Woods stated that Hamilton appeared to be "swathed like an infant or a mummy." William H. Downes wrote that it "suggested a snow image which had partly melted." Lincoln Kirstein, writing in 1961, offered a more favorable assessment, commenting that "the mass and its drapery are powerfully suggestive, anticipating Rodin's Balzac in the looming treatment of the rising form."

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Statue of Alexander Hamilton (Boston)

Focus on this artwork and discuss the Reception.

The statue was widely regarded as a failure by nineteenth-century commentators. The critic George B. Woods stated that Hamilton appeared to be "swathed like an infant or a mummy." William H. Downes wrote that it "suggested a snow image which had partly melted." Lincoln Kirstein, writing in 1961, offered a more favorable assessment, commenting that "the mass and its drapery are powerfully suggestive, anticipating Rodin's Balzac in the looming treatment of the rising form."

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Wood Fountain at IUPUI

How does Wood Fountain at IUPUI elucidate its abstract?

The Wood Fountain is an outdoor public architectural sitework on Indiana University-Purdue University's campus. The campus is located in Indianapolis, Indiana. The Wood Fountain is commissioned by IUPUI (Indianapolis University - Purdue University) and completed in 1995. Singh Associates in New York City designed the sculpture, while Tom Fansler III manages the fountain. The purpose of this artwork, according to the Smock Fansler website, was to provide "better places to live," and bring "spaces between buildings and the elements that tie them together..."

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Wood Fountain at IUPUI

How does this artwork elucidate its abstract?

The Wood Fountain is an outdoor public architectural sitework on Indiana University-Purdue University's campus. The campus is located in Indianapolis, Indiana. The Wood Fountain is commissioned by IUPUI (Indianapolis University - Purdue University) and completed in 1995. Singh Associates in New York City designed the sculpture, while Tom Fansler III manages the fountain. The purpose of this artwork, according to the Smock Fansler website, was to provide "better places to live," and bring "spaces between buildings and the elements that tie them together..."

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Wood Fountain at IUPUI

Focus on Wood Fountain at IUPUI and analyze the Description.

The sitework used stone to mimic a pyramid in the shape of a diamond. They added water so this artwork can be used as a fountain. It sits on IUPUI's campus along New York St with the pathways surrounding made out of brick. According to IUPUI's website, the artwork "is 100 feet long on each of its four sides." There are four levels to the piece with nine slight indentations along each siding. In addition, there are triangles that have been sculpted in to the stone so that water will come down to the base. On the proper front, there is a bronze memorial plaque at the bottom. It reads:THE WOOD PLAZA DEDICATED JUNE 26, 1995 THIS PLAZA WAS NAMED IN GRATEFUL RECOGNITION OF THE SUPPORT OF BILLIE LOU & RICHARD D. WOOD

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Wood Fountain at IUPUI

Focus on this artwork and analyze the Description.

The sitework used stone to mimic a pyramid in the shape of a diamond. They added water so this artwork can be used as a fountain. It sits on IUPUI's campus along New York St with the pathways surrounding made out of brick. According to IUPUI's website, the artwork "is 100 feet long on each of its four sides." There are four levels to the piece with nine slight indentations along each siding. In addition, there are triangles that have been sculpted in to the stone so that water will come down to the base. On the proper front, there is a bronze memorial plaque at the bottom. It reads:THE WOOD PLAZA DEDICATED JUNE 26, 1995 THIS PLAZA WAS NAMED IN GRATEFUL RECOGNITION OF THE SUPPORT OF BILLIE LOU & RICHARD D. WOOD

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Wood Fountain at IUPUI

In Wood Fountain at IUPUI, how is the Material discussed?

The Wood Fountain is made from stone and has water that runs down its sides. In addition, the artwork's surrounding landscape is a part of the artwork. Therefore, the trees, bushes, flowerbeds, benches (which are made out of limestone and granite), and the walkway are made out of brick.

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Wood Fountain at IUPUI

In this artwork, how is the Material discussed?

The Wood Fountain is made from stone and has water that runs down its sides. In addition, the artwork's surrounding landscape is a part of the artwork. Therefore, the trees, bushes, flowerbeds, benches (which are made out of limestone and granite), and the walkway are made out of brick.

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Wood Fountain at IUPUI

Focus on Wood Fountain at IUPUI and explore the Location history.

