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18651_T

Cristo de Chircales

Focus on Cristo de Chircales and analyze the Description.

The painting depicts the mystery of Calvary, with Jesus Christ crucified, and at his feet three characters. On the left side the Virgin Mary, to the right the Apostle St. John, and at the foot of the cross, a blurred figure in the background that traditional historiography has interpreted as that of hermit, but which recent studies have associated with St. Peter the Apostle, on the scene of sacred history and the iconography of 'the tears of St Peter'. Sustained interpretation in an inventory of 1620 in which the following reference appears: hallo en la iglesia en el altar un/ cuadro grande de un Cristo crucificado/ con Ntra. Señora y San Juan y San Pedro a los pies/ que es la inspiración”.

18651_NT

Cristo de Chircales

Focus on this artwork and analyze the Description.

The painting depicts the mystery of Calvary, with Jesus Christ crucified, and at his feet three characters. On the left side the Virgin Mary, to the right the Apostle St. John, and at the foot of the cross, a blurred figure in the background that traditional historiography has interpreted as that of hermit, but which recent studies have associated with St. Peter the Apostle, on the scene of sacred history and the iconography of 'the tears of St Peter'. Sustained interpretation in an inventory of 1620 in which the following reference appears: hallo en la iglesia en el altar un/ cuadro grande de un Cristo crucificado/ con Ntra. Señora y San Juan y San Pedro a los pies/ que es la inspiración”.

18652_T

Cristo de Chircales

In Cristo de Chircales, how is the History discussed?

The history of Valdepeñas de Jaén is deeply linked to the history of the Christ of Chircales. Since the founding in 1539, the contacts with the site of Chircales and the community of hermits who lived there (occupying various caves of the foothills of the valley) was increasing. And from this relationship, various Foundations and Chaplainiah were endowed to sustain Christian worship and devotion in that place. The Sanctuary acquired goods with which to exist. Since the mid-16th century the presence of a group of hermit priests residing in Chircales (Luis de Noguera, Gaspar Lucas and Ginés de Jesús de Naples) and linked to the priestly school of San Juan de Avila incentivized in all areas the material and spiritual construction of the Sanctuary. For this purpose, the construction of the present Church of the Shrine, and of some outbuildings, was addressed in order to open the hermit to the faithful. To this end, an artistic beautification must also have been sought, which led them to commission the painting of the Christ of Chircales. The Iconography theme had deeply linked to the spirituality of St. John of Avila and his disciples. The first testimony of the existence of the painting of the Christ of Chircales dates back from 1609, in which his existence appeared in an inventory of goods commanded by Bishop Sancho Dávila Toledo. In 1751, and with a marked devotional character, the painting was substantially modified, to accommodate two philanthropy in memory of the gold of the Baroque framework, and the elaboration of the painting of an allusive endorsement of the exaltation of the Eucharist. The lower phylactery has inscribed the following text: This endorsement of the Blessed Christ of Chircales was endowed and painted at the request from Mr. Basilio Fajardo, priest and other benefactors of the town of Baldepeñas. Year 1751. And on the top, coming out of the expiring face of Christ: Pater ygnosce illis quia nesciunt quid faciunt (Father, forgive them because they do not know what they do).

18652_NT

Cristo de Chircales

In this artwork, how is the History discussed?

The history of Valdepeñas de Jaén is deeply linked to the history of the Christ of Chircales. Since the founding in 1539, the contacts with the site of Chircales and the community of hermits who lived there (occupying various caves of the foothills of the valley) was increasing. And from this relationship, various Foundations and Chaplainiah were endowed to sustain Christian worship and devotion in that place. The Sanctuary acquired goods with which to exist. Since the mid-16th century the presence of a group of hermit priests residing in Chircales (Luis de Noguera, Gaspar Lucas and Ginés de Jesús de Naples) and linked to the priestly school of San Juan de Avila incentivized in all areas the material and spiritual construction of the Sanctuary. For this purpose, the construction of the present Church of the Shrine, and of some outbuildings, was addressed in order to open the hermit to the faithful. To this end, an artistic beautification must also have been sought, which led them to commission the painting of the Christ of Chircales. The Iconography theme had deeply linked to the spirituality of St. John of Avila and his disciples. The first testimony of the existence of the painting of the Christ of Chircales dates back from 1609, in which his existence appeared in an inventory of goods commanded by Bishop Sancho Dávila Toledo. In 1751, and with a marked devotional character, the painting was substantially modified, to accommodate two philanthropy in memory of the gold of the Baroque framework, and the elaboration of the painting of an allusive endorsement of the exaltation of the Eucharist. The lower phylactery has inscribed the following text: This endorsement of the Blessed Christ of Chircales was endowed and painted at the request from Mr. Basilio Fajardo, priest and other benefactors of the town of Baldepeñas. Year 1751. And on the top, coming out of the expiring face of Christ: Pater ygnosce illis quia nesciunt quid faciunt (Father, forgive them because they do not know what they do).

18653_T

Cristo de Chircales

Focus on Cristo de Chircales and explore the Devotion.

The Christ of Chircales had adored an extended regional and local devotion in Valdepeñas de Jaén, where it is the main one of religious devotions. Since the seventeenth century it has been written of its sporadic transfer to Valdepeñas de Jaén on the occasion of begging for epidemics or climatic causes. Since the nineteenth century, and specifically since the morbid cholera epidemic of 1834, its presence in Valdepeñas de Jaén is more common, and from the end of the century it is annual and traditional, where it remains from the first of September, until the last Sunday of October, when it is transferred to its Sanctuary. There is a historical record of his devotion in all the villages of his region, having existed brotherhoods under his advocation in almost all towns and cities. In 1834 several neighbors of a populous street of Valdepeñas de Jaén, from la Calle de Sisehace, entrusted their health to the Christ of Chircales during an epidemic of morbid cholera, and having not been killed they agreed to the foundation of a bond, through which they would pay for a religious festival in honor of the Christ of Chircales. Over time, around 1855 devotion materialized in the foundation of a Brotherhood to attend to the local devotion to the Christ of Chircales. Since then the brotherhood has thickened his payroll of brotherhoods and took over the Sanctuary and devotion. Today it survives as the only Canonically erected Brotherhood in the town. In Jaén devotion to the Christ of Chircales had an important value. There is currently a Brotherhood under his canonical-based advocation in the Parish of San Juan de la Cruz, being a member of the Brotherhood and Brotherhood Group of the City of Jaén. Brotherhood with statutes since 1867 and which was based in the Church of St. Bartholomew (Jaén). The Brotherhood, reorganized in 1985, participates annually in the religious festivities held in Valdepeñas de Jaén, and the ones it celebrates in its canonical headquarters of the capital. In Martos, the preserved replica is displayed in the Hermitage of San Miguel, a 19th-century copy of the painting of the Christ of Chircales, belonging to the artistic legacy of Don Antonio de la Torre Arias, great devotee of this image. Originally the painting must have been in his palace house, then passed to his funeral pantheon of the municipal cemetery, from where he passed to the Church of San Francisco, and from this, in present time to the Hermitage of San Miguel, belonging to the Parish of the Assumption. In Alcaudete, José de Torres Ortega, the devotion to the Christ of Chircales had been traditionally dedicated to many devotees currently it still exists in the Caserío 'Chircales', a farmhouse that was owned by it, a chapel dedicated to the Christ of Chircales, where a popular pilgrimage was held. Being also the name of Chircales, a wide location of the municipality of Alcaudete. In Jamilena there is evidence of devotion to the Christ of Chircales, and of the usual pilgrimage to his Sanctuary. In 1798 he died in an accident, after a wall had been tached from the hospedería, the neighbor of Jamilena Cristóbal Barranco Liébana, who was buried in the Church of the Sanctuary. In Torredonjimeno it is also common to find references to the historical devotion of the Christ of Chircales. And from this devotion are located some votive pictorial works that were given away by the faithful to the Sanctuary. The former president of Torredonjimeno has the following inscription: Estando Francisca de Rada gravemente enferma, con un tabardillo, su madre María de los Dolores Lendínez, miró al Santísimo Cristo de Chircales, pidiendo su salud y estando en esta súplica consiguió su perfecta salud. Esta enferma es vecina de Torredonjimeno. Año 1856.

18653_NT

Cristo de Chircales

Focus on this artwork and explore the Devotion.

