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NAIST NLP 19

18551_T

Portrait of a Man with a Medal of Cosimo the Elder

Focus on Portrait of a Man with a Medal of Cosimo the Elder and explain the Identity of the subject.

The identity of the young man in the portrait has never been agreed, but there has been considerable speculation. Writing in 1900, art historian George Noble Plunkett colorfully identified whom he believed the youth portrayed:one realizes painfully that this is the Piero who has left an indelible stain on the Medici family by his betrayal of Florence. The small covetous eyes, the ignoble nose, the pursed animal mouth, with only the restraint of selfishness on it, the very manner in which he holds up the memorial of his house's founder, as though it were his badge of honor! Contemporary biographer Guido Cornini notes other theories held by historians: the youth—who wears garments appropriate to the middle class—may be one of the possible designers of the medal (Michelozzo Niccolò Fiorentino, Cristoforo di Geremia), a member of the Medici family (including, possibly, Cosimo de' Medici himself) or, as he personally felt more likely, Antonio Botticelli, Botticelli's brother. This, he asserts, is based on the strength of the likeness of the youth to Botticelli himself, as portrayed in his Adoration of the Magi. Antonio Botticelli had also recast and gilded medals, working in the court of the Medicis. He would have been about 40 at the time of the portrait. Conversely, the direct eye contact could be that of the artist looking in the mirror.Frederick Hartt suggested it might be Lorenzo di Pierfrancesco de' Medici (Il Popolano, 1463–1503), whose two certain portraits, both profiles on medals, vary considerably, though one resembles this. He is also sometimes claimed to be the subject of other Botticelli portraits, with completely different features (e.g. Pitti Palace, wearing a chaperon). The appearance at an auction in 1982, from the Thomas Merton collection, of a rarely seen painting by Botticelli of a Portrait of a Young Man Holding a Roundel identified (with no real evidence) as Giovanni il Popolano in a similar pose, holding up a round medallion cut from a much older painting (albeit of a bearded saint, not Cosimo), has led to speculation that this might be a companion piece, and thus that the young man in this portrait is possibly his brother, Lorenzo di Pierfrancesco de' Medici. (the long dark locks and facial features are not dissimilar from those found on Mercury in Botticelli's Primavera, another presumed representation of Lorenzo di Pierfrancesco.) The cut-out now in place may not be the original insertion; it may have been another medal of Cosimo. If so, the meaning of the medallion over the heart may simply be a profession of the loyalty of the cadet branch of the Popolani to the branch of Cosimo.In Botticelli (2004), Sean Connolly says that some critics also believe that the young man may have been a Medici follower, but notes that "the subject is almost as mysterious as Leonardo's Mona Lisa. Gloria Fossi in Uffizi Gallery (2001) calls the subject "one of the most enigmatic models of the Renaissance."

18551_NT

Portrait of a Man with a Medal of Cosimo the Elder

Focus on this artwork and explain the Identity of the subject.

The identity of the young man in the portrait has never been agreed, but there has been considerable speculation. Writing in 1900, art historian George Noble Plunkett colorfully identified whom he believed the youth portrayed:one realizes painfully that this is the Piero who has left an indelible stain on the Medici family by his betrayal of Florence. The small covetous eyes, the ignoble nose, the pursed animal mouth, with only the restraint of selfishness on it, the very manner in which he holds up the memorial of his house's founder, as though it were his badge of honor! Contemporary biographer Guido Cornini notes other theories held by historians: the youth—who wears garments appropriate to the middle class—may be one of the possible designers of the medal (Michelozzo Niccolò Fiorentino, Cristoforo di Geremia), a member of the Medici family (including, possibly, Cosimo de' Medici himself) or, as he personally felt more likely, Antonio Botticelli, Botticelli's brother. This, he asserts, is based on the strength of the likeness of the youth to Botticelli himself, as portrayed in his Adoration of the Magi. Antonio Botticelli had also recast and gilded medals, working in the court of the Medicis. He would have been about 40 at the time of the portrait. Conversely, the direct eye contact could be that of the artist looking in the mirror.Frederick Hartt suggested it might be Lorenzo di Pierfrancesco de' Medici (Il Popolano, 1463–1503), whose two certain portraits, both profiles on medals, vary considerably, though one resembles this. He is also sometimes claimed to be the subject of other Botticelli portraits, with completely different features (e.g. Pitti Palace, wearing a chaperon). The appearance at an auction in 1982, from the Thomas Merton collection, of a rarely seen painting by Botticelli of a Portrait of a Young Man Holding a Roundel identified (with no real evidence) as Giovanni il Popolano in a similar pose, holding up a round medallion cut from a much older painting (albeit of a bearded saint, not Cosimo), has led to speculation that this might be a companion piece, and thus that the young man in this portrait is possibly his brother, Lorenzo di Pierfrancesco de' Medici. (the long dark locks and facial features are not dissimilar from those found on Mercury in Botticelli's Primavera, another presumed representation of Lorenzo di Pierfrancesco.) The cut-out now in place may not be the original insertion; it may have been another medal of Cosimo. If so, the meaning of the medallion over the heart may simply be a profession of the loyalty of the cadet branch of the Popolani to the branch of Cosimo.In Botticelli (2004), Sean Connolly says that some critics also believe that the young man may have been a Medici follower, but notes that "the subject is almost as mysterious as Leonardo's Mona Lisa. Gloria Fossi in Uffizi Gallery (2001) calls the subject "one of the most enigmatic models of the Renaissance."

18552_T

Portrait of a Man with a Medal of Cosimo the Elder

Explore the Provenance of this artwork, Portrait of a Man with a Medal of Cosimo the Elder.

The origin of the painting depends on its model, who remains unknown despite much speculation (see above). It is first recorded with Cardinal Carlo de' Medici. On his death in 1666, it entered the ducal collection in the Uffizi. The painting was restored in 1991.

18552_NT

Portrait of a Man with a Medal of Cosimo the Elder

Explore the Provenance of this artwork.

The origin of the painting depends on its model, who remains unknown despite much speculation (see above). It is first recorded with Cardinal Carlo de' Medici. On his death in 1666, it entered the ducal collection in the Uffizi. The painting was restored in 1991.

18553_T

Rabboni (sculpture)

Focus on Rabboni (sculpture) and discuss the abstract.

Rabboni is a public artwork by American artist Gutzon Borglum, located Rock Creek Cemetery in Washington, D.C., United States. Rabboni was surveyed as part of the Smithsonian Save Outdoor Sculpture! survey in 1993. It is a tribute to Charles Matthews Ffoulke, prominent Washington banker and tapestry collector.

18553_NT

Rabboni (sculpture)

Focus on this artwork and discuss the abstract.

Rabboni is a public artwork by American artist Gutzon Borglum, located Rock Creek Cemetery in Washington, D.C., United States. Rabboni was surveyed as part of the Smithsonian Save Outdoor Sculpture! survey in 1993. It is a tribute to Charles Matthews Ffoulke, prominent Washington banker and tapestry collector.

18554_T

Rabboni (sculpture)

How does Rabboni (sculpture) elucidate its Description?

This Realist sculpture depicts Mary Magdalene emerging from an alcove consisting of three granite blocks that surround her. Dressed in long robes and a cape which covers her head, her proper right hand is raised to lift the cape from her head. Her proper left arm is extended outward in front of her. Her proper right leg is stepping forward, to recognize Jesus Christ has risen from his tomb on Easter. The lower right of the sculpture is signed: Gutzon Borglum Sc / Gorham Co. The front of the sculptures base is inscribed: RABBONI On the back of the center granite piece is an upper bronze plaque which is inscribed:THE END OF BIRTH IS DEATH THE END OF DEATH IS LIFE AND WHERFOR MOURNEST THOUA lower bronze plaque is inscribed:IN MEMORY OF Charles Mather Ffoulke 1841–1909 Sarah Cushing His Wife 1852–1926 AND THEIR CHILDREN HORACE CUSHING FFOULKE 1876–1903 GWENDOLINE FFOULKE CHARLES MATHER FFOULKE II 1889–1912 AND HORACE CUSHING BELOVED FATHER OF SARAH CUSHING 1819–1865

18554_NT

Rabboni (sculpture)

How does this artwork elucidate its Description?

This Realist sculpture depicts Mary Magdalene emerging from an alcove consisting of three granite blocks that surround her. Dressed in long robes and a cape which covers her head, her proper right hand is raised to lift the cape from her head. Her proper left arm is extended outward in front of her. Her proper right leg is stepping forward, to recognize Jesus Christ has risen from his tomb on Easter. The lower right of the sculpture is signed: Gutzon Borglum Sc / Gorham Co. The front of the sculptures base is inscribed: RABBONI On the back of the center granite piece is an upper bronze plaque which is inscribed:THE END OF BIRTH IS DEATH THE END OF DEATH IS LIFE AND WHERFOR MOURNEST THOUA lower bronze plaque is inscribed:IN MEMORY OF Charles Mather Ffoulke 1841–1909 Sarah Cushing His Wife 1852–1926 AND THEIR CHILDREN HORACE CUSHING FFOULKE 1876–1903 GWENDOLINE FFOULKE CHARLES MATHER FFOULKE II 1889–1912 AND HORACE CUSHING BELOVED FATHER OF SARAH CUSHING 1819–1865

18555_T

Washington Crossing the Delaware (1851 paintings)

Focus on Washington Crossing the Delaware (1851 paintings) and analyze the History.

Emanuel Leutze grew up in America, then returned to Germany as an adult, where he conceived the idea for this painting during the Revolutions of 1848. Hoping to encourage Europe's liberal reformers through the example of the American Revolution, and using American tourists and art students as models and assistants, among them Worthington Whittredge and Andreas Achenbach, Leutze finished the first painting in 1850. Just after it was completed, the first version was damaged by fire in his studio, subsequently restored, and acquired by the Kunsthalle Bremen. On September 5, 1942, during World War II, it was destroyed in a bombing raid by the Allied forces.The second painting, a full-sized replica of the first, was begun in 1850 and placed on exhibition in New York in October 1851. More than 50,000 people viewed it. The painting was originally bought by Marshall O. Roberts for $10,000 (at the time, an enormous sum. Approximately $350,000 in 2021). After changing ownership several times, it was finally donated to the Metropolitan Museum of Art by John Stewart Kennedy in 1897. Washington Rallying the Troops at Monmouth, Leutze's companion piece to Washington Crossing the Delaware is displayed in the Heyns (East) Reading Room of Doe Library at the University of California, Berkeley. The painting was lent at least twice in its history. In the early 1950s, it was part of an exhibition in Dallas, Texas. Then, beginning in 1952, it was exhibited for several years at the United Methodist Church in Washington Crossing, Pennsylvania, not far from the scene of the painting. Today, it is on exhibition at the Metropolitan Museum of Art. In January 2002, the painting was defaced when a former Metropolitan Museum of Art guard glued a picture of the September 11 attacks to it. No major damage was caused to the painting.The simple frame that had been with the painting for over 90 years turned out not to be the original frame that Leutze designed. A photograph taken by Mathew Brady in 1864 was found in the New-York Historical Society in 2007 showing the painting in a spectacular eagle crested frame. The 12 ft x 21 ft carved replica frame was created using this photo by Eli Wilner & Company in New York City. The carved eagle-topped crest alone is 14 ft wide. The third version of the painting, a smaller-scale version of the original, hung in the White House receiving room from 1979 to 2014. The painting was acquired by Mary Burrichter and Bob Kierlin, who contributed to the founding of the Minnesota Marine Art Museum in Winona, Minnesota, and put on display as the centerpiece of the museum's American collection.In May 2022, the third version of the painting was auctioned by Christie's and sold for $45 million.