The Wood Fountain is located at The Wood Plaza, which is a place on IUPUI's campus where social events such as the Indy Jazzfest and Explore IUPUI are held. The sculpture is located behind the University Library along New York St. The Wood Plaza was named after an Eli Lilly chief executor, Robert D. Wood and his wife Billie Lou Wood. According to IUPUI's Jaguar Spirit online source, "the Wood Plaza was designed on the same axis of University Library and intended to complement the library architecturally." In a newsletter from IUPUI's Chancellor in December 1996, an award was given from the "local chapter of the American Institute of Architects...with an Achievement award for their design, construction and enhancement of the physical and visual environments of Marion County." The importance of this recognition gives insight into how valuable the Wood Plaza is, not only to the IUPUI Campus, but to the community.

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Wood Fountain at IUPUI

Focus on this artwork and explore the Location history.

The Wood Fountain is located at The Wood Plaza, which is a place on IUPUI's campus where social events such as the Indy Jazzfest and Explore IUPUI are held. The sculpture is located behind the University Library along New York St. The Wood Plaza was named after an Eli Lilly chief executor, Robert D. Wood and his wife Billie Lou Wood. According to IUPUI's Jaguar Spirit online source, "the Wood Plaza was designed on the same axis of University Library and intended to complement the library architecturally." In a newsletter from IUPUI's Chancellor in December 1996, an award was given from the "local chapter of the American Institute of Architects...with an Achievement award for their design, construction and enhancement of the physical and visual environments of Marion County." The importance of this recognition gives insight into how valuable the Wood Plaza is, not only to the IUPUI Campus, but to the community.

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Wood Fountain at IUPUI

Focus on Wood Fountain at IUPUI and explain the Documentation.

A Museum Studies course at IUPUI recently undertook the project of researching and reporting on the condition of 40 outdoor sculptures on the university campus. The Wood Fountain was included in this movement. This documentation was influenced by the successful Save Outdoor Sculpture! 1989 campaign organized by Heritage Preservation: The National Institute of Conservation partnered with the Smithsonian Institution, specifically the Smithsonian American Art Museum. Throughout the 1990s, over 7,000 volunteers nationwide have cataloged and assessed the condition of over 30,000 publicly accessible statues, monuments, and sculptures installed as outdoor public art across the United States.

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Wood Fountain at IUPUI

Focus on this artwork and explain the Documentation.

A Museum Studies course at IUPUI recently undertook the project of researching and reporting on the condition of 40 outdoor sculptures on the university campus. The Wood Fountain was included in this movement. This documentation was influenced by the successful Save Outdoor Sculpture! 1989 campaign organized by Heritage Preservation: The National Institute of Conservation partnered with the Smithsonian Institution, specifically the Smithsonian American Art Museum. Throughout the 1990s, over 7,000 volunteers nationwide have cataloged and assessed the condition of over 30,000 publicly accessible statues, monuments, and sculptures installed as outdoor public art across the United States.

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Wood Fountain at IUPUI

Explore the Student Legend of this artwork, Wood Fountain at IUPUI.

While touring the campus, one may hear of a secret society for those who have climbed to the top of the fountain. Some students believe that at the top of the fountain lives a hidden inscription with instructions to find the society. Others believe, in order to join the society, you must post a picture of yourself at the top of the fountain on social media. In this case, the society will then reach out to you. Because of this student legend, in an attempt to curb fountain climbers, climbing to the top of the fountain often leads to suspension or expulsion from the campus.

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Wood Fountain at IUPUI

Explore the Student Legend of this artwork.

While touring the campus, one may hear of a secret society for those who have climbed to the top of the fountain. Some students believe that at the top of the fountain lives a hidden inscription with instructions to find the society. Others believe, in order to join the society, you must post a picture of yourself at the top of the fountain on social media. In this case, the society will then reach out to you. Because of this student legend, in an attempt to curb fountain climbers, climbing to the top of the fountain often leads to suspension or expulsion from the campus.

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Midvinterblot

Focus on Midvinterblot and discuss the abstract.

Midvinterblot (Swedish for "Midwinter sacrifice") is a painting by the Swedish painter Carl Larsson, created in 1915 for the hall of the central staircase in Nationalmuseum in Stockholm. It has been called Sweden's most controversial painting.The painting depicts a legend from Norse mythology in which the Swedish king Domalde is sacrificed to avert famine. After long debate, the painting was rejected by the museum; but the controversy resurfaced in the late 20th century, and the painting finally was placed where Carl Larsson had intended.