The Christ of Chircales had adored an extended regional and local devotion in Valdepeñas de Jaén, where it is the main one of religious devotions. Since the seventeenth century it has been written of its sporadic transfer to Valdepeñas de Jaén on the occasion of begging for epidemics or climatic causes. Since the nineteenth century, and specifically since the morbid cholera epidemic of 1834, its presence in Valdepeñas de Jaén is more common, and from the end of the century it is annual and traditional, where it remains from the first of September, until the last Sunday of October, when it is transferred to its Sanctuary. There is a historical record of his devotion in all the villages of his region, having existed brotherhoods under his advocation in almost all towns and cities. In 1834 several neighbors of a populous street of Valdepeñas de Jaén, from la Calle de Sisehace, entrusted their health to the Christ of Chircales during an epidemic of morbid cholera, and having not been killed they agreed to the foundation of a bond, through which they would pay for a religious festival in honor of the Christ of Chircales. Over time, around 1855 devotion materialized in the foundation of a Brotherhood to attend to the local devotion to the Christ of Chircales. Since then the brotherhood has thickened his payroll of brotherhoods and took over the Sanctuary and devotion. Today it survives as the only Canonically erected Brotherhood in the town. In Jaén devotion to the Christ of Chircales had an important value. There is currently a Brotherhood under his canonical-based advocation in the Parish of San Juan de la Cruz, being a member of the Brotherhood and Brotherhood Group of the City of Jaén. Brotherhood with statutes since 1867 and which was based in the Church of St. Bartholomew (Jaén). The Brotherhood, reorganized in 1985, participates annually in the religious festivities held in Valdepeñas de Jaén, and the ones it celebrates in its canonical headquarters of the capital. In Martos, the preserved replica is displayed in the Hermitage of San Miguel, a 19th-century copy of the painting of the Christ of Chircales, belonging to the artistic legacy of Don Antonio de la Torre Arias, great devotee of this image. Originally the painting must have been in his palace house, then passed to his funeral pantheon of the municipal cemetery, from where he passed to the Church of San Francisco, and from this, in present time to the Hermitage of San Miguel, belonging to the Parish of the Assumption. In Alcaudete, José de Torres Ortega, the devotion to the Christ of Chircales had been traditionally dedicated to many devotees currently it still exists in the Caserío 'Chircales', a farmhouse that was owned by it, a chapel dedicated to the Christ of Chircales, where a popular pilgrimage was held. Being also the name of Chircales, a wide location of the municipality of Alcaudete. In Jamilena there is evidence of devotion to the Christ of Chircales, and of the usual pilgrimage to his Sanctuary. In 1798 he died in an accident, after a wall had been tached from the hospedería, the neighbor of Jamilena Cristóbal Barranco Liébana, who was buried in the Church of the Sanctuary. In Torredonjimeno it is also common to find references to the historical devotion of the Christ of Chircales. And from this devotion are located some votive pictorial works that were given away by the faithful to the Sanctuary. The former president of Torredonjimeno has the following inscription: Estando Francisca de Rada gravemente enferma, con un tabardillo, su madre María de los Dolores Lendínez, miró al Santísimo Cristo de Chircales, pidiendo su salud y estando en esta súplica consiguió su perfecta salud. Esta enferma es vecina de Torredonjimeno. Año 1856.

18654_T

Two Busts of Cardinal Scipione Borghese

Focus on Two Busts of Cardinal Scipione Borghese and explain the abstract.

Two Busts of Cardinal Scipione Borghese are marble portrait sculptures executed by the Italian artist Gian Lorenzo Bernini in 1632. Cardinal Scipione Borghese was the nephew of Pope Paul V, and had commissioned other works from Bernini in the 1620s. Both versions of this portrait are in the Galleria Borghese, Rome.

18654_NT

Two Busts of Cardinal Scipione Borghese

Focus on this artwork and explain the abstract.

Two Busts of Cardinal Scipione Borghese are marble portrait sculptures executed by the Italian artist Gian Lorenzo Bernini in 1632. Cardinal Scipione Borghese was the nephew of Pope Paul V, and had commissioned other works from Bernini in the 1620s. Both versions of this portrait are in the Galleria Borghese, Rome.

18655_T

Two Busts of Cardinal Scipione Borghese

Explore the Description of this artwork, Two Busts of Cardinal Scipione Borghese.

The busts are quarter length, showing Scipione Borghese in his robes and biretta, as appropriate for his position as a cardinal of the Roman Church. The movement and liveliness of the sitter is one of the busts’ most pertinent features.The cardinal looks to his right and opens his lips as if to begin speaking. Rather than a static figure in which the sitter's essence in captured by abstracting his character, Bernini has captured a specific gesture to create a likeness that is psychological as well external. The sense of movement is further emphasised by the dramatic creases and folds line his robe, suggesting the movement of his body, and, in the second version, one of the buttons is about to come undone.

18655_NT

Two Busts of Cardinal Scipione Borghese

Explore the Description of this artwork.

The busts are quarter length, showing Scipione Borghese in his robes and biretta, as appropriate for his position as a cardinal of the Roman Church. The movement and liveliness of the sitter is one of the busts’ most pertinent features.The cardinal looks to his right and opens his lips as if to begin speaking. Rather than a static figure in which the sitter's essence in captured by abstracting his character, Bernini has captured a specific gesture to create a likeness that is psychological as well external. The sense of movement is further emphasised by the dramatic creases and folds line his robe, suggesting the movement of his body, and, in the second version, one of the buttons is about to come undone.

18656_T

Two Busts of Cardinal Scipione Borghese

Focus on Two Busts of Cardinal Scipione Borghese and discuss the Patronage and creation.

Both of Bernini's early biographers, Domenico Bernini and Filippo Baldinucci, recount the history of the busts and explain the creation of the second version.After Bernini had completed the first version, the ‘allustratori’ were polishing the bust when they discovered a significant fracture in the marble across the forehead, disfiguring the face. Bernini was notified and immediately set to work to create a second version with a new block of marble, which took three days according to Domenico Bernini, and fifteen to Baldinucci. The biographers then recount slightly different stories about how the two versions were unveiled. According to Domenico Bernini, Cardinal Borghese saw the unpolished version and was so impressed he asked that the bust be completed and be shown to his uncle, Pope Paul V. It was then the defect was discovered and Bernini created the second version, which was transported in secret to show to the Pope. But the Cardinal noticed that this was a different version and Bernini revealed the creation of the second bust. Baldinucci's tale differs somewhat – unaware there is a second version, Cardinal Borghese sees the original bust. He expresses pleasure in the work but hides his disappointment in the flaw; Bernini then uncovers the second, unblemished version to which the Cardinal responds with astonishment and pleasure at Bernini's artistry.

18656_NT

Two Busts of Cardinal Scipione Borghese

Focus on this artwork and discuss the Patronage and creation.

Both of Bernini's early biographers, Domenico Bernini and Filippo Baldinucci, recount the history of the busts and explain the creation of the second version.After Bernini had completed the first version, the ‘allustratori’ were polishing the bust when they discovered a significant fracture in the marble across the forehead, disfiguring the face. Bernini was notified and immediately set to work to create a second version with a new block of marble, which took three days according to Domenico Bernini, and fifteen to Baldinucci. The biographers then recount slightly different stories about how the two versions were unveiled. According to Domenico Bernini, Cardinal Borghese saw the unpolished version and was so impressed he asked that the bust be completed and be shown to his uncle, Pope Paul V. It was then the defect was discovered and Bernini created the second version, which was transported in secret to show to the Pope. But the Cardinal noticed that this was a different version and Bernini revealed the creation of the second bust. Baldinucci's tale differs somewhat – unaware there is a second version, Cardinal Borghese sees the original bust. He expresses pleasure in the work but hides his disappointment in the flaw; Bernini then uncovers the second, unblemished version to which the Cardinal responds with astonishment and pleasure at Bernini's artistry.

18657_T

Two Busts of Cardinal Scipione Borghese

How does Two Busts of Cardinal Scipione Borghese elucidate its Date of the busts?

While the existence of the scar across first version explains why the second version was created, both stories should be treated with some suspicion. Much documentation, cited below, proves the busts were finished in 1632 – Pope Paul V, mentioned in both accounts, died in 1621. A document in the State Archive of Modena, dated 8 January 1633, says that "Bernini, commissioned by the Pope, has created a marble bust of Cardinal Borghese, for which he has been recompensed 500 zecchini and a diamond worth 150 scudi".A letter from the writer Fulvio Testi to the Cardinal to Count Francesco Fontana, 29 January 1633 also talks of the bust, Testi saying it cost 1000 scudi, and that the figure is "truly alive and breathing".Another document written by Lelio Guidiccioni on 4 June 1633 gives further credence that the portrait was done in 1632. Finally, a receipt in the Borghese archives for 23 December 1632 reveals a payment from the Borghese household to Bernini of 500 scudi.

18657_NT

Two Busts of Cardinal Scipione Borghese

How does this artwork elucidate its Date of the busts?

While the existence of the scar across first version explains why the second version was created, both stories should be treated with some suspicion. Much documentation, cited below, proves the busts were finished in 1632 – Pope Paul V, mentioned in both accounts, died in 1621. A document in the State Archive of Modena, dated 8 January 1633, says that "Bernini, commissioned by the Pope, has created a marble bust of Cardinal Borghese, for which he has been recompensed 500 zecchini and a diamond worth 150 scudi".A letter from the writer Fulvio Testi to the Cardinal to Count Francesco Fontana, 29 January 1633 also talks of the bust, Testi saying it cost 1000 scudi, and that the figure is "truly alive and breathing".Another document written by Lelio Guidiccioni on 4 June 1633 gives further credence that the portrait was done in 1632. Finally, a receipt in the Borghese archives for 23 December 1632 reveals a payment from the Borghese household to Bernini of 500 scudi.

18658_T

Two Busts of Cardinal Scipione Borghese

Focus on Two Busts of Cardinal Scipione Borghese and analyze the History and critical reaction.

On completion, both busts were taken to the Villa Borghese. They were purchased by the Italian State in 1892, and shown at the Galleria dell’Academia in Venice, until they were reunited with the rest of the collections at the Galleria Borghese in 1908. Restoration on the works took place in 1997.The first version is often considered the superior version with Howard Hibbard describing Bernini's handling of the marble as giving it a "new dimension of reality". Whilst the second is still clearly the work of Bernini, it is considered much less spontaneous., with Wittkower commenting that it "lacks the animation and vitality of the first one". Others, however, are quite happy to point out the strengths of the second bust, Charles Avery calling it "one of the greatest portraits of all time in any medium, this bust is a work of genius".

18658_NT

Two Busts of Cardinal Scipione Borghese

Focus on this artwork and analyze the History and critical reaction.