18555_NT

Washington Crossing the Delaware (1851 paintings)

Focus on this artwork and analyze the History.

Emanuel Leutze grew up in America, then returned to Germany as an adult, where he conceived the idea for this painting during the Revolutions of 1848. Hoping to encourage Europe's liberal reformers through the example of the American Revolution, and using American tourists and art students as models and assistants, among them Worthington Whittredge and Andreas Achenbach, Leutze finished the first painting in 1850. Just after it was completed, the first version was damaged by fire in his studio, subsequently restored, and acquired by the Kunsthalle Bremen. On September 5, 1942, during World War II, it was destroyed in a bombing raid by the Allied forces.The second painting, a full-sized replica of the first, was begun in 1850 and placed on exhibition in New York in October 1851. More than 50,000 people viewed it. The painting was originally bought by Marshall O. Roberts for $10,000 (at the time, an enormous sum. Approximately $350,000 in 2021). After changing ownership several times, it was finally donated to the Metropolitan Museum of Art by John Stewart Kennedy in 1897. Washington Rallying the Troops at Monmouth, Leutze's companion piece to Washington Crossing the Delaware is displayed in the Heyns (East) Reading Room of Doe Library at the University of California, Berkeley. The painting was lent at least twice in its history. In the early 1950s, it was part of an exhibition in Dallas, Texas. Then, beginning in 1952, it was exhibited for several years at the United Methodist Church in Washington Crossing, Pennsylvania, not far from the scene of the painting. Today, it is on exhibition at the Metropolitan Museum of Art. In January 2002, the painting was defaced when a former Metropolitan Museum of Art guard glued a picture of the September 11 attacks to it. No major damage was caused to the painting.The simple frame that had been with the painting for over 90 years turned out not to be the original frame that Leutze designed. A photograph taken by Mathew Brady in 1864 was found in the New-York Historical Society in 2007 showing the painting in a spectacular eagle crested frame. The 12 ft x 21 ft carved replica frame was created using this photo by Eli Wilner & Company in New York City. The carved eagle-topped crest alone is 14 ft wide. The third version of the painting, a smaller-scale version of the original, hung in the White House receiving room from 1979 to 2014. The painting was acquired by Mary Burrichter and Bob Kierlin, who contributed to the founding of the Minnesota Marine Art Museum in Winona, Minnesota, and put on display as the centerpiece of the museum's American collection.In May 2022, the third version of the painting was auctioned by Christie's and sold for $45 million.

18556_T

Washington Crossing the Delaware (1851 paintings)

In Washington Crossing the Delaware (1851 paintings), how is the Composition discussed?

The painting is notable for its artistic composition. General Washington is emphasized by an unnaturally bright sky, while his face catches the upcoming sunlight. The colors consist of mostly dark tones, expected at dawn, and there are red highlights repeated throughout the painting. A foreshortening perspective and the distant boats all lend depth to the painting and emphasize the boat carrying Washington. The men in the boat represent a cross-section of the American colonies, including one in a Scottish bonnet and another of African descent facing backward next to each other in the front. A western rifleman is at the bow, two farmers in broad-brimmed hats are near the back (one with a bandaged head), and one at the stern wearing what appears to be Native American clothing to symbolize that all people in the new United States of America were represented. According to the 1853 exhibition catalogue, the man standing next to Washington and holding the flag is Lieutenant James Monroe, future president of the United States, and the man leaning over the side is General Nathanael Greene. General Edward Hand is shown seated and holding his hat within the vessel.

18556_NT

Washington Crossing the Delaware (1851 paintings)

In this artwork, how is the Composition discussed?

The painting is notable for its artistic composition. General Washington is emphasized by an unnaturally bright sky, while his face catches the upcoming sunlight. The colors consist of mostly dark tones, expected at dawn, and there are red highlights repeated throughout the painting. A foreshortening perspective and the distant boats all lend depth to the painting and emphasize the boat carrying Washington. The men in the boat represent a cross-section of the American colonies, including one in a Scottish bonnet and another of African descent facing backward next to each other in the front. A western rifleman is at the bow, two farmers in broad-brimmed hats are near the back (one with a bandaged head), and one at the stern wearing what appears to be Native American clothing to symbolize that all people in the new United States of America were represented. According to the 1853 exhibition catalogue, the man standing next to Washington and holding the flag is Lieutenant James Monroe, future president of the United States, and the man leaning over the side is General Nathanael Greene. General Edward Hand is shown seated and holding his hat within the vessel.

18557_T

Washington Crossing the Delaware (1851 paintings)

Focus on Washington Crossing the Delaware (1851 paintings) and explore the Historical inaccuracies.

The flag depicted is an early version of the flag of the United States (the "Stars and Stripes"), the design of which did not exist at the time of Washington's crossing. The flag's design was first specified in the June 14, 1777, Flag Resolution of the Second Continental Congress, and flew for the first time on September 3, 1777—well after Washington's crossing in 1776. A more historically accurate flag would have been the Grand Union Flag, hoisted by Washington on January 1, 1776, at Somerville, Massachusetts, as the standard of the Continental Army and the first national flag. Washington's stance, intended to depict him in a heroic fashion, would have been very hard to maintain in the choppy conditions of the crossing. Considering that he is standing in a rowboat, such a stance would have risked capsizing the boat. However, historian David Hackett Fischer has argued that everyone would have been standing up to avoid the icy water in the bottom of the boat, as the actual Durham boats used were much larger, had a flat bottom, higher sides, a broad beam (width) of some eight feet and a draft of 24–30 inches. Washington's boats were actually substantially larger than the boat in the painting. Washington and his men sailed on a cargo ships that ranged anywhere between 40 and 60 feet long (12 to 18 m). Also on the ships were heavy artillery and horses, which would not have fit in the boat Leutze painted.

18557_NT

Washington Crossing the Delaware (1851 paintings)

Focus on this artwork and explore the Historical inaccuracies.

The flag depicted is an early version of the flag of the United States (the "Stars and Stripes"), the design of which did not exist at the time of Washington's crossing. The flag's design was first specified in the June 14, 1777, Flag Resolution of the Second Continental Congress, and flew for the first time on September 3, 1777—well after Washington's crossing in 1776. A more historically accurate flag would have been the Grand Union Flag, hoisted by Washington on January 1, 1776, at Somerville, Massachusetts, as the standard of the Continental Army and the first national flag. Washington's stance, intended to depict him in a heroic fashion, would have been very hard to maintain in the choppy conditions of the crossing. Considering that he is standing in a rowboat, such a stance would have risked capsizing the boat. However, historian David Hackett Fischer has argued that everyone would have been standing up to avoid the icy water in the bottom of the boat, as the actual Durham boats used were much larger, had a flat bottom, higher sides, a broad beam (width) of some eight feet and a draft of 24–30 inches. Washington's boats were actually substantially larger than the boat in the painting. Washington and his men sailed on a cargo ships that ranged anywhere between 40 and 60 feet long (12 to 18 m). Also on the ships were heavy artillery and horses, which would not have fit in the boat Leutze painted.

18558_T

Washington Crossing the Delaware (1851 paintings)

Focus on Washington Crossing the Delaware (1851 paintings) and explain the Influence.

"Washington Crossing the Delaware" is a 1936 sonnet by David Shulman. It refers to the scene in the painting, and is a 14-line rhyming sonnet of which every line is an anagram of the title. In 1953, the American pop artist Larry Rivers painted Washington Crossing the Delaware, which is in the collection of The Museum of Modern Art in New York City. The painting has also inspired copies by Roy Lichtenstein (an abstract expressionist variant painted c. 1951) and Robert Colescott (a parody titled George Washington Carver Crossing the Delaware painted in 1975). Grant Wood makes direct use of Leutze's painting in his own Daughters of Revolution. The painting is a direct jab at the Daughters of the American Revolution, scrutinizing what Wood interpreted as their unfounded elitism. William H. Powell produced a painting that owes an artistic debt to Leutze's work, depicting Oliver Perry transferring command from one ship to another during the Battle of Lake Erie during the War of 1812. The original painting now hangs in the Ohio Statehouse, and Powell later created a larger, more light-toned rendering of the same subject which hangs in the U.S. Capitol in Washington, D.C. In both of Powell's works, Perry is shown standing in a small boat rowed by several men in uniform. The Washington painting shows the direction of travel from right to left, and the Perry image shows a reverse direction of motion, but the two compositions are otherwise similar. Both paintings feature one occupant of the boat with a bandaged head.

18558_NT

Washington Crossing the Delaware (1851 paintings)

Focus on this artwork and explain the Influence.

"Washington Crossing the Delaware" is a 1936 sonnet by David Shulman. It refers to the scene in the painting, and is a 14-line rhyming sonnet of which every line is an anagram of the title. In 1953, the American pop artist Larry Rivers painted Washington Crossing the Delaware, which is in the collection of The Museum of Modern Art in New York City. The painting has also inspired copies by Roy Lichtenstein (an abstract expressionist variant painted c. 1951) and Robert Colescott (a parody titled George Washington Carver Crossing the Delaware painted in 1975). Grant Wood makes direct use of Leutze's painting in his own Daughters of Revolution. The painting is a direct jab at the Daughters of the American Revolution, scrutinizing what Wood interpreted as their unfounded elitism. William H. Powell produced a painting that owes an artistic debt to Leutze's work, depicting Oliver Perry transferring command from one ship to another during the Battle of Lake Erie during the War of 1812. The original painting now hangs in the Ohio Statehouse, and Powell later created a larger, more light-toned rendering of the same subject which hangs in the U.S. Capitol in Washington, D.C. In both of Powell's works, Perry is shown standing in a small boat rowed by several men in uniform. The Washington painting shows the direction of travel from right to left, and the Perry image shows a reverse direction of motion, but the two compositions are otherwise similar. Both paintings feature one occupant of the boat with a bandaged head.