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Midvinterblot

Focus on this artwork and discuss the abstract.

Midvinterblot (Swedish for "Midwinter sacrifice") is a painting by the Swedish painter Carl Larsson, created in 1915 for the hall of the central staircase in Nationalmuseum in Stockholm. It has been called Sweden's most controversial painting.The painting depicts a legend from Norse mythology in which the Swedish king Domalde is sacrificed to avert famine. After long debate, the painting was rejected by the museum; but the controversy resurfaced in the late 20th century, and the painting finally was placed where Carl Larsson had intended.

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Midvinterblot

How does Midvinterblot elucidate its Background?

Larsson was commissioned to decorate all the walls of the central staircase in the museum except for one, and he wanted to decorate the last wall as well. He intended the last wall to present a contrast to the other illustrations of the staircase. Whereas the painting Gustav Vasa enters Stockholm 1523 presented a midsummer theme with a triumphant king, Larsson wanted the last illustration to be a midwinter theme with a king who sacrificed himself for his people.

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Midvinterblot

How does this artwork elucidate its Background?

Larsson was commissioned to decorate all the walls of the central staircase in the museum except for one, and he wanted to decorate the last wall as well. He intended the last wall to present a contrast to the other illustrations of the staircase. Whereas the painting Gustav Vasa enters Stockholm 1523 presented a midsummer theme with a triumphant king, Larsson wanted the last illustration to be a midwinter theme with a king who sacrificed himself for his people.

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Midvinterblot

Focus on Midvinterblot and analyze the Sources and inspiration.

Larsson went to Copenhagen to visit the National Museum of Denmark where he copied the ornamentation of an Iron Age fibula. The literary sources that inspired Larsson were Adam of Bremen and Snorri Sturluson. On the subject of the Temple at Uppsala, Adam of Bremen had written:In this temple, built entirely of gold, the people worship the statues of three gods. These images are arranged so that Thor, the most powerful, has his throne in the middle of the group of three. On either side of him sit Othin and Freyr. [...] Near that temple is a very large tree with widespread branches which are always green both in winter and summer. What kind of tree it is nobody knows. There is also a spring there where the pagan are accustomed to perform sacrifices and to immerse a human being alive. As long as his body is not found, the request of the people will be fulfilled. Snorri Sturluson wrote on the subject of the sacrifice of the king:Domald took the heritage left by his father Visbur, and ruled over the land. As in his time there was great famine and distress, the Swedes made great offerings of sacrifice at Upsal. The first autumn they sacrificed oxen, but the succeeding season was not improved thereby. The following autumn they sacrificed men, but the succeeding year was rather worse. The third autumn, when the offer of sacrifices should begin, a great multitude of Swedes came to Upsal; and now the chiefs held consultations with each other, and all agreed that the times of scarcity were on account of their king Domald, and they resolved to offer him for good seasons, and to assault and kill him, and sprinkle the stalle of the gods with his blood. And they did so.

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Midvinterblot

Focus on this artwork and analyze the Sources and inspiration.

Larsson went to Copenhagen to visit the National Museum of Denmark where he copied the ornamentation of an Iron Age fibula. The literary sources that inspired Larsson were Adam of Bremen and Snorri Sturluson. On the subject of the Temple at Uppsala, Adam of Bremen had written:In this temple, built entirely of gold, the people worship the statues of three gods. These images are arranged so that Thor, the most powerful, has his throne in the middle of the group of three. On either side of him sit Othin and Freyr. [...] Near that temple is a very large tree with widespread branches which are always green both in winter and summer. What kind of tree it is nobody knows. There is also a spring there where the pagan are accustomed to perform sacrifices and to immerse a human being alive. As long as his body is not found, the request of the people will be fulfilled. Snorri Sturluson wrote on the subject of the sacrifice of the king:Domald took the heritage left by his father Visbur, and ruled over the land. As in his time there was great famine and distress, the Swedes made great offerings of sacrifice at Upsal. The first autumn they sacrificed oxen, but the succeeding season was not improved thereby. The following autumn they sacrificed men, but the succeeding year was rather worse. The third autumn, when the offer of sacrifices should begin, a great multitude of Swedes came to Upsal; and now the chiefs held consultations with each other, and all agreed that the times of scarcity were on account of their king Domald, and they resolved to offer him for good seasons, and to assault and kill him, and sprinkle the stalle of the gods with his blood. And they did so.