On completion, both busts were taken to the Villa Borghese. They were purchased by the Italian State in 1892, and shown at the Galleria dell’Academia in Venice, until they were reunited with the rest of the collections at the Galleria Borghese in 1908. Restoration on the works took place in 1997.The first version is often considered the superior version with Howard Hibbard describing Bernini's handling of the marble as giving it a "new dimension of reality". Whilst the second is still clearly the work of Bernini, it is considered much less spontaneous., with Wittkower commenting that it "lacks the animation and vitality of the first one". Others, however, are quite happy to point out the strengths of the second bust, Charles Avery calling it "one of the greatest portraits of all time in any medium, this bust is a work of genius".

18659_T

Two Busts of Cardinal Scipione Borghese

In Two Busts of Cardinal Scipione Borghese, how is the Preparatory versions discussed?

A bronze version, created from the terracotta bozzetti (preparatory works) done by Bernini, exists in a private collection in New York. There is also a drawing of Scipione Borghese, done in red chalk and graphite, in the Morgan Library in New York. Finally, there is a caricature of the same sitter done by Bernini in the Vatican Library, Italy.

18659_NT

Two Busts of Cardinal Scipione Borghese

In this artwork, how is the Preparatory versions discussed?

A bronze version, created from the terracotta bozzetti (preparatory works) done by Bernini, exists in a private collection in New York. There is also a drawing of Scipione Borghese, done in red chalk and graphite, in the Morgan Library in New York. Finally, there is a caricature of the same sitter done by Bernini in the Vatican Library, Italy.

18660_T

The Three Graces (Canova)

Focus on The Three Graces (Canova) and explore the abstract.

Antonio Canova's statue The Three Graces is a Neoclassical sculpture, in marble, of the mythological three Charites, daughters of Zeus – identified on some engravings of the statue as, from left to right, Euphrosyne, Aglaea and Thalia – who were said to represent youth/beauty (Thalia), mirth (Euphrosyne), and elegance (Aglaea). The Graces presided over banquets and gatherings, to delight the guests of the gods. As such they have served as subjects for historical artists including Sandro Botticelli and Bertel Thorvaldsen. A version of the sculpture is in the Hermitage Museum, and another is owned jointly and exhibited in turn by the Victoria and Albert Museum, Scottish National Gallery while another one is in Galerie Plastik in Hořice.

18660_NT

The Three Graces (Canova)

Focus on this artwork and explore the abstract.

Antonio Canova's statue The Three Graces is a Neoclassical sculpture, in marble, of the mythological three Charites, daughters of Zeus – identified on some engravings of the statue as, from left to right, Euphrosyne, Aglaea and Thalia – who were said to represent youth/beauty (Thalia), mirth (Euphrosyne), and elegance (Aglaea). The Graces presided over banquets and gatherings, to delight the guests of the gods. As such they have served as subjects for historical artists including Sandro Botticelli and Bertel Thorvaldsen. A version of the sculpture is in the Hermitage Museum, and another is owned jointly and exhibited in turn by the Victoria and Albert Museum, Scottish National Gallery while another one is in Galerie Plastik in Hořice.

18661_T

The Three Graces (Canova)

Focus on The Three Graces (Canova) and explain the Versions of the piece.

John Russell, the 6th Duke of Bedford, commissioned a version of the now famous work. He had visited Canova's studio in Rome in 1814 and had been immensely impressed by a carving of the Graces which Canova produced for the Empress Josephine. When the Empress died in May of the same year he offered to purchase the completed piece, but was unsuccessful as Josephine's son Eugène claimed it (his son Maximilian brought it to St. Petersburg, where it can now be found in the Hermitage Museum). Undeterred, the Duke commissioned another version for himself. The sculpting process began in 1814 and was completed in 1817. In 1819 it was installed at the Duke's residence in Woburn Abbey. Canova travelled to England to supervise its installation, choosing to display it on a pedestal adapted from a marble plinth with a rotating top. This item is now owned jointly by the Victoria and Albert Museum and the National Galleries of Scotland, and is alternately displayed at each. The version in the Hermitage is carved from veined marble and has a square pillar behind the left-hand figure (Euphrosyne). The Woburn Abbey version is carved from white marble and has a round pillar, and the central figure (Aglaea) has a slightly broader waist. By the time he received the Duke's commission, Canova had already enjoyed an illustrious sculpting career. Born in the Italian province of Treviso in 1757, he was educated by his grandfather and his artistic talent was quickly noticed, especially by a senator, Giovanni Falieri, who introduced him to the sculptor Torretto. Torretto took Canova as apprentice for two years.Canova went on to enjoy small commissions, but his fame did not come until 1780 when he traveled to Rome and found himself inspired and invigorated by the scope and quality of the art and architecture. During this time Canova produced some of his most revered works including: Theseus and the Minotaur (1782), his monument to Pope Clement XIV (now displayed in the basilica dei Santi Apostoli) and the masterminding of the sumptuous tomb of Clement XIII in St. Peter's. In 1793 he produced Psyche Revived by Cupid's Kiss, a piece of immaculate composition and flowing beauty. In 1802, he was called to Paris by Napoleon I to model an enormous figure of the emperor clutching a 'Victory' in his hand. He would also model a bust of the French leader as well as a statue of Napoleon's mother. The fact that these pieces represented only a fraction of his works during this period make his dual commissions to sculpt the Graces understandable. The sculpture for the Duke of Bedford was based on depictions of the Graces which Canova had previously made, including a 1799 painting, other drawings, and a relief of the Graces that he executed around the same time. In 1810, he modelled a terracotta sketch (now in the Musée de Lyon, France). But it is likely that his piece for the Empress Josephine and later the Duke was modelled mainly on the early drawings and a terracotta sketch model. We know that the immediate model for the work was a full-scale plaster group that has survived and is now in the Canova museum in Possagno. In the Duke of Bedford version, the graces are leaning on a pillar, though in earlier versions this feature was absent.

18661_NT

The Three Graces (Canova)

Focus on this artwork and explain the Versions of the piece.

John Russell, the 6th Duke of Bedford, commissioned a version of the now famous work. He had visited Canova's studio in Rome in 1814 and had been immensely impressed by a carving of the Graces which Canova produced for the Empress Josephine. When the Empress died in May of the same year he offered to purchase the completed piece, but was unsuccessful as Josephine's son Eugène claimed it (his son Maximilian brought it to St. Petersburg, where it can now be found in the Hermitage Museum). Undeterred, the Duke commissioned another version for himself. The sculpting process began in 1814 and was completed in 1817. In 1819 it was installed at the Duke's residence in Woburn Abbey. Canova travelled to England to supervise its installation, choosing to display it on a pedestal adapted from a marble plinth with a rotating top. This item is now owned jointly by the Victoria and Albert Museum and the National Galleries of Scotland, and is alternately displayed at each. The version in the Hermitage is carved from veined marble and has a square pillar behind the left-hand figure (Euphrosyne). The Woburn Abbey version is carved from white marble and has a round pillar, and the central figure (Aglaea) has a slightly broader waist. By the time he received the Duke's commission, Canova had already enjoyed an illustrious sculpting career. Born in the Italian province of Treviso in 1757, he was educated by his grandfather and his artistic talent was quickly noticed, especially by a senator, Giovanni Falieri, who introduced him to the sculptor Torretto. Torretto took Canova as apprentice for two years.Canova went on to enjoy small commissions, but his fame did not come until 1780 when he traveled to Rome and found himself inspired and invigorated by the scope and quality of the art and architecture. During this time Canova produced some of his most revered works including: Theseus and the Minotaur (1782), his monument to Pope Clement XIV (now displayed in the basilica dei Santi Apostoli) and the masterminding of the sumptuous tomb of Clement XIII in St. Peter's. In 1793 he produced Psyche Revived by Cupid's Kiss, a piece of immaculate composition and flowing beauty. In 1802, he was called to Paris by Napoleon I to model an enormous figure of the emperor clutching a 'Victory' in his hand. He would also model a bust of the French leader as well as a statue of Napoleon's mother. The fact that these pieces represented only a fraction of his works during this period make his dual commissions to sculpt the Graces understandable. The sculpture for the Duke of Bedford was based on depictions of the Graces which Canova had previously made, including a 1799 painting, other drawings, and a relief of the Graces that he executed around the same time. In 1810, he modelled a terracotta sketch (now in the Musée de Lyon, France). But it is likely that his piece for the Empress Josephine and later the Duke was modelled mainly on the early drawings and a terracotta sketch model. We know that the immediate model for the work was a full-scale plaster group that has survived and is now in the Canova museum in Possagno. In the Duke of Bedford version, the graces are leaning on a pillar, though in earlier versions this feature was absent.

18662_T

The Three Graces (Canova)

Explore the Artistic technique and effect of this artwork, The Three Graces (Canova).

The piece is carved from a single slab of white marble. Canova's assistants roughly blocked out the marble, leaving Canova to perform the final carving and shape the stone to highlight the Graces' soft flesh. This was a trademark of the artist, and the piece shows a strong allegiance to the Neo-Classical movement in sculpture, of which Canova is the prime exponent. The three goddesses are shown nude, huddled together, their heads almost touching in what many have referred to as an 'erotically charged' piece. They stand, leaning slightly inward — perhaps discussing a common issue, or simply enjoying their closeness. Their hair-styles are similar, braided and held atop their heads in a knot. The style is elegant and suggests refinement and class — there is a delicate beauty to them that is commonplace in Canova's sculpture. Art historians have often commented on the peaceful balance that seems to exist between the three heads. Unlike compositions of the Graces that were derived from antiquity, where the outer figures turn out towards the viewer and the central figure embraces her friends with her back to the viewer, Canova's figures stand side by side, facing each other. The three slender female figures become one in their embrace, united by their linked hands and by a scarf which links them. The unity of the Graces is one of the piece's main themes. In Countess Josephine's version, the Graces are on a sacrificial altar adorned with three wreaths of flowers and a garland symbolizing their fragile, close ties.