18559_T

Statue of Abraham Lincoln (New York City)

Explore the abstract of this artwork, Statue of Abraham Lincoln (New York City).

An outdoor bronze statue of Abraham Lincoln by Henry Kirke Brown is installed in Union Square in Manhattan, New York. The statue was sponsored by the Union League Club of New York.

18559_NT

Statue of Abraham Lincoln (New York City)

Explore the abstract of this artwork.

An outdoor bronze statue of Abraham Lincoln by Henry Kirke Brown is installed in Union Square in Manhattan, New York. The statue was sponsored by the Union League Club of New York.

18560_T

Statue of Abraham Lincoln (New York City)

Focus on Statue of Abraham Lincoln (New York City) and discuss the Description and history.

Cast in 1870 and dedicated on September 16 of that year, the statue was originally installed at the southwest corner of Union Square, where the statue of Mahatma Gandhi now stands. In 1875, a stone and bronze rail fence was constructed around the statue of Lincoln; the fence included an inscription of text from his second inaugural address, "with malice toward none; charity toward all." During the 1930 redesign of Union Square Park, the statue was moved to its current location, but the fence remained. The statue is in axial alignment with the Independence Flagstaff and George Washington. It was conserved in 1992.

18560_NT

Statue of Abraham Lincoln (New York City)

Focus on this artwork and discuss the Description and history.

Cast in 1870 and dedicated on September 16 of that year, the statue was originally installed at the southwest corner of Union Square, where the statue of Mahatma Gandhi now stands. In 1875, a stone and bronze rail fence was constructed around the statue of Lincoln; the fence included an inscription of text from his second inaugural address, "with malice toward none; charity toward all." During the 1930 redesign of Union Square Park, the statue was moved to its current location, but the fence remained. The statue is in axial alignment with the Independence Flagstaff and George Washington. It was conserved in 1992.

18561_T

Young Hare

How does Young Hare elucidate its abstract?

Young Hare (German: Feldhase) is a 1502 watercolour and bodycolour painting by German artist Albrecht Dürer. Painted in 1502 in his workshop, it is acknowledged as a masterpiece of observational art alongside his Great Piece of Turf from the following year. The subject is rendered with almost photographic accuracy, and although the piece is normally given the title Young Hare, the portrait is sufficiently detailed for the hare to be identified as a mature specimen — the German title translates as "Field Hare" and the work is often referred to in English as the Hare or Wild Hare. The subject was particularly challenging: the hare's fur lay in different directions and the animal was mottled with lighter and darker patches all over, Dürer had to adapt the standard conventions of shading to indicate the outline of the subject by the fall of light across the figure. Despite the technical challenges presented in rendering the appearance of light with a multi-coloured, multi-textured subject, Dürer not only managed to create a detailed, almost scientific, study of the animal but also infuses the picture with a warm golden light that hits the hare from the left, highlighting the ears and the run of hair along the body, giving a spark of life to the eye, and casting a strange shadow to the right. Dürer lightly sketched the image and underpainted it with some washes of brown watercolour. Then he patiently built up the texture of the fur with a variety of dark and light brushstrokes in both watercolour and bodycolour. Gradually, the painting was brought to completion with the addition of a few refined details such as the whiskers and the meticulous reflection of a window in the creature's eye. There is some debate over how Dürer accurately captured the image of the hare: he may have sketched a hare in the wild and filled in the individual details from a dead animal, or captured one and held it alive in his studio while he worked on the painting. A reflection of the window frame in the hare's eye is often cited as evidence for the theory that Dürer copied the hare from life in his workshop, but this cross-barred reflection is a technique that Dürer frequently used to add vitality to the eyes of his subjects. Dürer used his watercolour and bodycolour studies as source material for his prints, but in The Holy Family with Three Hares the hares are modestly rendered, and in the only of his other prints to feature a hare, the 1504 copperplate engraving Adam and Eve, the hare is turning away, half-hidden behind the legs of Eve. The prominent date and Dürer monogram on the Young Hare indicate that Dürer considered it a work in its own right rather than merely a preparatory sketch. The painting engendered numerous copies: at least twelve from contemporaries are known.

18561_NT

Young Hare

How does this artwork elucidate its abstract?

Young Hare (German: Feldhase) is a 1502 watercolour and bodycolour painting by German artist Albrecht Dürer. Painted in 1502 in his workshop, it is acknowledged as a masterpiece of observational art alongside his Great Piece of Turf from the following year. The subject is rendered with almost photographic accuracy, and although the piece is normally given the title Young Hare, the portrait is sufficiently detailed for the hare to be identified as a mature specimen — the German title translates as "Field Hare" and the work is often referred to in English as the Hare or Wild Hare. The subject was particularly challenging: the hare's fur lay in different directions and the animal was mottled with lighter and darker patches all over, Dürer had to adapt the standard conventions of shading to indicate the outline of the subject by the fall of light across the figure. Despite the technical challenges presented in rendering the appearance of light with a multi-coloured, multi-textured subject, Dürer not only managed to create a detailed, almost scientific, study of the animal but also infuses the picture with a warm golden light that hits the hare from the left, highlighting the ears and the run of hair along the body, giving a spark of life to the eye, and casting a strange shadow to the right. Dürer lightly sketched the image and underpainted it with some washes of brown watercolour. Then he patiently built up the texture of the fur with a variety of dark and light brushstrokes in both watercolour and bodycolour. Gradually, the painting was brought to completion with the addition of a few refined details such as the whiskers and the meticulous reflection of a window in the creature's eye. There is some debate over how Dürer accurately captured the image of the hare: he may have sketched a hare in the wild and filled in the individual details from a dead animal, or captured one and held it alive in his studio while he worked on the painting. A reflection of the window frame in the hare's eye is often cited as evidence for the theory that Dürer copied the hare from life in his workshop, but this cross-barred reflection is a technique that Dürer frequently used to add vitality to the eyes of his subjects. Dürer used his watercolour and bodycolour studies as source material for his prints, but in The Holy Family with Three Hares the hares are modestly rendered, and in the only of his other prints to feature a hare, the 1504 copperplate engraving Adam and Eve, the hare is turning away, half-hidden behind the legs of Eve. The prominent date and Dürer monogram on the Young Hare indicate that Dürer considered it a work in its own right rather than merely a preparatory sketch. The painting engendered numerous copies: at least twelve from contemporaries are known.

18562_T

A Hermit

Focus on A Hermit and analyze the abstract.

A Hermit is an oil painting on oak panel by Dutch Golden Age painter Gerrit Dou, created c. 1661. It depicts a monkish figure, of very old age, surrounded by symbols of vanitas (skull, candle, hourglass), which serve as a reminder of the brevity of human life. He looks at the viewer, as he leafs through the Bible open in front of him.The painting is in the Wallace Collection, in London.

18562_NT

A Hermit

Focus on this artwork and analyze the abstract.

A Hermit is an oil painting on oak panel by Dutch Golden Age painter Gerrit Dou, created c. 1661. It depicts a monkish figure, of very old age, surrounded by symbols of vanitas (skull, candle, hourglass), which serve as a reminder of the brevity of human life. He looks at the viewer, as he leafs through the Bible open in front of him.The painting is in the Wallace Collection, in London.

18563_T

Macomb's Dam Bridge (painting)

In Macomb's Dam Bridge (painting), how is the abstract discussed?

Macomb's Dam Bridge is a 1935 oil painting by the American Realist artist Edward Hopper. The work depicts New York City's Macombs Dam Bridge; the scene is quiet and empty in contrast to the bridge's usual traffic. It is in the collection of the Brooklyn Museum, New York.

18563_NT

Macomb's Dam Bridge (painting)

In this artwork, how is the abstract discussed?

Macomb's Dam Bridge is a 1935 oil painting by the American Realist artist Edward Hopper. The work depicts New York City's Macombs Dam Bridge; the scene is quiet and empty in contrast to the bridge's usual traffic. It is in the collection of the Brooklyn Museum, New York.

18564_T

Mr. Stringy

Focus on Mr. Stringy and explore the abstract.

Mr. Stringy, also known as The Wooden Man or just The Man, is a piece of folk art that has become a popular tourist attraction on the Great Alpine Road in East Gippsland, Victoria, Australia. The first Mr. Stringy was carved into a tree stump in about 1929, whereas the current Mr. Stringy was carved from a stringybark log buried into ground in the mid-to-late 1960s. He is regularly repainted as different characters by anonymous community members.

18564_NT

Mr. Stringy

Focus on this artwork and explore the abstract.

Mr. Stringy, also known as The Wooden Man or just The Man, is a piece of folk art that has become a popular tourist attraction on the Great Alpine Road in East Gippsland, Victoria, Australia. The first Mr. Stringy was carved into a tree stump in about 1929, whereas the current Mr. Stringy was carved from a stringybark log buried into ground in the mid-to-late 1960s. He is regularly repainted as different characters by anonymous community members.

18565_T

Mr. Stringy

Focus on Mr. Stringy and explain the History.

Gippsland has a rich history of mysterious carved wooden characters across its extensive State forests and roadsides. They include Pons asinorum near Cann River (early 1920s), Alfonso Spaghetti near Orbost (1924), the first Mr Stringy at Dead Horse Gap (1929), several Fish Faithfull sculptures near Omeo (1930s), the Parnaby Bushfire Totems at Noorinbee (1951), the second Mr Stringy (late 1960s), through to the more recent Pretty Boy near Dargo (2016). Most are gone now, having rotted away, burnt by bushfires, stolen or damaged by vandals, their stories often lost. Gippsland’s most famous surviving wooden man is undoubtedly Mr Stringy who stands stoically at Dead Horse Flat on a lonely stretch of the Great Alpine Road between Bairnsdale and Omeo.There is often some confusion, but there have been two Mr. Stringys' at this remote spot.The original was carved into a tree stump in about 1929 by William (Bill) Harold Henham of Murrindal who was working on a nearby Country Roads Board (CRB) bridge.Bill initially named him Mr. Smokey, and it’s unclear when or how his name changed.Some early references claim he was carved by someone called "Jimmy the Liar", but now it’s generally accepted that Bill Henham carved him, and that this may have just been a nickname given to him by local CRB crews.A newspaper article in the Melbourne Herald in March 1935 referred to him as Mr Samuel Stringy. Other colloquial names included “Mr Stumpy”, “The Wooden Man” or simply “The Man”. He stood about 6 foot tall and there were many iterations of his appearance over the decades as historical photos reveal. He began with a kerosene tin hat, five o'clock shadow and was smoking a pipe with his right hand. Arms were later added and then removed, a moustache and heavy eyebrow were painted, along with legs.He was repeatedly vandalised and finally beheaded in the mid-to-late 1960s.The second, and current, Mr. Stringy was carved by Bill at the request of the Omeo Shire. It is located close to the edge of the road and near to the original tree stump, which is now gone.The current Mr Stringy is a heavy log set into the ground compared to the previous tree stump.At the time, Bill Henham also made a copy of Mr Stringy which he kept outside his home in Morrison Street Bairnsdale and used as a letterbox. It still survives with the family and is now owned by his eldest grandson, Graham Wigg.Mr Stringy has been refurbished many times and was once routinely maintained by CRB road crews with leftover paint. It is not certain when the community first began painting Mr. Stringy into his many unique characters.

18565_NT

Mr. Stringy

Focus on this artwork and explain the History.

Gippsland has a rich history of mysterious carved wooden characters across its extensive State forests and roadsides. They include Pons asinorum near Cann River (early 1920s), Alfonso Spaghetti near Orbost (1924), the first Mr Stringy at Dead Horse Gap (1929), several Fish Faithfull sculptures near Omeo (1930s), the Parnaby Bushfire Totems at Noorinbee (1951), the second Mr Stringy (late 1960s), through to the more recent Pretty Boy near Dargo (2016). Most are gone now, having rotted away, burnt by bushfires, stolen or damaged by vandals, their stories often lost. Gippsland’s most famous surviving wooden man is undoubtedly Mr Stringy who stands stoically at Dead Horse Flat on a lonely stretch of the Great Alpine Road between Bairnsdale and Omeo.There is often some confusion, but there have been two Mr. Stringys' at this remote spot.The original was carved into a tree stump in about 1929 by William (Bill) Harold Henham of Murrindal who was working on a nearby Country Roads Board (CRB) bridge.Bill initially named him Mr. Smokey, and it’s unclear when or how his name changed.Some early references claim he was carved by someone called "Jimmy the Liar", but now it’s generally accepted that Bill Henham carved him, and that this may have just been a nickname given to him by local CRB crews.A newspaper article in the Melbourne Herald in March 1935 referred to him as Mr Samuel Stringy. Other colloquial names included “Mr Stumpy”, “The Wooden Man” or simply “The Man”. He stood about 6 foot tall and there were many iterations of his appearance over the decades as historical photos reveal. He began with a kerosene tin hat, five o'clock shadow and was smoking a pipe with his right hand. Arms were later added and then removed, a moustache and heavy eyebrow were painted, along with legs.He was repeatedly vandalised and finally beheaded in the mid-to-late 1960s.The second, and current, Mr. Stringy was carved by Bill at the request of the Omeo Shire. It is located close to the edge of the road and near to the original tree stump, which is now gone.The current Mr Stringy is a heavy log set into the ground compared to the previous tree stump.At the time, Bill Henham also made a copy of Mr Stringy which he kept outside his home in Morrison Street Bairnsdale and used as a letterbox. It still survives with the family and is now owned by his eldest grandson, Graham Wigg.Mr Stringy has been refurbished many times and was once routinely maintained by CRB road crews with leftover paint. It is not certain when the community first began painting Mr. Stringy into his many unique characters.

18566_T

Mr. Stringy

Explore the Current Description of this artwork, Mr. Stringy.

The current Mr. Stringy is located at Dead Horse Flat on a remote and isolated section of the Great Alpine Road alongside the Tambo River in East Gippsland, at an elevation of 203 m (666 ft). The nearest habitation is the small farming community of Tambo Crossing, some 8 km (5.0 mi) south of the sculpture, with the nearest population centres being the small towns of Ensay 12 km (7.5 mi) north, and Bruthen 39 km (24 mi) south.The current Mr. Stringy is carved from a single timber log, with an over-large head and torso but without legs or arms. The wood used is probably a piece of durable box or stringybark, from which the name was possibly derived.Mr. Stringy stands 1.67 m (5 ft 6 in) tall above ground, with a further 0.5 m (1 ft 8 in) buried below. He has a diameter of 0.40 m (1 ft 4 in) and a circumference of 1.325 m (4 ft 4.2 in). The carved head, neck, and shoulders take up half of the height above ground, with the remainder being the undifferentiated torso. The face area has been flattened from the natural curve of the log, and has carved eye sockets and the remains of a nose, which has possibly been lost at some time by weathering or by vandalism.

18566_NT

Mr. Stringy

Explore the Current Description of this artwork.

The current Mr. Stringy is located at Dead Horse Flat on a remote and isolated section of the Great Alpine Road alongside the Tambo River in East Gippsland, at an elevation of 203 m (666 ft). The nearest habitation is the small farming community of Tambo Crossing, some 8 km (5.0 mi) south of the sculpture, with the nearest population centres being the small towns of Ensay 12 km (7.5 mi) north, and Bruthen 39 km (24 mi) south.The current Mr. Stringy is carved from a single timber log, with an over-large head and torso but without legs or arms. The wood used is probably a piece of durable box or stringybark, from which the name was possibly derived.Mr. Stringy stands 1.67 m (5 ft 6 in) tall above ground, with a further 0.5 m (1 ft 8 in) buried below. He has a diameter of 0.40 m (1 ft 4 in) and a circumference of 1.325 m (4 ft 4.2 in). The carved head, neck, and shoulders take up half of the height above ground, with the remainder being the undifferentiated torso. The face area has been flattened from the natural curve of the log, and has carved eye sockets and the remains of a nose, which has possibly been lost at some time by weathering or by vandalism.

18567_T

Mr. Stringy

Focus on Mr. Stringy and discuss the Folk art.

Mr. Stringy is regularly and anonymously repainted as different characters, usually by members of the local community. The painting and maintenance of Mr. Stringy is not funded nor coordinated by any government or private organisation or individual, and is a type of modern folk art for the Tambo Valley and Omeo District. Despite not being officially recognised, redecoration of Mr. Stringy is condoned and encouraged by both the community and local authorities. The characters often of a topical nature, such as a player from the Omeo & District Football League premiership football or netball team for that year, a cyclist to mark the Great Victorian Bike Ride when it travelled along the Great Alpine Road, and Cadel Evans following his win in the 2011 Tour de France. The sculpture is sometimes painted as generic characters, for example a blushing bride, or a skier around the start of the ski season. Alternatively it may be painted as a figure from popular culture, such as Homer Simpson or Wonder Woman. More recently he was painted as a tribute to firefighters after the 2019- 2020 bushfires. Mr. Stringy is sometimes just given a mild makeover, such as by modifying an existing painted character by adding a piece of clothing or simple decoration like balloons, ribbons, or streamers. This is often to celebrate an occasion such as Christmas or a sporting victory. At other times it is poorly painted or mildly vandalised. For example, he once had a tin of black paint poured over him and local community members promptly respond by redecorating and repainting him into a new character. The unlikely existence of Mr. Stringy in a remote roadside location, and his regularly changing characters, make him a popular figure with current and former locals of the district, as well as a tourist attraction for visitors to the area.

18567_NT

Mr. Stringy

Focus on this artwork and discuss the Folk art.

Mr. Stringy is regularly and anonymously repainted as different characters, usually by members of the local community. The painting and maintenance of Mr. Stringy is not funded nor coordinated by any government or private organisation or individual, and is a type of modern folk art for the Tambo Valley and Omeo District. Despite not being officially recognised, redecoration of Mr. Stringy is condoned and encouraged by both the community and local authorities. The characters often of a topical nature, such as a player from the Omeo & District Football League premiership football or netball team for that year, a cyclist to mark the Great Victorian Bike Ride when it travelled along the Great Alpine Road, and Cadel Evans following his win in the 2011 Tour de France. The sculpture is sometimes painted as generic characters, for example a blushing bride, or a skier around the start of the ski season. Alternatively it may be painted as a figure from popular culture, such as Homer Simpson or Wonder Woman. More recently he was painted as a tribute to firefighters after the 2019- 2020 bushfires. Mr. Stringy is sometimes just given a mild makeover, such as by modifying an existing painted character by adding a piece of clothing or simple decoration like balloons, ribbons, or streamers. This is often to celebrate an occasion such as Christmas or a sporting victory. At other times it is poorly painted or mildly vandalised. For example, he once had a tin of black paint poured over him and local community members promptly respond by redecorating and repainting him into a new character. The unlikely existence of Mr. Stringy in a remote roadside location, and his regularly changing characters, make him a popular figure with current and former locals of the district, as well as a tourist attraction for visitors to the area.

18568_T

Mr. Stringy

How does Mr. Stringy elucidate its Thefts and vandalism?

Due to its remote location and prominence, the sculpture is a relatively easy target for vandalism, although its local popularity makes genuine vandalism rare. While the heavy log acts as a deterrent, it has also been modified and strengthened to prevent further theft or damage.Despite the increased security measures, Mr. Stringy was stolen in October 2010 after being winched out of the ground by unknown thieves. The Victoria Police officer based in Omeo harshly described the theft of this "icon of the area" as "the work of some idiot", and stated that it was "a bloody disgrace". Mr. Stringy was later found dumped down a nearby embankment of the Tambo River, and was retrieved and reinstated by forestry staff from the Department of Sustainability and Environment Office at Swifts Creek.

18568_NT

Mr. Stringy

How does this artwork elucidate its Thefts and vandalism?

Due to its remote location and prominence, the sculpture is a relatively easy target for vandalism, although its local popularity makes genuine vandalism rare. While the heavy log acts as a deterrent, it has also been modified and strengthened to prevent further theft or damage.Despite the increased security measures, Mr. Stringy was stolen in October 2010 after being winched out of the ground by unknown thieves. The Victoria Police officer based in Omeo harshly described the theft of this "icon of the area" as "the work of some idiot", and stated that it was "a bloody disgrace". Mr. Stringy was later found dumped down a nearby embankment of the Tambo River, and was retrieved and reinstated by forestry staff from the Department of Sustainability and Environment Office at Swifts Creek.

18569_T

Landscape with Saint John on Patmos

Focus on Landscape with Saint John on Patmos and analyze the abstract.

Landscape with Saint John on Patmos (French: Paysage avec saint Jean à Patmos) is a 1640 neoclassical painting by Nicolas Poussin, now in the Art Institute of Chicago. The painting features Saint John, banished to Patmos, writing the Book of Revelation amidst a classical landscape background.

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Landscape with Saint John on Patmos

Focus on this artwork and analyze the abstract.

Landscape with Saint John on Patmos (French: Paysage avec saint Jean à Patmos) is a 1640 neoclassical painting by Nicolas Poussin, now in the Art Institute of Chicago. The painting features Saint John, banished to Patmos, writing the Book of Revelation amidst a classical landscape background.