18662_NT

The Three Graces (Canova)

Explore the Artistic technique and effect of this artwork.

The piece is carved from a single slab of white marble. Canova's assistants roughly blocked out the marble, leaving Canova to perform the final carving and shape the stone to highlight the Graces' soft flesh. This was a trademark of the artist, and the piece shows a strong allegiance to the Neo-Classical movement in sculpture, of which Canova is the prime exponent. The three goddesses are shown nude, huddled together, their heads almost touching in what many have referred to as an 'erotically charged' piece. They stand, leaning slightly inward — perhaps discussing a common issue, or simply enjoying their closeness. Their hair-styles are similar, braided and held atop their heads in a knot. The style is elegant and suggests refinement and class — there is a delicate beauty to them that is commonplace in Canova's sculpture. Art historians have often commented on the peaceful balance that seems to exist between the three heads. Unlike compositions of the Graces that were derived from antiquity, where the outer figures turn out towards the viewer and the central figure embraces her friends with her back to the viewer, Canova's figures stand side by side, facing each other. The three slender female figures become one in their embrace, united by their linked hands and by a scarf which links them. The unity of the Graces is one of the piece's main themes. In Countess Josephine's version, the Graces are on a sacrificial altar adorned with three wreaths of flowers and a garland symbolizing their fragile, close ties.

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The Three Graces (Canova)

Focus on The Three Graces (Canova) and discuss the Neoclassicism and the Baroque.

Canova's work challenged the baroque conception of opulent beauty; he shows the Graces as nubile, svelte young women. This is not the only departure that Canova's work makes from the Baroque. For example, The Baroque works of Italian sculptor Bernini presents a stark moment in time — a snapshot. Bernini's 1644 work The Ecstasy of St. Theresa shows the moment at which the holy spirit pierces Theresa's heart, leaving her in what can only be described as ecstasy of divine presence. It is a dramatic, poignant scene captured by Bernini at the moment of greatest impact. Canova's work, however, is different. His pieces do not seem to possess any real sense of time, they merely exist at a point in the past — almost ghostly reminders of a mythological happening or person long deceased. In the case of the Graces he dispenses with theatrics and invites the viewer to make what they will of the scene. This is typical of the Neoclassical movement. In many respects this work was a departure and has since become regarded by many as a benchmark of beauty.

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The Three Graces (Canova)

Focus on this artwork and discuss the Neoclassicism and the Baroque.

Canova's work challenged the baroque conception of opulent beauty; he shows the Graces as nubile, svelte young women. This is not the only departure that Canova's work makes from the Baroque. For example, The Baroque works of Italian sculptor Bernini presents a stark moment in time — a snapshot. Bernini's 1644 work The Ecstasy of St. Theresa shows the moment at which the holy spirit pierces Theresa's heart, leaving her in what can only be described as ecstasy of divine presence. It is a dramatic, poignant scene captured by Bernini at the moment of greatest impact. Canova's work, however, is different. His pieces do not seem to possess any real sense of time, they merely exist at a point in the past — almost ghostly reminders of a mythological happening or person long deceased. In the case of the Graces he dispenses with theatrics and invites the viewer to make what they will of the scene. This is typical of the Neoclassical movement. In many respects this work was a departure and has since become regarded by many as a benchmark of beauty.

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Our Lady of the Gate of Dawn

How does Our Lady of the Gate of Dawn elucidate its abstract?

Our Lady of the Gate of Dawn (Lithuanian: Aušros Vartų Dievo Motina, Polish: Matka Boska Ostrobramska, Belarusian: Маці Божая Вастрабрамская, Russian: Остробрамская икона Божией Матери) is the prominent Christian icon of the Blessed Virgin Mary venerated by the faithful in the Chapel of the Gate of Dawn in Vilnius, Lithuania. The painting was historically displayed above the Vilnius city gate; city gates of the time often contained religious artifacts intended to ward off attacks and bless passing travelers. The painting is in the Northern Renaissance style and was completed most likely around 1630. The Virgin Mary is depicted without the infant Jesus. The artwork soon became known as miraculous and inspired a following. A dedicated chapel was built in 1671 by the Discalced Carmelites. At the same time, possibly borrowing from the Eastern Orthodox tradition, the painting was covered in an expensive and elaborate silver and gold riza, leaving only the face and hands visible. On 5 July 1927, the image was canonically crowned by Pope Pius XI. The chapel was later visited by Pope John Paul II in 1993. It is a major site of pilgrimage in Vilnius and attracts many visitors, especially from Poland.

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Our Lady of the Gate of Dawn

How does this artwork elucidate its abstract?

Our Lady of the Gate of Dawn (Lithuanian: Aušros Vartų Dievo Motina, Polish: Matka Boska Ostrobramska, Belarusian: Маці Божая Вастрабрамская, Russian: Остробрамская икона Божией Матери) is the prominent Christian icon of the Blessed Virgin Mary venerated by the faithful in the Chapel of the Gate of Dawn in Vilnius, Lithuania. The painting was historically displayed above the Vilnius city gate; city gates of the time often contained religious artifacts intended to ward off attacks and bless passing travelers. The painting is in the Northern Renaissance style and was completed most likely around 1630. The Virgin Mary is depicted without the infant Jesus. The artwork soon became known as miraculous and inspired a following. A dedicated chapel was built in 1671 by the Discalced Carmelites. At the same time, possibly borrowing from the Eastern Orthodox tradition, the painting was covered in an expensive and elaborate silver and gold riza, leaving only the face and hands visible. On 5 July 1927, the image was canonically crowned by Pope Pius XI. The chapel was later visited by Pope John Paul II in 1993. It is a major site of pilgrimage in Vilnius and attracts many visitors, especially from Poland.

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Our Lady of the Gate of Dawn

Focus on Our Lady of the Gate of Dawn and analyze the History.

The legend tells that in 1702, when Vilnius was captured by the Swedish army during the Great Northern War, Our Lady of the Gate of Dawn came to her people's rescue. At dawn, the heavy iron city gates fell, crushing and killing four Swedish soldiers. After this, the Polish–Lithuanian Commonwealth Army successfully counter-attacked near the gate. It is believed that the painting was commissioned by the government of Vilnius. It was customary to place paintings or sculptures of various saints in niches of walls hoping that they would protect the building. The governor of Vilnius ordered two paintings, one depicting Christ the Saviour (Salvator Mundi), and the other the Virgin Mary. Both of them decorated the Gate of Dawn of the Vilnius city wall – a defensive structure with no religious importance at the time. The painting of Christ decorated the exterior of the gate, while that of the Virgin was in the same place as it is now – a small niche, protected by shutters from rain and snow. Narrow and steep stairs led to a small balcony where the faithful could light candles and pray. In 1650, Albert Wijuk Kojałowicz published Miscellanea, listing all miraculous paintings of Mary, but did not mention Our Lady of the Gate of the Dawn.In the mid-17th century the Discalced Carmelites built the Church of Saint Teresa and their monastery near the Gate of Dawn. In 1655, the city was captured, looted, and depopulated during the Battle of Vilnius of the Russo-Polish War. It was likely that the city government, short of funds, transferred maintenance of the gate and the paintings to the Carmelites. The painting of Christ was moved to the Carmelite monastery and later to Vilnius Cathedral (a fresco of Jesus was painted in its original niche in the 19th century; it was uncovered in 1976). In 1671, the monks built a wooden chapel to Our Lady next to the gate tower; it was around the time that the painting was covered in expensive silver riza. By then, the painting was already an object of public veneration and the chapel dedication ceremony was attended by many prominent figures of the time including Chancellor Krzysztof Zygmunt Pac, Grand Hetman Michał Kazimierz Pac, and senators of the general sejm. In May 1715, the wooden chapel burnt down, but the painting was saved and placed in the Church of St Teresa. In 1720, the current brick chapel was dedicated in the presence of four bishops, a number of senators, and a large crowd of the faithful. In 1761, the monk Hilarion published Relacja o cudownym Obrazie Naijświętszej Marji Panny etc, the primary source for the painting's early history and also the first collection of various miracles attributed to it. In 1773 Pope Clement XIV granted an indulgence to the faithful, designating the chapel as a place of public worship, and established a charitable society. At the turn of the 19th century, Tsarist authorities demolished the city wall and all the city's gates, except the Gate of Dawn and its chapel. In 1829, the chapel underwent restoration and acquired elements of late Neoclassicism. Since the entrance to the chapel was from inside the Carmelite monastery, women could not go inside. Because of this, one female devotee sponsored the construction of a two-storey gallery on the side of the street in 1830.In 1927, major restoration works were completed under bishop Romuald Jałbrzykowski. With permission from Pope Pius XI, the painting was solemnly crowned Mother of Mercy on 2 July 1927 by the Archbishop of Warsaw Alexander Cardinal Kakowski. The ceremony was attended by President Ignacy Mościcki, First Marshal Jozef Pilsudski, Primate of Poland August Hlond, 28 other bishops, and other dignitaries.

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Our Lady of the Gate of Dawn

Focus on this artwork and analyze the History.