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Landscape with Saint John on Patmos

In Landscape with Saint John on Patmos, how is the Background discussed?

Nicolas Poussin is widely regarded as a proponent of the classical movement of the 17th century. In notes left unfinished before his death, Poussin described what he called 'the grand manner', paintings featuring a grand motif, and appropriate arrangement, measure, and form.

18570_NT

Landscape with Saint John on Patmos

In this artwork, how is the Background discussed?

Nicolas Poussin is widely regarded as a proponent of the classical movement of the 17th century. In notes left unfinished before his death, Poussin described what he called 'the grand manner', paintings featuring a grand motif, and appropriate arrangement, measure, and form.

18571_T

Landscape with Saint John on Patmos

Focus on Landscape with Saint John on Patmos and explore the Subject and themes.

In Poussin's paintings, large landscapes typically dominate the canvas. Patmos is portrayed by Poussin as an open environment, showing a new world created from the old, symbolized by the ruined Greek buildings. The setting shows a sunny sky above a classical era environment. In the foreground lies Saint John, posed similarly to an Ancient Greek god. Saint John was banished to Patmos by the Roman Emperor Domitian for his Christian beliefs. Known for his visions recorded in the Book of Revelation, the painting represents the Saint recording his works. In the background there are two oak trees, an obelisk, and the ruins of an ancient temple. The decaying ancient buildings, which would often be repurposed by the Church, suggest the replacement of the old ways with Christianity. From the hills to the sky, the rest of the landscape is an imaginary setting created defying the rules of atmospheric perspective.

18571_NT

Landscape with Saint John on Patmos

Focus on this artwork and explore the Subject and themes.

In Poussin's paintings, large landscapes typically dominate the canvas. Patmos is portrayed by Poussin as an open environment, showing a new world created from the old, symbolized by the ruined Greek buildings. The setting shows a sunny sky above a classical era environment. In the foreground lies Saint John, posed similarly to an Ancient Greek god. Saint John was banished to Patmos by the Roman Emperor Domitian for his Christian beliefs. Known for his visions recorded in the Book of Revelation, the painting represents the Saint recording his works. In the background there are two oak trees, an obelisk, and the ruins of an ancient temple. The decaying ancient buildings, which would often be repurposed by the Church, suggest the replacement of the old ways with Christianity. From the hills to the sky, the rest of the landscape is an imaginary setting created defying the rules of atmospheric perspective.

18572_T

Kullervo Sets Off for War

Focus on Kullervo Sets Off for War and explain the abstract.

Kullervo Sets Off for War (Finnish: Kullervon sotaanlähtö) is a painting by Akseli Gallen-Kallela from the year 1901. He painted the subject in tempera painting (89 × 128 cm) and as a fresco (355 × 687 cm) which is located in the music hall of Old Student House of Helsinki University.

18572_NT

Kullervo Sets Off for War

Focus on this artwork and explain the abstract.

Kullervo Sets Off for War (Finnish: Kullervon sotaanlähtö) is a painting by Akseli Gallen-Kallela from the year 1901. He painted the subject in tempera painting (89 × 128 cm) and as a fresco (355 × 687 cm) which is located in the music hall of Old Student House of Helsinki University.

18573_T

The Oxbow

Explore the abstract of this artwork, The Oxbow.

View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm, commonly known as The Oxbow, is a seminal American landscape painting by Thomas Cole, founder of the Hudson River School. The 1836 painting depicts a Romantic panorama of the Connecticut River Valley just after a thunderstorm. It has been interpreted as a confrontation between wilderness and civilization.

18573_NT

The Oxbow

Explore the abstract of this artwork.

View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm, commonly known as The Oxbow, is a seminal American landscape painting by Thomas Cole, founder of the Hudson River School. The 1836 painting depicts a Romantic panorama of the Connecticut River Valley just after a thunderstorm. It has been interpreted as a confrontation between wilderness and civilization.

18574_T

The Oxbow

Focus on The Oxbow and discuss the Background.

Between 1833 and 1836, Thomas Cole, American painter and putative founder of the Hudson River School had been hard at work on his series of paintings The Course of Empire. The work was commissioned by New York patron Luman Reed, who had met Cole in 1832, and the two held a friendship largely based on Reed's generosity in buying Cole's paintings. Reed requested The Course of Empire to comprise no less than five paintings of a historic composition. Cole himself was excited by such a project, but doubt began to set in by the end of 1835. The work was slow and laborious, and Cole found great difficulty in painting the figures. Reed had begun to notice Cole was becoming lonely and depressed, and suggested that he suspend work on The Course of Empire and paint something that was more in his element for the April 1836 opening of the National Academy of Design's annual exhibition. Cole, in replying to Reed in a letter, stated that he felt obliged to finish the series as Reed had been so generous in his support, and instead suggested that he simply complete the last painting in the series and display that at the exhibition. Reed however, did not really like the idea, as he thought it might spoil the unveiling of the series as a whole. He suggested instead that he paint a picture much like the already completed second painting in the series, The Pastoral State. This depicted a peaceful setting which Reed thought "no man ever produced a more pleasing landscape in a more pleasing season." Responding in a letter in March 1836, Cole agreed to take Reed's advice and paint a picture for the exhibition, writing: Fancy pictures seldom sell & they generally take more time than views so I have determined to paint one of the latter. I have already commenced a view from Mt. Holyoke—it is about the finest scene I have in my sketchbook & is well known—it will be novel and I think effective—I could not find a subject very similar to your second picture & time would not allow me to invent one. Cole also comments that he used a larger canvas, as he was not able to ready a smaller frame in time for the exhibition, and moreover felt compelled to make a statement with the one painting he was to present.

18574_NT

The Oxbow

Focus on this artwork and discuss the Background.

Between 1833 and 1836, Thomas Cole, American painter and putative founder of the Hudson River School had been hard at work on his series of paintings The Course of Empire. The work was commissioned by New York patron Luman Reed, who had met Cole in 1832, and the two held a friendship largely based on Reed's generosity in buying Cole's paintings. Reed requested The Course of Empire to comprise no less than five paintings of a historic composition. Cole himself was excited by such a project, but doubt began to set in by the end of 1835. The work was slow and laborious, and Cole found great difficulty in painting the figures. Reed had begun to notice Cole was becoming lonely and depressed, and suggested that he suspend work on The Course of Empire and paint something that was more in his element for the April 1836 opening of the National Academy of Design's annual exhibition. Cole, in replying to Reed in a letter, stated that he felt obliged to finish the series as Reed had been so generous in his support, and instead suggested that he simply complete the last painting in the series and display that at the exhibition. Reed however, did not really like the idea, as he thought it might spoil the unveiling of the series as a whole. He suggested instead that he paint a picture much like the already completed second painting in the series, The Pastoral State. This depicted a peaceful setting which Reed thought "no man ever produced a more pleasing landscape in a more pleasing season." Responding in a letter in March 1836, Cole agreed to take Reed's advice and paint a picture for the exhibition, writing: Fancy pictures seldom sell & they generally take more time than views so I have determined to paint one of the latter. I have already commenced a view from Mt. Holyoke—it is about the finest scene I have in my sketchbook & is well known—it will be novel and I think effective—I could not find a subject very similar to your second picture & time would not allow me to invent one. Cole also comments that he used a larger canvas, as he was not able to ready a smaller frame in time for the exhibition, and moreover felt compelled to make a statement with the one painting he was to present.

18575_T

The Oxbow

How does The Oxbow elucidate its Composition?

The painting moves from a dark wilderness with shattered tree trunks on rugged cliffs in the foreground covered with violent rain clouds on the left to a light-filled and peaceful, cultivated landscape on the right, which borders the tranquility of the bending Connecticut River. The view Cole sought to paint was a particularly difficult one, as its panoramic breadth extended beyond the width of typical landscape paintings of the period. To solve this problem, Cole stitched together two separate views from Mt. Holyoke, creating a synthetic, rather than a faithful, image of the scene. On the hill in the far background, logging scars in the forest can be observed, which appear to form Hebrew letters. This was first noticed by Matthew Baigell long after the landscape was painted. It reads as Noah (נֹ֫חַ) If viewed upside down, as if from God's perspective, the word Shaddai is formed, "The Almighty." Cole gives himself a tiny self-portrait sitting on the rocks in the foreground with his easel.

18575_NT

The Oxbow

How does this artwork elucidate its Composition?

The painting moves from a dark wilderness with shattered tree trunks on rugged cliffs in the foreground covered with violent rain clouds on the left to a light-filled and peaceful, cultivated landscape on the right, which borders the tranquility of the bending Connecticut River. The view Cole sought to paint was a particularly difficult one, as its panoramic breadth extended beyond the width of typical landscape paintings of the period. To solve this problem, Cole stitched together two separate views from Mt. Holyoke, creating a synthetic, rather than a faithful, image of the scene. On the hill in the far background, logging scars in the forest can be observed, which appear to form Hebrew letters. This was first noticed by Matthew Baigell long after the landscape was painted. It reads as Noah (נֹ֫חַ) If viewed upside down, as if from God's perspective, the word Shaddai is formed, "The Almighty." Cole gives himself a tiny self-portrait sitting on the rocks in the foreground with his easel.

18576_T

Christ at the Sea of Galilee

Focus on Christ at the Sea of Galilee and analyze the abstract.

Christ at the Sea of Galilee is an oil painting by Jacopo Tintoretto. The painting depicts Jesus Christ raises a hand toward the apostles, who appear in a boat amid hostile waves at sea. It is an example of mannerism, a European art style that exaggerates proportion and favors compositional tension. This can be seen in the expressive postures of the figures and the muted, yet intense color of the sea and sky. Tintoretto had a mostly Venetian audience and was known for painting scenes of Venice, but this painting departs from this path. Additionally, the scene was made to look overly dramatic rather than realistic. The paint is thin and Tintoretto uses extreme highlights, intensifying the darkness and light that seems to come from a compressed and directed light source.The painting is on display in the Samuel H. Kress Collection at the National Gallery of Art, in Washington, D.C.

18576_NT

Christ at the Sea of Galilee

Focus on this artwork and analyze the abstract.

Christ at the Sea of Galilee is an oil painting by Jacopo Tintoretto. The painting depicts Jesus Christ raises a hand toward the apostles, who appear in a boat amid hostile waves at sea. It is an example of mannerism, a European art style that exaggerates proportion and favors compositional tension. This can be seen in the expressive postures of the figures and the muted, yet intense color of the sea and sky. Tintoretto had a mostly Venetian audience and was known for painting scenes of Venice, but this painting departs from this path. Additionally, the scene was made to look overly dramatic rather than realistic. The paint is thin and Tintoretto uses extreme highlights, intensifying the darkness and light that seems to come from a compressed and directed light source.The painting is on display in the Samuel H. Kress Collection at the National Gallery of Art, in Washington, D.C.

18577_T

Peasant with a Wheelbarrow

In Peasant with a Wheelbarrow, how is the abstract discussed?

Peasant with a Wheelbarrow is an oil-on-canvas painting by French artist Jean-François Millet, begun in 1848 but not finished until Millet found a buyer in 1852. It depicts a peasant man pushing a wheelbarrow. It was acquired in 1949 by the Indianapolis Museum of Art in Indianapolis, Indiana.

18577_NT

Peasant with a Wheelbarrow

In this artwork, how is the abstract discussed?

Peasant with a Wheelbarrow is an oil-on-canvas painting by French artist Jean-François Millet, begun in 1848 but not finished until Millet found a buyer in 1852. It depicts a peasant man pushing a wheelbarrow. It was acquired in 1949 by the Indianapolis Museum of Art in Indianapolis, Indiana.

18578_T

Peasant with a Wheelbarrow

Focus on Peasant with a Wheelbarrow and explore the Description.

In Peasant with a Wheelbarrow, Millet took a peasant farmer with simple clothes and tools, and transformed him into a symbol of the dignity of manual labor. The peasant is utterly idealized, bathed in a golden light and transmuted into an emblem of a vanishing way of life.

18578_NT

Peasant with a Wheelbarrow

Focus on this artwork and explore the Description.

In Peasant with a Wheelbarrow, Millet took a peasant farmer with simple clothes and tools, and transformed him into a symbol of the dignity of manual labor. The peasant is utterly idealized, bathed in a golden light and transmuted into an emblem of a vanishing way of life.

18579_T

Peasant with a Wheelbarrow

Focus on Peasant with a Wheelbarrow and explain the Historical information.

Moving to Barbizon in 1849, Millet quickly became associated with the Barbizon School. Although he shared their enthusiasm for painting fresh, outdoors scenes, Millet also liked to depict the local farmers. He found the nobility of the peasants, with their lives grounded in the soil, a welcome change from the instability of modern life. The school was brought to its highest prominence by the Revolution of 1848. The classically trained Millet was making a powerful political statement with this image, which raised a humble rural scene to the same level as a history painting. This intimate portrait reveals Millet's poetic side. Soon, he would transition to epic canvases for the Salon.

18579_NT

Peasant with a Wheelbarrow

Focus on this artwork and explain the Historical information.

Moving to Barbizon in 1849, Millet quickly became associated with the Barbizon School. Although he shared their enthusiasm for painting fresh, outdoors scenes, Millet also liked to depict the local farmers. He found the nobility of the peasants, with their lives grounded in the soil, a welcome change from the instability of modern life. The school was brought to its highest prominence by the Revolution of 1848. The classically trained Millet was making a powerful political statement with this image, which raised a humble rural scene to the same level as a history painting. This intimate portrait reveals Millet's poetic side. Soon, he would transition to epic canvases for the Salon.

18580_T

Peasant with a Wheelbarrow

Explore the Acquisition about the Historical information of this artwork, Peasant with a Wheelbarrow.

Peasant with a Wheelbarrow was acquired by the IMA in 1949, a gift of the James E. Roberts Fund and the Alumni Association of the John Herron Art School. It has the accession number 49.48.

18580_NT

Peasant with a Wheelbarrow

Explore the Acquisition about the Historical information of this artwork.

Peasant with a Wheelbarrow was acquired by the IMA in 1949, a gift of the James E. Roberts Fund and the Alumni Association of the John Herron Art School. It has the accession number 49.48.

18581_T

Jersey City Police Memorial

Focus on Jersey City Police Memorial and discuss the abstract.

The Jersey City Police Memorial is a tribute to the fallen officers of Jersey City Police Department located on Montgomery Street near City Hall in Jersey City, New Jersey.

18581_NT

Jersey City Police Memorial

Focus on this artwork and discuss the abstract.

The Jersey City Police Memorial is a tribute to the fallen officers of Jersey City Police Department located on Montgomery Street near City Hall in Jersey City, New Jersey.

18582_T

Jersey City Police Memorial

How does Jersey City Police Memorial elucidate its Statue?

The work was created in 1936 by Archimedes Giacomantonio. The 7 ft (2.1 m) polished bronze and iron statue depicts a police office standing in uniform with his right hand on his holster and his left holding his jacket lapel. The figure is a composite of two Jersey City officers who modelled for the artist.

18582_NT

Jersey City Police Memorial

How does this artwork elucidate its Statue?

The work was created in 1936 by Archimedes Giacomantonio. The 7 ft (2.1 m) polished bronze and iron statue depicts a police office standing in uniform with his right hand on his holster and his left holding his jacket lapel. The figure is a composite of two Jersey City officers who modelled for the artist.

18583_T

Jersey City Police Memorial

Focus on Jersey City Police Memorial and analyze the Bayview Cemetery.

The work was originally installed in Bayview – New York Bay Cemetery in 1936 in a dedication ceremony led by Mayor of Jersey City Frank Hague. A granite cube 4 feet square pedestal is inscribed "IN MEMORY OF THE DECEASED MEMBERS OF THE JERSEY CITY POLICE DEPARTMENT ERECTED BY THEIR COMRADES 1936 FRANK HAGUE MAYOR THOMAS J. WOLFE DIRECTOR OF PUBLIC SAFETY". In 1961 the statue was stolen and retrieved. In 1975, the memorial was again stolen. It was cut into pieces and almost sold for scrap. The pieces were found in various locations.

18583_NT

Jersey City Police Memorial

Focus on this artwork and analyze the Bayview Cemetery.

The work was originally installed in Bayview – New York Bay Cemetery in 1936 in a dedication ceremony led by Mayor of Jersey City Frank Hague. A granite cube 4 feet square pedestal is inscribed "IN MEMORY OF THE DECEASED MEMBERS OF THE JERSEY CITY POLICE DEPARTMENT ERECTED BY THEIR COMRADES 1936 FRANK HAGUE MAYOR THOMAS J. WOLFE DIRECTOR OF PUBLIC SAFETY". In 1961 the statue was stolen and retrieved. In 1975, the memorial was again stolen. It was cut into pieces and almost sold for scrap. The pieces were found in various locations.

18584_T

Jersey City Police Memorial

In Jersey City Police Memorial, how is the City Hall discussed?

The statue was restored by the original artist and relocated to new pedestal built at new site at the rear side of Jersey City City Hall and rededicated in 1976. On the mortared stone pedestal: "IN MEMORY OF DECEASED MEMBERS OF THE JERSEY CITY POLICE".

18584_NT

Jersey City Police Memorial

In this artwork, how is the City Hall discussed?

The statue was restored by the original artist and relocated to new pedestal built at new site at the rear side of Jersey City City Hall and rededicated in 1976. On the mortared stone pedestal: "IN MEMORY OF DECEASED MEMBERS OF THE JERSEY CITY POLICE".

18585_T

Statue of Alexander von Humboldt (Mexico City)

Focus on Statue of Alexander von Humboldt (Mexico City) and explore the abstract.

The statue of Alexander von Humboldt is installed in Mexico City's Alameda Central, in Mexico. The base has the inscription, "La Nación Mexicana a Alejandro de Humboldt – Benemerito de la Patria 1799–1999". The statue was built after Humboldt visited Mexico.

18585_NT

Statue of Alexander von Humboldt (Mexico City)

Focus on this artwork and explore the abstract.

The statue of Alexander von Humboldt is installed in Mexico City's Alameda Central, in Mexico. The base has the inscription, "La Nación Mexicana a Alejandro de Humboldt – Benemerito de la Patria 1799–1999". The statue was built after Humboldt visited Mexico.

18586_T

Statue of Queen Anne, Queen Anne's Gate

Focus on Statue of Queen Anne, Queen Anne's Gate and explain the History.

When Queen Anne's Gate was built by the banker William Paterson in 1704–05, it originally formed two separate closes divided by a wall with two openings, with Queen Square to the west and Park Street to the east. The statue is first mentioned in Edward Hatton's A New View of London (1708) as being "erected in full proportion on a pedestal at the E.End of Q[ueen]. Square, Westminster". An engraved map of 1710 depicts the statue of Queen Anne in the middle of the wall, flanked by the gateways on either side. At some point in the early 19th century the statue was moved to a new position in the square. The Gentleman's Magazine reported in 1814 that "the statue until of late occupied a conspicuous situation on the East end of the square, but now we find it huddled up in a corner".By 1862, the statue had lost its nose and right arm. The Earl of Caernarvon and other local residents pressed the Office of Works to repair it, saying in a letter that the residents had long been dissatisfied with the statue's poor condition. His request received a favourable response from the First Commissioner of Works, William Cowper. Although Cowper regarded the statue as being of "little merit as a work of art", he did not "think it desirable that a statue of an illustrious sovereign should be left in a public place without a nose or right arm." The sculptor John Thomas was hired to repair it. He based the face on a "squeeze" (plaster cast) of Francis Bird's statue of Queen Anne outside St Paul's Cathedral. The right arm was replaced with a marble substitute and a replacement bronze sceptre was also installed. The statue's poor condition was due in large part to the local children's mistaken belief that the statue represented the ill-reputed Queen Mary. They would ask "Bloody Queen Mary" to come down from her pedestal, and upon "receiving, naturally, no response, [they would] assail it with missiles". Cowper recommended in 1862 that "if the name of Queen Anne be written in legible characters on the pedestal, their puerile outrage will not be repeated." The inscription was therefore added by John Thomas as part of his restoration work. Nonetheless the vandalism continued, and it was not until a generation later that the complaints ceased. Another legend concerning the statue holds that on 1 August, the anniversary of Queen Anne's death, the statue climbs down and walks three times up and down the street.The dividing wall between the two streets was demolished in 1873 to form the present Queen Anne's Square, and at that time the statue was removed to its present position. It became the subject of a long-running dispute over ownership, as it was not brought into the care of the Office of Works when the Public Statues Act 1854 was enacted. The owner of 15 Queen Anne's Gate permitted the Office of Works to carry out repairs in 1862 but objected to its removal and did not transfer it into public ownership.In 1938, the house's then owner, E. Thornton Smith, carried out repairs at his own expense. He resolved the question of ongoing maintenance through his position as Master of the Worshipful Company of Gardeners by presenting the statue to the Company and arranging that it would pay for any future repairs with the Office of Works carrying out the work. An 18-inch thick brick wall was built around the statue in 1940 to protect it from enemy bombing during the Second World War; it was only in April 1947 that the wall was removed.