The legend tells that in 1702, when Vilnius was captured by the Swedish army during the Great Northern War, Our Lady of the Gate of Dawn came to her people's rescue. At dawn, the heavy iron city gates fell, crushing and killing four Swedish soldiers. After this, the Polish–Lithuanian Commonwealth Army successfully counter-attacked near the gate. It is believed that the painting was commissioned by the government of Vilnius. It was customary to place paintings or sculptures of various saints in niches of walls hoping that they would protect the building. The governor of Vilnius ordered two paintings, one depicting Christ the Saviour (Salvator Mundi), and the other the Virgin Mary. Both of them decorated the Gate of Dawn of the Vilnius city wall – a defensive structure with no religious importance at the time. The painting of Christ decorated the exterior of the gate, while that of the Virgin was in the same place as it is now – a small niche, protected by shutters from rain and snow. Narrow and steep stairs led to a small balcony where the faithful could light candles and pray. In 1650, Albert Wijuk Kojałowicz published Miscellanea, listing all miraculous paintings of Mary, but did not mention Our Lady of the Gate of the Dawn.In the mid-17th century the Discalced Carmelites built the Church of Saint Teresa and their monastery near the Gate of Dawn. In 1655, the city was captured, looted, and depopulated during the Battle of Vilnius of the Russo-Polish War. It was likely that the city government, short of funds, transferred maintenance of the gate and the paintings to the Carmelites. The painting of Christ was moved to the Carmelite monastery and later to Vilnius Cathedral (a fresco of Jesus was painted in its original niche in the 19th century; it was uncovered in 1976). In 1671, the monks built a wooden chapel to Our Lady next to the gate tower; it was around the time that the painting was covered in expensive silver riza. By then, the painting was already an object of public veneration and the chapel dedication ceremony was attended by many prominent figures of the time including Chancellor Krzysztof Zygmunt Pac, Grand Hetman Michał Kazimierz Pac, and senators of the general sejm. In May 1715, the wooden chapel burnt down, but the painting was saved and placed in the Church of St Teresa. In 1720, the current brick chapel was dedicated in the presence of four bishops, a number of senators, and a large crowd of the faithful. In 1761, the monk Hilarion published Relacja o cudownym Obrazie Naijświętszej Marji Panny etc, the primary source for the painting's early history and also the first collection of various miracles attributed to it. In 1773 Pope Clement XIV granted an indulgence to the faithful, designating the chapel as a place of public worship, and established a charitable society. At the turn of the 19th century, Tsarist authorities demolished the city wall and all the city's gates, except the Gate of Dawn and its chapel. In 1829, the chapel underwent restoration and acquired elements of late Neoclassicism. Since the entrance to the chapel was from inside the Carmelite monastery, women could not go inside. Because of this, one female devotee sponsored the construction of a two-storey gallery on the side of the street in 1830.In 1927, major restoration works were completed under bishop Romuald Jałbrzykowski. With permission from Pope Pius XI, the painting was solemnly crowned Mother of Mercy on 2 July 1927 by the Archbishop of Warsaw Alexander Cardinal Kakowski. The ceremony was attended by President Ignacy Mościcki, First Marshal Jozef Pilsudski, Primate of Poland August Hlond, 28 other bishops, and other dignitaries.

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Our Lady of the Gate of Dawn

In the context of Our Lady of the Gate of Dawn, explore the Origin and inspiration of the Painting.

The origin of the painting is not known. According to historian Teodor Narbutt (1784–1864), the painting was acquired by Algirdas, Grand Duke of Lithuania (ruled 1345–1377), as a war trophy from Crimea. This note, based on dubious sources, along with dark colors of the painting that resembled Byzantine icons, inspired 19th-century Russian historians to claim that the painting was Orthodox and not Roman Catholic. This theory was popularized in various articles, brochures, studies and is sometimes quoted today. Others claimed that the painting was commissioned by King of Poland Sigismund II Augustus and depicted his wife Barbara Radziwiłł.With a silver riza covering the entire painting, except for the face and hands, it was very hard for art historians to determine in what period the painting was created. In 1927, the silver cover was removed for the first time in decades. The painting was analyzed and restored. Based on the new data gathered during the restoration, Mieczysław Skrudlik came to a conclusion that the painting was completed around 1630–1650 and linked it with another painting in the Corpus Christi Church in Kraków, created by artist Luke in 1624. Mary Kałamajska Saeed in her 1990 thesis argued that Our Lady of the Gate of Dawn was a work of a local artist and was inspired by contemporary Flemish mannerist painter Marten de Vos through an engraving of Thomas de Leu. In 1993, on the occasion of pope's visit, the painting was restored and one of its planks was dated based on its tree-rings. The scientists concluded that the oak grew in 1434–1620.

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Our Lady of the Gate of Dawn

In the context of this artwork, explore the Origin and inspiration of the Painting.

The origin of the painting is not known. According to historian Teodor Narbutt (1784–1864), the painting was acquired by Algirdas, Grand Duke of Lithuania (ruled 1345–1377), as a war trophy from Crimea. This note, based on dubious sources, along with dark colors of the painting that resembled Byzantine icons, inspired 19th-century Russian historians to claim that the painting was Orthodox and not Roman Catholic. This theory was popularized in various articles, brochures, studies and is sometimes quoted today. Others claimed that the painting was commissioned by King of Poland Sigismund II Augustus and depicted his wife Barbara Radziwiłł.With a silver riza covering the entire painting, except for the face and hands, it was very hard for art historians to determine in what period the painting was created. In 1927, the silver cover was removed for the first time in decades. The painting was analyzed and restored. Based on the new data gathered during the restoration, Mieczysław Skrudlik came to a conclusion that the painting was completed around 1630–1650 and linked it with another painting in the Corpus Christi Church in Kraków, created by artist Luke in 1624. Mary Kałamajska Saeed in her 1990 thesis argued that Our Lady of the Gate of Dawn was a work of a local artist and was inspired by contemporary Flemish mannerist painter Marten de Vos through an engraving of Thomas de Leu. In 1993, on the occasion of pope's visit, the painting was restored and one of its planks was dated based on its tree-rings. The scientists concluded that the oak grew in 1434–1620.

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Our Lady of the Gate of Dawn

In the context of Our Lady of the Gate of Dawn, explain the Description of the Painting.

The original painting is 163 by 200 centimetres (64 in × 79 in) and was painted by an unknown artist on eight oak planks 2-centimetre (0.79 in) thick. As usual for Northern Europe, a very thin layer of chalk priming was applied to the planks before painting in tempera. Later Our Lady was repainted in oil paint. Some restoration work was completed in the mid-19th century. Major restoration works were completed in 1927. The painting depicts complex personality and devotion to Mary. Her head is gently leaning to her right, her eyes are half closed, her hands are crossed in devotion; this reminds that she is a virgin, humble servant of the Lord, merciful mother and patron of the people. At the same time, her head is surrounded by an aureola with golden rays and her body is usually covered in elaborate gold and silver rizas and crowns; these are the symbols of her divine and majestic role as the Queen of Heaven. The painting also reminds of Tota pulchra es (You are all beautiful), an old Catholic prayer.

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Our Lady of the Gate of Dawn

In the context of this artwork, explain the Description of the Painting.

The original painting is 163 by 200 centimetres (64 in × 79 in) and was painted by an unknown artist on eight oak planks 2-centimetre (0.79 in) thick. As usual for Northern Europe, a very thin layer of chalk priming was applied to the planks before painting in tempera. Later Our Lady was repainted in oil paint. Some restoration work was completed in the mid-19th century. Major restoration works were completed in 1927. The painting depicts complex personality and devotion to Mary. Her head is gently leaning to her right, her eyes are half closed, her hands are crossed in devotion; this reminds that she is a virgin, humble servant of the Lord, merciful mother and patron of the people. At the same time, her head is surrounded by an aureola with golden rays and her body is usually covered in elaborate gold and silver rizas and crowns; these are the symbols of her divine and majestic role as the Queen of Heaven. The painting also reminds of Tota pulchra es (You are all beautiful), an old Catholic prayer.

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Our Lady of the Gate of Dawn

Explore the Riza about the Painting of this artwork, Our Lady of the Gate of Dawn.

The tradition to decorate paintings with a riza or revetment of precious metals may have been borrowed from Eastern Orthodoxy. The riza of Our Lady is composed of three gilded silver parts, each completed by different artists at a different period. The head and shoulders were covered in 1670–90; the chest piece was adapted from a different painting in 1695–1700; the bottom of the painting was completed by the 1730s. The revetments are richly decorated in floral motifs: roses, tulips, narcissi, carnations, and at least six other species.The flowers were references to hortus conclusus (enclosed garden), and a symbol of Mary's virginity and purity. The circle of stars represents the immaculate conception. The head of Our Lady is adorned with two crowns. Two little angels lower the large Rococo-style crown with colored glass inlays upon the smaller Baroque crown. Some argued that the two crowns, resembling royal and ducal insignia, represented the Kingdom of Poland and the Grand Duchy of Lithuania respectively. In 1927, duplicate crowns were made of pure gold, donated by the people, and were blessed by Pope Pius XI. On 2 July 1927 the Canonical Coronation took place and the painting received the title of Mother of Mercy. The gold crowns were lost, possibly during World War II.On certain occasions, the image has been displayed without its riza for a limited time.Sculptures of Mary's parents – St Joachim and St Anne – stand on both sides of the painting between the altar columns.

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Our Lady of the Gate of Dawn

Explore the Riza about the Painting of this artwork.