18586_NT

Statue of Queen Anne, Queen Anne's Gate

Focus on this artwork and explain the History.

When Queen Anne's Gate was built by the banker William Paterson in 1704–05, it originally formed two separate closes divided by a wall with two openings, with Queen Square to the west and Park Street to the east. The statue is first mentioned in Edward Hatton's A New View of London (1708) as being "erected in full proportion on a pedestal at the E.End of Q[ueen]. Square, Westminster". An engraved map of 1710 depicts the statue of Queen Anne in the middle of the wall, flanked by the gateways on either side. At some point in the early 19th century the statue was moved to a new position in the square. The Gentleman's Magazine reported in 1814 that "the statue until of late occupied a conspicuous situation on the East end of the square, but now we find it huddled up in a corner".By 1862, the statue had lost its nose and right arm. The Earl of Caernarvon and other local residents pressed the Office of Works to repair it, saying in a letter that the residents had long been dissatisfied with the statue's poor condition. His request received a favourable response from the First Commissioner of Works, William Cowper. Although Cowper regarded the statue as being of "little merit as a work of art", he did not "think it desirable that a statue of an illustrious sovereign should be left in a public place without a nose or right arm." The sculptor John Thomas was hired to repair it. He based the face on a "squeeze" (plaster cast) of Francis Bird's statue of Queen Anne outside St Paul's Cathedral. The right arm was replaced with a marble substitute and a replacement bronze sceptre was also installed. The statue's poor condition was due in large part to the local children's mistaken belief that the statue represented the ill-reputed Queen Mary. They would ask "Bloody Queen Mary" to come down from her pedestal, and upon "receiving, naturally, no response, [they would] assail it with missiles". Cowper recommended in 1862 that "if the name of Queen Anne be written in legible characters on the pedestal, their puerile outrage will not be repeated." The inscription was therefore added by John Thomas as part of his restoration work. Nonetheless the vandalism continued, and it was not until a generation later that the complaints ceased. Another legend concerning the statue holds that on 1 August, the anniversary of Queen Anne's death, the statue climbs down and walks three times up and down the street.The dividing wall between the two streets was demolished in 1873 to form the present Queen Anne's Square, and at that time the statue was removed to its present position. It became the subject of a long-running dispute over ownership, as it was not brought into the care of the Office of Works when the Public Statues Act 1854 was enacted. The owner of 15 Queen Anne's Gate permitted the Office of Works to carry out repairs in 1862 but objected to its removal and did not transfer it into public ownership.In 1938, the house's then owner, E. Thornton Smith, carried out repairs at his own expense. He resolved the question of ongoing maintenance through his position as Master of the Worshipful Company of Gardeners by presenting the statue to the Company and arranging that it would pay for any future repairs with the Office of Works carrying out the work. An 18-inch thick brick wall was built around the statue in 1940 to protect it from enemy bombing during the Second World War; it was only in April 1947 that the wall was removed.

18587_T

The Lady of Shalott (painting)

Explore the abstract of this artwork, The Lady of Shalott (painting).

The Lady of Shalott is a painting of 1888 by the English painter John William Waterhouse. It is a representation of the ending of Alfred, Lord Tennyson's 1832 poem of the same name. Waterhouse painted three versions of this character, in 1888, 1894 and 1915. It is one of his most famous works, which adopted much of the style of the Pre-Raphaelite Brotherhood, though Waterhouse was painting several decades after the Brotherhood split up during his early childhood. The Lady of Shalott was donated to the public by Sir Henry Tate in 1894 and is usually on display in Tate Britain, London, in room 1840.

18587_NT

The Lady of Shalott (painting)

Explore the abstract of this artwork.

The Lady of Shalott is a painting of 1888 by the English painter John William Waterhouse. It is a representation of the ending of Alfred, Lord Tennyson's 1832 poem of the same name. Waterhouse painted three versions of this character, in 1888, 1894 and 1915. It is one of his most famous works, which adopted much of the style of the Pre-Raphaelite Brotherhood, though Waterhouse was painting several decades after the Brotherhood split up during his early childhood. The Lady of Shalott was donated to the public by Sir Henry Tate in 1894 and is usually on display in Tate Britain, London, in room 1840.

18588_T

The Lady of Shalott (painting)

Focus on The Lady of Shalott (painting) and discuss the Description.

The Lady of Shalott an 1888 oil-on-canvas painting, is one of John William Waterhouse's most famous works. It depicts a scene from Tennyson's poem in which the poet describes the plight and the predicament of a young woman, loosely based on the figure of Elaine of Astolat from medieval Arthurian legend, who yearned with an unrequited love for the knight Sir Lancelot, isolated under an undisclosed curse in a tower near King Arthur's Camelot. Waterhouse painted three versions of this character, in 1888, 1894 and 1915.The painting has the precisely painted detail and bright colours associated with the Pre-Raphaelites. It pictures the titular character of Tennyson's poem, also titled The Lady of Shalott (1842). In the poem, the Lady had been confined to her quarters, under a curse that forbade her to go outside or even look directly out of a window; her only view of the world was through a mirror. She sat below the mirror and wove a tapestry of scenes she could see by the reflection. After defying the curse by looking out the window at Camelot, the Lady has made her way to a small boat. This is the moment that is pictured in Waterhouse's painting, as the Lady is leaving to face her destiny. She is pictured sitting on the tapestry she has woven. The Lady has a lantern at the front of her boat and a crucifix is positioned near the bow. Next to the crucifix are three candles. Candles were a representation of life – two of the candles are already blown out, signifying that her death is soon to come. Aside from the metaphoric details, this painting is valued for Waterhouse's realistic painting abilities. The Lady's dress is stark white against the much darker hues of the background. Waterhouse's close attention to detail and colour, the accentuation of the beauty of nature, realist quality, and his interpretation of her vulnerable, wistful face are further demonstration of his artistic skill. Naturalistic details include two swallows and the water plants that would be found in a river in England at this time. The Lady of Shalott was donated to the public by Sir Henry Tate in 1894.

18588_NT

The Lady of Shalott (painting)

Focus on this artwork and discuss the Description.

The Lady of Shalott an 1888 oil-on-canvas painting, is one of John William Waterhouse's most famous works. It depicts a scene from Tennyson's poem in which the poet describes the plight and the predicament of a young woman, loosely based on the figure of Elaine of Astolat from medieval Arthurian legend, who yearned with an unrequited love for the knight Sir Lancelot, isolated under an undisclosed curse in a tower near King Arthur's Camelot. Waterhouse painted three versions of this character, in 1888, 1894 and 1915.The painting has the precisely painted detail and bright colours associated with the Pre-Raphaelites. It pictures the titular character of Tennyson's poem, also titled The Lady of Shalott (1842). In the poem, the Lady had been confined to her quarters, under a curse that forbade her to go outside or even look directly out of a window; her only view of the world was through a mirror. She sat below the mirror and wove a tapestry of scenes she could see by the reflection. After defying the curse by looking out the window at Camelot, the Lady has made her way to a small boat. This is the moment that is pictured in Waterhouse's painting, as the Lady is leaving to face her destiny. She is pictured sitting on the tapestry she has woven. The Lady has a lantern at the front of her boat and a crucifix is positioned near the bow. Next to the crucifix are three candles. Candles were a representation of life – two of the candles are already blown out, signifying that her death is soon to come. Aside from the metaphoric details, this painting is valued for Waterhouse's realistic painting abilities. The Lady's dress is stark white against the much darker hues of the background. Waterhouse's close attention to detail and colour, the accentuation of the beauty of nature, realist quality, and his interpretation of her vulnerable, wistful face are further demonstration of his artistic skill. Naturalistic details include two swallows and the water plants that would be found in a river in England at this time. The Lady of Shalott was donated to the public by Sir Henry Tate in 1894.

18589_T

The Lady of Shalott (painting)

How does The Lady of Shalott (painting) elucidate its Tennyson's poem?

According to Tennyson's version of the legend, the Lady of Shalott was forbidden to look directly at reality or the outside world; instead she was doomed to view the world through a mirror, and weave what she saw into tapestry. Her despair was heightened when she saw loving couples entwined in the far distance and she spent her days and nights aching for a return to normal. One day the Lady's mirror revealed Sir Lancelot passing by on his horse. When she impetuously took three paces across the room and looked at him, the mirror cracked and she realised that the curse had befallen her. The lady escaped by boat during an autumn storm, inscribing 'The Lady of Shalott' on the prow. As she sailed towards Camelot and certain death, she sang a lament. Her frozen body was found shortly afterwards by the knights and ladies of Camelot, one of whom is Lancelot, who prayed to God to have mercy on her soul. From part IV of Tennyson's poem:Tennyson also reworked the story in Elaine, part of his Arthurian epic Idylls of the King, published in 1859, though in this version the Lady is rowed by a retainer in her final voyage.

18589_NT

The Lady of Shalott (painting)

How does this artwork elucidate its Tennyson's poem?

According to Tennyson's version of the legend, the Lady of Shalott was forbidden to look directly at reality or the outside world; instead she was doomed to view the world through a mirror, and weave what she saw into tapestry. Her despair was heightened when she saw loving couples entwined in the far distance and she spent her days and nights aching for a return to normal. One day the Lady's mirror revealed Sir Lancelot passing by on his horse. When she impetuously took three paces across the room and looked at him, the mirror cracked and she realised that the curse had befallen her. The lady escaped by boat during an autumn storm, inscribing 'The Lady of Shalott' on the prow. As she sailed towards Camelot and certain death, she sang a lament. Her frozen body was found shortly afterwards by the knights and ladies of Camelot, one of whom is Lancelot, who prayed to God to have mercy on her soul. From part IV of Tennyson's poem:Tennyson also reworked the story in Elaine, part of his Arthurian epic Idylls of the King, published in 1859, though in this version the Lady is rowed by a retainer in her final voyage.

18590_T

Psyche Looking at Love

Focus on Psyche Looking at Love and analyze the abstract.

Psyche Looking at Love is a white marble statue produced by Auguste Rodin, drawing on the Cupid and Psyche myth.

18590_NT

Psyche Looking at Love

Focus on this artwork and analyze the abstract.

Psyche Looking at Love is a white marble statue produced by Auguste Rodin, drawing on the Cupid and Psyche myth.

18591_T

Psyche Looking at Love

In Psyche Looking at Love, how is the Variants discussed?

First conceived around 1885, it is known in several variants - for example, a 1906 autograph copy is now in the Museo Soumaya in Mexico City.

18591_NT

Psyche Looking at Love

In this artwork, how is the Variants discussed?

First conceived around 1885, it is known in several variants - for example, a 1906 autograph copy is now in the Museo Soumaya in Mexico City.

18592_T

Vargas Swamp Lancers

Focus on Vargas Swamp Lancers and explore the abstract.

Vargas Swamp Lancers, or Monument to the Lancers (Spanish: Monumento a los Lanceros), is a large sculptural complex realized by Colombian artist Rodrigo Arenas Betancourt and by engineer Guillermo Gonzalez Zuleta in the department of Boyacá (Colombia) as a memorial for the Battle of Vargas Swamp. It is the largest monument in Colombia. This monument depicts the attack of the 14 lancers commanded by Colonel Juan José Rondón. It is 33 m high and was dedicated in the 150th anniversary of the Colombian Declaration of Independence (1970).

18592_NT

Vargas Swamp Lancers

Focus on this artwork and explore the abstract.

Vargas Swamp Lancers, or Monument to the Lancers (Spanish: Monumento a los Lanceros), is a large sculptural complex realized by Colombian artist Rodrigo Arenas Betancourt and by engineer Guillermo Gonzalez Zuleta in the department of Boyacá (Colombia) as a memorial for the Battle of Vargas Swamp. It is the largest monument in Colombia. This monument depicts the attack of the 14 lancers commanded by Colonel Juan José Rondón. It is 33 m high and was dedicated in the 150th anniversary of the Colombian Declaration of Independence (1970).

18593_T

Vargas Swamp Lancers

Focus on Vargas Swamp Lancers and explain the The Lancers.

In July 1819, while marching against Santafé, the Republican army of Simón Bolívar, exhausted after passing across the Pisba paramount, faced a Spanish regular army commanded by General José María Barreiro. Bolivar's forces included the cavalry regiment Llano Arriba armed with lances. The terrain was better suited for the Spanish troops, and Bolívar's army faced adverse odds. After initial clashes between the infantry of both sides, the Spanish cavalry attempted a flanking attack on the republicans. At this moment Colonel Rondón's small detachment of 14 lancers charged General Barreiro's horsemen at a point where the Spanish regulars were crowded onto a narrow track through swampland. This sudden counter-attack by the lancers of the Llano Arriba regiment, as portrayed in the sculpture, was a decisive point in the winning of the battle. Bolívar's main force moved up in support of the lancers and Barreiro's army, after suffering 500 casualties, fell back covered by the 2nd Numanicia Battalion as a rearguard.

18593_NT

Vargas Swamp Lancers

Focus on this artwork and explain the The Lancers.

In July 1819, while marching against Santafé, the Republican army of Simón Bolívar, exhausted after passing across the Pisba paramount, faced a Spanish regular army commanded by General José María Barreiro. Bolivar's forces included the cavalry regiment Llano Arriba armed with lances. The terrain was better suited for the Spanish troops, and Bolívar's army faced adverse odds. After initial clashes between the infantry of both sides, the Spanish cavalry attempted a flanking attack on the republicans. At this moment Colonel Rondón's small detachment of 14 lancers charged General Barreiro's horsemen at a point where the Spanish regulars were crowded onto a narrow track through swampland. This sudden counter-attack by the lancers of the Llano Arriba regiment, as portrayed in the sculpture, was a decisive point in the winning of the battle. Bolívar's main force moved up in support of the lancers and Barreiro's army, after suffering 500 casualties, fell back covered by the 2nd Numanicia Battalion as a rearguard.

18594_T

Vargas Swamp Lancers

Explore the The monument of this artwork, Vargas Swamp Lancers.

The monument designed by Arenas Betancourt and Colombian engineer Guillermo Gonzalez Zuleta, is a bronze sculpture, depicting the 14 soldiers and their horses, suspended in the air and framed in a concrete sculpture.

18594_NT

Vargas Swamp Lancers

Explore the The monument of this artwork.

The monument designed by Arenas Betancourt and Colombian engineer Guillermo Gonzalez Zuleta, is a bronze sculpture, depicting the 14 soldiers and their horses, suspended in the air and framed in a concrete sculpture.

18595_T

Knowledge Totem Pole

Focus on Knowledge Totem Pole and discuss the abstract.

The Knowledge Totem Pole is a totem pole carved by Coast Salish artist Cicero August and sons Darrel and Doug August, installed outside the British Columbia Parliament Buildings, in Victoria, British Columbia. The pole was originally created for the 1994 Commonwealth Games.The Knowledge Totem Pole was first restored in 2007 by Doug August Sr. (Hul'qumi'num: Sume'lh). It was refurbished again in 2021 under the supervision of Doug August Jr. The totem pole consists of (from top to bottom) a loon, a fisher, the bone player, and a frog.

18595_NT

Knowledge Totem Pole

Focus on this artwork and discuss the abstract.

The Knowledge Totem Pole is a totem pole carved by Coast Salish artist Cicero August and sons Darrel and Doug August, installed outside the British Columbia Parliament Buildings, in Victoria, British Columbia. The pole was originally created for the 1994 Commonwealth Games.The Knowledge Totem Pole was first restored in 2007 by Doug August Sr. (Hul'qumi'num: Sume'lh). It was refurbished again in 2021 under the supervision of Doug August Jr. The totem pole consists of (from top to bottom) a loon, a fisher, the bone player, and a frog.

18596_T

Our Lady of Łukawiec

How does Our Lady of Łukawiec elucidate its abstract?

Our Lady of Łukawiec (Polish: Matka Boża Łukawiecka), earlier Our Lady of Tartaków (Polish: Matka Boża Tartakowska), also known as Our Lady Full of Graces (Polish: Matka Boża Łaskawa) is a Roman Catholic icon of the Blessed Virgin Mary.

18596_NT

Our Lady of Łukawiec

How does this artwork elucidate its abstract?

Our Lady of Łukawiec (Polish: Matka Boża Łukawiecka), earlier Our Lady of Tartaków (Polish: Matka Boża Tartakowska), also known as Our Lady Full of Graces (Polish: Matka Boża Łaskawa) is a Roman Catholic icon of the Blessed Virgin Mary.

18597_T

Our Lady of Łukawiec

Focus on Our Lady of Łukawiec and analyze the Description.

The painting shows the Mother of God standing one foot on the crescent moon that is on top of a dying dragon. Mary is dressed in a long, down-to-earth dress, covered with a dark blue cloak. Her hair is dissolved, reaching her shoulders, and her head is turned to the right, slightly tilted down. Mary has slightly closed eyes, and her face is focused and gentle. Hands are folded for prayer. In the lower part of the painting, under the feet of the Mother of God you can see the winged dragon, who is dying, and next to the apple lying on the ground. Above Mother of God's figure floats God the Father with a gray beard, clothed in robes, spreading His hands over Mary, protecting Her and the whole Earth. On the right and left you can see Marian symbols like lilies among thorns, Mirror of Justice, Tree of Life on the left side and the Blue Gate, the Burning Bush and the Tower of David on the right. Clouds are visible in the image. The colors of the upper part are bright, while the bottom, where the dragon is visible, the colors are dark, showing the contrast.

18597_NT

Our Lady of Łukawiec

Focus on this artwork and analyze the Description.

The painting shows the Mother of God standing one foot on the crescent moon that is on top of a dying dragon. Mary is dressed in a long, down-to-earth dress, covered with a dark blue cloak. Her hair is dissolved, reaching her shoulders, and her head is turned to the right, slightly tilted down. Mary has slightly closed eyes, and her face is focused and gentle. Hands are folded for prayer. In the lower part of the painting, under the feet of the Mother of God you can see the winged dragon, who is dying, and next to the apple lying on the ground. Above Mother of God's figure floats God the Father with a gray beard, clothed in robes, spreading His hands over Mary, protecting Her and the whole Earth. On the right and left you can see Marian symbols like lilies among thorns, Mirror of Justice, Tree of Life on the left side and the Blue Gate, the Burning Bush and the Tower of David on the right. Clouds are visible in the image. The colors of the upper part are bright, while the bottom, where the dragon is visible, the colors are dark, showing the contrast.

18598_T

Bust of Richard Cushing

In Bust of Richard Cushing, how is the abstract discussed?

A bust of Richard Cushing by James Rosati, sometimes called Richard Cardinal Cushing, is installed in Boston's Cardinal Cushing Memorial Park, in the U.S. state of Massachusetts.

18598_NT

Bust of Richard Cushing

In this artwork, how is the abstract discussed?

A bust of Richard Cushing by James Rosati, sometimes called Richard Cardinal Cushing, is installed in Boston's Cardinal Cushing Memorial Park, in the U.S. state of Massachusetts.

18599_T

Bust of Richard Cushing

Focus on Bust of Richard Cushing and explore the Description and history.

The bronze sculpture was completed during 1980–1981 and measures approximately 24 x 20 x 16 in. It rests on a red granite base that measures approximately 61 x 24 x 24 in. The work was surveyed as part of the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1996.

18599_NT

Bust of Richard Cushing

Focus on this artwork and explore the Description and history.

The bronze sculpture was completed during 1980–1981 and measures approximately 24 x 20 x 16 in. It rests on a red granite base that measures approximately 61 x 24 x 24 in. The work was surveyed as part of the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1996.

18600_T

Les Femmes d'Alger

Focus on Les Femmes d'Alger and explain the abstract.

Les Femmes d'Alger (English: Women of Algiers) is a series of 15 paintings and numerous drawings by the Spanish artist Pablo Picasso. The series, created in 1954–1955, was inspired by Eugène Delacroix's 1834 painting The Women of Algiers in their Apartment (French: Femmes d'Alger dans leur appartement). The series is one of several painted by Picasso in tribute to artists that he admired.The entire series of Les Femmes d'Alger was bought by Victor and Sally Ganz from the Galerie Louise Leiris in Paris for $212,500 in June 1956 (equivalent to $2.3 million in 2022). Ten paintings from the series were later sold by the Ganz's to the Saidenberg Gallery, with the couple keeping versions "C", "H", "K", "M" and "O".Many of the individual paintings in the series are now in prominent public and private collections.

18600_NT

Les Femmes d'Alger

Focus on this artwork and explain the abstract.

Les Femmes d'Alger (English: Women of Algiers) is a series of 15 paintings and numerous drawings by the Spanish artist Pablo Picasso. The series, created in 1954–1955, was inspired by Eugène Delacroix's 1834 painting The Women of Algiers in their Apartment (French: Femmes d'Alger dans leur appartement). The series is one of several painted by Picasso in tribute to artists that he admired.The entire series of Les Femmes d'Alger was bought by Victor and Sally Ganz from the Galerie Louise Leiris in Paris for $212,500 in June 1956 (equivalent to $2.3 million in 2022). Ten paintings from the series were later sold by the Ganz's to the Saidenberg Gallery, with the couple keeping versions "C", "H", "K", "M" and "O".Many of the individual paintings in the series are now in prominent public and private collections.