The tradition to decorate paintings with a riza or revetment of precious metals may have been borrowed from Eastern Orthodoxy. The riza of Our Lady is composed of three gilded silver parts, each completed by different artists at a different period. The head and shoulders were covered in 1670–90; the chest piece was adapted from a different painting in 1695–1700; the bottom of the painting was completed by the 1730s. The revetments are richly decorated in floral motifs: roses, tulips, narcissi, carnations, and at least six other species.The flowers were references to hortus conclusus (enclosed garden), and a symbol of Mary's virginity and purity. The circle of stars represents the immaculate conception. The head of Our Lady is adorned with two crowns. Two little angels lower the large Rococo-style crown with colored glass inlays upon the smaller Baroque crown. Some argued that the two crowns, resembling royal and ducal insignia, represented the Kingdom of Poland and the Grand Duchy of Lithuania respectively. In 1927, duplicate crowns were made of pure gold, donated by the people, and were blessed by Pope Pius XI. On 2 July 1927 the Canonical Coronation took place and the painting received the title of Mother of Mercy. The gold crowns were lost, possibly during World War II.On certain occasions, the image has been displayed without its riza for a limited time.Sculptures of Mary's parents – St Joachim and St Anne – stand on both sides of the painting between the altar columns.

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Our Lady of the Gate of Dawn

In Our Lady of the Gate of Dawn, how is the Miracles and votive offerings of the Veneration elucidated?

In 1761, the monk Hilarion published a book enumerating 17 miracles attributed to the painting and the Virgin Mary. The first miracle he recorded occurred in 1671, the same year the first chapel was built. A two-year-old child fell from the second floor onto a stone pavement and was badly injured. The parents then prayed to Our Lady and the next day the child was healthy once again. In 1702, Vilnius was captured by the Swedish Army during the Great Northern War. The Swedes, who were Protestants, mocked the painting, forbade songs and prayers, and caroused around the Gate of Dawn. One soldier even shot at the painting (the bullet hole can still be seen on the right sleeve). In the early morning of Great and Holy Saturday, the heavy iron gates fell and crushed four Swedish soldiers – two died instantly and two later from their injuries. The next day, Easter Sunday, the Lithuanian Army successfully counter-attacked near the gate. The commander, grateful for the victory, bestowed a large silver votive offering upon the chapel. The painting is also credited with other miracles: subduing a city fire in 1706, punishing a Russian soldier for an attempt to steal her silver riza in 1708, and numerous miraculous healings. Other stories of various miracles were kept by the Carmelite monks, but those books have not survived.Votive offerings became a tradition. They are usually small silver objects (hearts, crucifixes, figures of praying people, images of cured eyes, legs, arms). Several times (1799, 1808, 1810) some of these objects were taken down and melted into liturgical objects. In 1844 there was a total of 785 offerings. Twelve years later, in 1856, the number had almost doubled to 1,438. From 1884 to 1927 a journal of new offerings was kept. During that time 2,539 new gifts were registered. Currently, there are about 8,000 silver votive objects in the chapel. The large crescent moon located right beneath Our Lady is also a votive offering. Its origins are unknown but it bears an inscription in Polish and a date of 1849. The crescent goes well with the silver riza, adding additional parallels with the Woman of the Apocalypse, described in the Book of Revelation as "a woman clothed with the sun, and the moon under her feet, and on her head a crown of twelve stars".

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Our Lady of the Gate of Dawn

In this artwork, how is the Miracles and votive offerings of the Veneration elucidated?

In 1761, the monk Hilarion published a book enumerating 17 miracles attributed to the painting and the Virgin Mary. The first miracle he recorded occurred in 1671, the same year the first chapel was built. A two-year-old child fell from the second floor onto a stone pavement and was badly injured. The parents then prayed to Our Lady and the next day the child was healthy once again. In 1702, Vilnius was captured by the Swedish Army during the Great Northern War. The Swedes, who were Protestants, mocked the painting, forbade songs and prayers, and caroused around the Gate of Dawn. One soldier even shot at the painting (the bullet hole can still be seen on the right sleeve). In the early morning of Great and Holy Saturday, the heavy iron gates fell and crushed four Swedish soldiers – two died instantly and two later from their injuries. The next day, Easter Sunday, the Lithuanian Army successfully counter-attacked near the gate. The commander, grateful for the victory, bestowed a large silver votive offering upon the chapel. The painting is also credited with other miracles: subduing a city fire in 1706, punishing a Russian soldier for an attempt to steal her silver riza in 1708, and numerous miraculous healings. Other stories of various miracles were kept by the Carmelite monks, but those books have not survived.Votive offerings became a tradition. They are usually small silver objects (hearts, crucifixes, figures of praying people, images of cured eyes, legs, arms). Several times (1799, 1808, 1810) some of these objects were taken down and melted into liturgical objects. In 1844 there was a total of 785 offerings. Twelve years later, in 1856, the number had almost doubled to 1,438. From 1884 to 1927 a journal of new offerings was kept. During that time 2,539 new gifts were registered. Currently, there are about 8,000 silver votive objects in the chapel. The large crescent moon located right beneath Our Lady is also a votive offering. Its origins are unknown but it bears an inscription in Polish and a date of 1849. The crescent goes well with the silver riza, adding additional parallels with the Woman of the Apocalypse, described in the Book of Revelation as "a woman clothed with the sun, and the moon under her feet, and on her head a crown of twelve stars".

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Our Lady of the Gate of Dawn

In the context of Our Lady of the Gate of Dawn, analyze the Divine Mercy of the Veneration.

The icon of Our Lady of the Gate of Dawn has become associated with the messages of Divine Mercy. Eight years after the icon was conferred the title of Mother of Mercy, the first exposition of the Divine Mercy image, painted by Eugene Kazimierowski under the direction of Faustina Kowalska, took place at the chapel in April 1935. In her Diary: Divine Mercy in My Soul, she writes of a mystical experience involving the icon in the Gate of Dawn chapel. On 15 November 1935, Saint Faustina was at the Gate of Dawn chapel participating in the last day of the novena before the feast day of the icon, 16 November. She writes of seeing the icon taking on "a living appearance" and speaking to her, telling her "accept all that God asked of me like a little child, without questioning; otherwise it would not be pleasing to God."

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Our Lady of the Gate of Dawn

In the context of this artwork, analyze the Divine Mercy of the Veneration.

The icon of Our Lady of the Gate of Dawn has become associated with the messages of Divine Mercy. Eight years after the icon was conferred the title of Mother of Mercy, the first exposition of the Divine Mercy image, painted by Eugene Kazimierowski under the direction of Faustina Kowalska, took place at the chapel in April 1935. In her Diary: Divine Mercy in My Soul, she writes of a mystical experience involving the icon in the Gate of Dawn chapel. On 15 November 1935, Saint Faustina was at the Gate of Dawn chapel participating in the last day of the novena before the feast day of the icon, 16 November. She writes of seeing the icon taking on "a living appearance" and speaking to her, telling her "accept all that God asked of me like a little child, without questioning; otherwise it would not be pleasing to God."

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Our Lady of the Gate of Dawn

Describe the characteristics of the Shrines in other locations in Our Lady of the Gate of Dawn's Veneration.

Today this holy image is venerated by Roman Catholics, Greek Catholics, and Eastern Orthodox Christians of many countries whose origins lie in the Polish–Lithuanian Commonwealth, including Lithuania, Poland, Belarus, Ukraine and their diasporas worldwide. In Lithuania itself there are 15 churches as well as Lithuanian parishes in Montreal and Buenos Aires devoted to the Blessed Virgin Mary of the Gate of Dawn. On 26 February 2007 the parish of Our Lady of Vilnius (Aušros Vartų Parapija) was closed by the Archdiocese of New York. The sanctuary had featured an icon of Our Lady, painted by the artist Tadas Sviderskis in the 1980s. In Poland the biggest church devoted to Our Lady is the Marian Basilica in Gdańsk. Other shrines of the holy icon are found in Poland (Białystok, Drogosze, Kętrzyn, Olsztyn, Skarżysko-Kamienna and Wrocław), United Kingdom (Kidderminster), United States (South River, NJ), and Australia. A copy of the painting can also be found in Church of Saint-Séverin in Paris. There is a Vilnius' Gate of Dawn Mother of Mercy Chapel (Italian: Cappella Lituana) in the St. Peter's Basilica in Vatican City. It was consecrated by the Pope Paul VI in 1970 and it is a place where Pope John Paul II had his first prayer after being elected as the Pope in 1978. Only Lithuania, Poland, Hungary and Ireland have such chapels in the St. Peter's Basilica.

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Our Lady of the Gate of Dawn

Describe the characteristics of the Shrines in other locations in this artwork's Veneration.

Today this holy image is venerated by Roman Catholics, Greek Catholics, and Eastern Orthodox Christians of many countries whose origins lie in the Polish–Lithuanian Commonwealth, including Lithuania, Poland, Belarus, Ukraine and their diasporas worldwide. In Lithuania itself there are 15 churches as well as Lithuanian parishes in Montreal and Buenos Aires devoted to the Blessed Virgin Mary of the Gate of Dawn. On 26 February 2007 the parish of Our Lady of Vilnius (Aušros Vartų Parapija) was closed by the Archdiocese of New York. The sanctuary had featured an icon of Our Lady, painted by the artist Tadas Sviderskis in the 1980s. In Poland the biggest church devoted to Our Lady is the Marian Basilica in Gdańsk. Other shrines of the holy icon are found in Poland (Białystok, Drogosze, Kętrzyn, Olsztyn, Skarżysko-Kamienna and Wrocław), United Kingdom (Kidderminster), United States (South River, NJ), and Australia. A copy of the painting can also be found in Church of Saint-Séverin in Paris. There is a Vilnius' Gate of Dawn Mother of Mercy Chapel (Italian: Cappella Lituana) in the St. Peter's Basilica in Vatican City. It was consecrated by the Pope Paul VI in 1970 and it is a place where Pope John Paul II had his first prayer after being elected as the Pope in 1978. Only Lithuania, Poland, Hungary and Ireland have such chapels in the St. Peter's Basilica.

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Our Lady of the Gate of Dawn

In the context of Our Lady of the Gate of Dawn, explore the Liturgical Commemoration of the Veneration.

Our Lady of the Gate of Dawn is commemorated on November 16 in the Catholic Church and January 8 (December 26 O.S.) and April 27 (April 14 O.S.) in the Orthodox Church.

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Our Lady of the Gate of Dawn

In the context of this artwork, explore the Liturgical Commemoration of the Veneration.

Our Lady of the Gate of Dawn is commemorated on November 16 in the Catholic Church and January 8 (December 26 O.S.) and April 27 (April 14 O.S.) in the Orthodox Church.

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Governor Horner State Memorial

Focus on Governor Horner State Memorial and explain the abstract.

Governor Horner State Memorial is a granite monument dedicated to Henry Horner, the thirtieth governor of Illinois who served from 1933 to 1940. The memorial stands in Horner Park in Chicago, Illinois at the corner of Montrose Avenue and California Avenue. It is maintained by the Illinois Historic Preservation Agency as a state historic site. The monument was designed by John Brcin in 1948. It features reliefs representing Horner during his years as probate judge and as governor. The monument was originally located in Grant Park but was moved in 1956 to its present site at Horner Park when the fieldhouse was opened.

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Governor Horner State Memorial

Focus on this artwork and explain the abstract.

Governor Horner State Memorial is a granite monument dedicated to Henry Horner, the thirtieth governor of Illinois who served from 1933 to 1940. The memorial stands in Horner Park in Chicago, Illinois at the corner of Montrose Avenue and California Avenue. It is maintained by the Illinois Historic Preservation Agency as a state historic site. The monument was designed by John Brcin in 1948. It features reliefs representing Horner during his years as probate judge and as governor. The monument was originally located in Grant Park but was moved in 1956 to its present site at Horner Park when the fieldhouse was opened.

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Buildings 1992

Explore the abstract of this artwork, Buildings 1992.

Buildings 1992 is a public art work by American artist Susan Walsh, located on the northwest side of Milwaukee, Wisconsin. The architectural sculpture was created for the Milwaukee Fire Department station at the intersection of 103rd Street and Fond du Lac Avenue.

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Buildings 1992

Explore the abstract of this artwork.

Buildings 1992 is a public art work by American artist Susan Walsh, located on the northwest side of Milwaukee, Wisconsin. The architectural sculpture was created for the Milwaukee Fire Department station at the intersection of 103rd Street and Fond du Lac Avenue.

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Buildings 1992

Focus on Buildings 1992 and discuss the Description.

Buildings 1992 depicts the frames of four tall, rectangular buildings. Each building has two doors at its base. Two of the buildings have triangular roofs. One has an arched roof. The entire work rests on a square concrete base.

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Buildings 1992

Focus on this artwork and discuss the Description.

Buildings 1992 depicts the frames of four tall, rectangular buildings. Each building has two doors at its base. Two of the buildings have triangular roofs. One has an arched roof. The entire work rests on a square concrete base.

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Bernardo de Iriarte (Goya)

How does Bernardo de Iriarte (Goya) elucidate its abstract?

Bernardo de Iriarte is a 1797 portrait painting by the Spanish artist Francisco Goya. It is on display in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 1660.The sitter, Bernardo de Iriarte, was a patron and friend of the painter; the dedicatory inscription at the lower edge is testament to both men's "mutual esteem and affection". At its unveiling, the painting was hailed for its likeness and its virtuosity, and it has been considered a masterpiece ever since.The painting was acquired in November 1941 from the heirs of Camille Groult by Adolf Wuster and Hans Wendland for the Generalverwaltung der oberrheinischen Museen (General administration of the Upper Rhine museums) at a sale at Hôtel Drouot, and given to the Strasbourg museum. [The accession date was given as 1942 in previous publications.]The composition of the painting is thought to be inspired by an engraving after Titian's A Man with a Quilted Sleeve (National Gallery, London), then thought to be a portrait of Ariosto. Goya's own 1792 Retrato de Sebastián Martínez y Pérez also anticipates on some aspects of Bernardo de Iriarte as far as the attitude and the gaze of the sitter are concerned.

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Bernardo de Iriarte (Goya)

How does this artwork elucidate its abstract?

Bernardo de Iriarte is a 1797 portrait painting by the Spanish artist Francisco Goya. It is on display in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 1660.The sitter, Bernardo de Iriarte, was a patron and friend of the painter; the dedicatory inscription at the lower edge is testament to both men's "mutual esteem and affection". At its unveiling, the painting was hailed for its likeness and its virtuosity, and it has been considered a masterpiece ever since.The painting was acquired in November 1941 from the heirs of Camille Groult by Adolf Wuster and Hans Wendland for the Generalverwaltung der oberrheinischen Museen (General administration of the Upper Rhine museums) at a sale at Hôtel Drouot, and given to the Strasbourg museum. [The accession date was given as 1942 in previous publications.]The composition of the painting is thought to be inspired by an engraving after Titian's A Man with a Quilted Sleeve (National Gallery, London), then thought to be a portrait of Ariosto. Goya's own 1792 Retrato de Sebastián Martínez y Pérez also anticipates on some aspects of Bernardo de Iriarte as far as the attitude and the gaze of the sitter are concerned.

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Chicago Picasso

Focus on Chicago Picasso and analyze the History.

An architect who worked on the Daley Center project, Richard Bennett, wrote Picasso a poem asking him to make the sculpture. Picasso accepted saying "You know I never accept commissions to do any sort of work, but in this case I am involved in projects for the two great gangster cities" (the other being Marseille, France). The sculpture was fabricated by the American Bridge Company division of the United States Steel Corporation in Gary, Indiana using COR-TEN steel, before being disassembled and relocated to Chicago. The steel for this statue was rolled in the USS Gary Works 160/210" plate mill, then the largest rolling mill of its kind in the world. Before fabrication of the final steel sculpture was started, a 3.5 meter (~12 feet) tall wooden model was constructed for Picasso to approve; this was eventually sent to the Gary Career Center. Ground was broken in Daley Plaza for the construction of the sculpture on May 25, 1967.The efforts of the City of Chicago to publicize the sculpture — staging a number of press events before the sculpture was completed, and displaying the maquette without a copyright notice — were cited as evidence in a 1970 U.S. District Court case where the judge ruled that the city's actions had resulted in the sculpture being dedicated to the public domain.

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Chicago Picasso

Focus on this artwork and analyze the History.

An architect who worked on the Daley Center project, Richard Bennett, wrote Picasso a poem asking him to make the sculpture. Picasso accepted saying "You know I never accept commissions to do any sort of work, but in this case I am involved in projects for the two great gangster cities" (the other being Marseille, France). The sculpture was fabricated by the American Bridge Company division of the United States Steel Corporation in Gary, Indiana using COR-TEN steel, before being disassembled and relocated to Chicago. The steel for this statue was rolled in the USS Gary Works 160/210" plate mill, then the largest rolling mill of its kind in the world. Before fabrication of the final steel sculpture was started, a 3.5 meter (~12 feet) tall wooden model was constructed for Picasso to approve; this was eventually sent to the Gary Career Center. Ground was broken in Daley Plaza for the construction of the sculpture on May 25, 1967.The efforts of the City of Chicago to publicize the sculpture — staging a number of press events before the sculpture was completed, and displaying the maquette without a copyright notice — were cited as evidence in a 1970 U.S. District Court case where the judge ruled that the city's actions had resulted in the sculpture being dedicated to the public domain.

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Chicago Picasso

In Chicago Picasso, how is the Local and pop culture discussed?

The Picasso was the site of an August 23, 1968, press conference in which Yippies Jerry Rubin, Phil Ochs, and others were arrested after nominating a pig — Pigasus — for president of the United States. This event was held days before the opening of the 1968 Democratic National Convention, which became known for its anti-Vietnam war protests.The sculpture was mentioned (and appears) in the 1980 film The Blues Brothers during the chase scene leading to the Richard J. Daley Center. It can also be seen briefly in the 1993 film The Fugitive, as Harrison Ford, playing Richard Kimble, and his pursuers run across the plaza, and in the 1986 film Ferris Bueller's Day Off as people in and under a reviewing stand dance to a song sung by Matthew Broderick, who plays Bueller. The sculpture also makes an appearance in the 1988 film Switching Channels starring Kathleen Turner, Burt Reynolds and Christopher Reeve. The Chicago Picasso became and continues to be a well-known meeting spot for Chicagoans. Depending on the season and time of the month, there are musical performances, farmers' markets, a Christkindlmarkt, and other Chicago affairs which are held around the Picasso in Daley Plaza.

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Chicago Picasso

In this artwork, how is the Local and pop culture discussed?

The Picasso was the site of an August 23, 1968, press conference in which Yippies Jerry Rubin, Phil Ochs, and others were arrested after nominating a pig — Pigasus — for president of the United States. This event was held days before the opening of the 1968 Democratic National Convention, which became known for its anti-Vietnam war protests.The sculpture was mentioned (and appears) in the 1980 film The Blues Brothers during the chase scene leading to the Richard J. Daley Center. It can also be seen briefly in the 1993 film The Fugitive, as Harrison Ford, playing Richard Kimble, and his pursuers run across the plaza, and in the 1986 film Ferris Bueller's Day Off as people in and under a reviewing stand dance to a song sung by Matthew Broderick, who plays Bueller. The sculpture also makes an appearance in the 1988 film Switching Channels starring Kathleen Turner, Burt Reynolds and Christopher Reeve. The Chicago Picasso became and continues to be a well-known meeting spot for Chicagoans. Depending on the season and time of the month, there are musical performances, farmers' markets, a Christkindlmarkt, and other Chicago affairs which are held around the Picasso in Daley Plaza.

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Dresden From the Right Bank of the Elbe Above the Augustus Bridge

Focus on Dresden From the Right Bank of the Elbe Above the Augustus Bridge and explore the abstract.

Dresden From the Right Bank of the Elbe Above the Augustus Bridge is an oil on canvas by the Italian urban landscape painter Bernardo Bellotto. Painted in 1747, it depicts the view of Dresden from the right bank of the River Elbe, including the Dresden Frauenkirche, the Dresden Cathedral, and the Augustus Bridge. One year later, he painted another piece titled Dresden From the Right Bank of the Elbe Below the Augustus Bridge, looking in the other direction from below the Augustus Bridge. Both of the paintings are in the permanent collection of the Gemäldegalerie Alte Meister. The paintings have proved invaluable in rebuilding parts of the city that were destroyed during World War II.

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Dresden From the Right Bank of the Elbe Above the Augustus Bridge

Focus on this artwork and explore the abstract.

Dresden From the Right Bank of the Elbe Above the Augustus Bridge is an oil on canvas by the Italian urban landscape painter Bernardo Bellotto. Painted in 1747, it depicts the view of Dresden from the right bank of the River Elbe, including the Dresden Frauenkirche, the Dresden Cathedral, and the Augustus Bridge. One year later, he painted another piece titled Dresden From the Right Bank of the Elbe Below the Augustus Bridge, looking in the other direction from below the Augustus Bridge. Both of the paintings are in the permanent collection of the Gemäldegalerie Alte Meister. The paintings have proved invaluable in rebuilding parts of the city that were destroyed during World War II.

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Dresden From the Right Bank of the Elbe Above the Augustus Bridge

Focus on Dresden From the Right Bank of the Elbe Above the Augustus Bridge and explain the Lists of replicas.

Between 1751 and 1753, Bellotto also executed smaller replicas of the two paintings. There are some other replicas from his own hand.View of Dresden with the Frauenkirche at Left, 1747, North Carolina Museum of Art. Dresden From the Right Bank of the Elbe Above the Augustus Bridge, ca. 1750, National Gallery of Ireland. Dresden From the Right Bank of the Elbe Above the Augustus Bridge, 1751–53, Private Collection. Lent to the Getty Museum since 2016.Also, there are some replicas from his followers, but the painting techniques are much rougher.

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Dresden From the Right Bank of the Elbe Above the Augustus Bridge

Focus on this artwork and explain the Lists of replicas.

Between 1751 and 1753, Bellotto also executed smaller replicas of the two paintings. There are some other replicas from his own hand.View of Dresden with the Frauenkirche at Left, 1747, North Carolina Museum of Art. Dresden From the Right Bank of the Elbe Above the Augustus Bridge, ca. 1750, National Gallery of Ireland. Dresden From the Right Bank of the Elbe Above the Augustus Bridge, 1751–53, Private Collection. Lent to the Getty Museum since 2016.Also, there are some replicas from his followers, but the painting techniques are much rougher.

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Supper at Emmaus (Titian)

Explore the abstract of this artwork, Supper at Emmaus (Titian).

The Supper at Emmaus is the title shared by several similar works by Titian, two of which are discussed here. The first, made about 1534, is currently on long-term loan to the Walker Art Gallery in Liverpool. The second, made about 1545 by Titian and his studio, is in the National Gallery of Ireland in Dublin.

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Supper at Emmaus (Titian)

Explore the abstract of this artwork.

The Supper at Emmaus is the title shared by several similar works by Titian, two of which are discussed here. The first, made about 1534, is currently on long-term loan to the Walker Art Gallery in Liverpool. The second, made about 1545 by Titian and his studio, is in the National Gallery of Ireland in Dublin.

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Supper at Emmaus (Titian)

Focus on Supper at Emmaus (Titian) and discuss the First version.

Georg Gronau considers this a replica of the Pilgrims of Emmaus in the Louvre. From the sixteenth to the eighteenth century, the picture was preserved in the Ducal Palace, Venice, and belongs now to the Earl of Yarborough. It is on long-term loan to the Walker Art Gallery in Liverpool.

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Supper at Emmaus (Titian)

Focus on this artwork and discuss the First version.

Georg Gronau considers this a replica of the Pilgrims of Emmaus in the Louvre. From the sixteenth to the eighteenth century, the picture was preserved in the Ducal Palace, Venice, and belongs now to the Earl of Yarborough. It is on long-term loan to the Walker Art Gallery in Liverpool.

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Supper at Emmaus (Titian)

In the context of Supper at Emmaus (Titian), analyze the Provenance of the Second version.

Venice; Abbate Celotti, 1836; Prince Demidoff, Villa San Dorato, near Florence, 1836; Purchased, Paris, Prince Demidoff sale, March 1870.

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Supper at Emmaus (Titian)

In the context of this artwork, analyze the Provenance of the Second version.

Venice; Abbate Celotti, 1836; Prince Demidoff, Villa San Dorato, near Florence, 1836; Purchased, Paris, Prince Demidoff sale, March 1870.

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Colored Mona Lisa

In Colored Mona Lisa, how is the abstract discussed?

Colored Mona Lisa is a painting created by the American artist Andy Warhol in 1963. The painting, which depicts Leonardo da Vinci’s Mona Lisa, sold for $56.2 million at Christie's in 2015.

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Colored Mona Lisa

In this artwork, how is the abstract discussed?

Colored Mona Lisa is a painting created by the American artist Andy Warhol in 1963. The painting, which depicts Leonardo da Vinci’s Mona Lisa, sold for $56.2 million at Christie's in 2015.

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Michael Jackson and Bubbles

Focus on Michael Jackson and Bubbles and explore the abstract.

Michael Jackson and Bubbles is a porcelain sculpture (42 x 70.5 x 32.5 in) by the American artist Jeff Koons. It was created in 1988 within the framework of his Banality series.

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Michael Jackson and Bubbles

Focus on this artwork and explore the abstract.

Michael Jackson and Bubbles is a porcelain sculpture (42 x 70.5 x 32.5 in) by the American artist Jeff Koons. It was created in 1988 within the framework of his Banality series.

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Michael Jackson and Bubbles

Focus on Michael Jackson and Bubbles and explain the Interpretation.

Jeff Koons has stated that his works of art should reach the largest possible audience. For this purpose he sought inspiration in entertainment media, pop culture and Christian art. The depiction of a media effective person like Michael Jackson might have helped him to achieve this aim. In the 1980s, which were characterized by a new consumer and media culture, Jackson enjoyed an enormous chart success and became a pop icon. Koons now overemphasized the King of Pop's icon-like manner paralleling him with Christian icons. The artist once said about the sculpture: I wanted to create him in a very god-like icon manner. But I always liked the radicality of Michael Jackson; that he would do absolutely anything that was necessary to be able to communicate with people. Koons has stated that he was also inspired by the triangular composition of Michelangelo's Pietà. Furthermore, the work's material reminds of catholic mass-produced figures of saints which are usually manufactured in porcelain and gold leaf. Thus the sculpture becomes a kitschy object that is appealing for a wide public and the art market. Koons claims that he wanted to depict Jackson as a new redemptive figure who enables people to discover their own cultural mythology.Michael Jackson and Bubbles has also been read as a symbol of the human desire for self-discovery. Jackson demonstrated publicly his childlike personality and tried to reinvent himself by means of plastic surgery. Koons was fascinated by the self transformations of Jackson and the way he played with images such as himself against Bubbles.

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Michael Jackson and Bubbles

Focus on this artwork and explain the Interpretation.

Jeff Koons has stated that his works of art should reach the largest possible audience. For this purpose he sought inspiration in entertainment media, pop culture and Christian art. The depiction of a media effective person like Michael Jackson might have helped him to achieve this aim. In the 1980s, which were characterized by a new consumer and media culture, Jackson enjoyed an enormous chart success and became a pop icon. Koons now overemphasized the King of Pop's icon-like manner paralleling him with Christian icons. The artist once said about the sculpture: I wanted to create him in a very god-like icon manner. But I always liked the radicality of Michael Jackson; that he would do absolutely anything that was necessary to be able to communicate with people. Koons has stated that he was also inspired by the triangular composition of Michelangelo's Pietà. Furthermore, the work's material reminds of catholic mass-produced figures of saints which are usually manufactured in porcelain and gold leaf. Thus the sculpture becomes a kitschy object that is appealing for a wide public and the art market. Koons claims that he wanted to depict Jackson as a new redemptive figure who enables people to discover their own cultural mythology.Michael Jackson and Bubbles has also been read as a symbol of the human desire for self-discovery. Jackson demonstrated publicly his childlike personality and tried to reinvent himself by means of plastic surgery. Koons was fascinated by the self transformations of Jackson and the way he played with images such as himself against Bubbles.

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Michael Jackson and Bubbles

Explore the Reception in fine arts of this artwork, Michael Jackson and Bubbles.

The American artist Paul McCarthy created some sculptures relating to Michael Jackson and Bubbles by Jeff Koons, e.g. Michael Jackson and Bubbles (Gold) from 1997 to 1999 (today in the Christian Flick Collection) or Michael Jackson Fucked Up (Big Head) from 2002.

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Michael Jackson and Bubbles

Explore the Reception in fine arts of this artwork.

The American artist Paul McCarthy created some sculptures relating to Michael Jackson and Bubbles by Jeff Koons, e.g. Michael Jackson and Bubbles (Gold) from 1997 to 1999 (today in the Christian Flick Collection) or Michael Jackson Fucked Up (Big Head) from 2002.

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Michael Jackson and Bubbles

Focus on Michael Jackson and Bubbles and discuss the Exhibitions.

In 2012 the Liebieghaus in Frankfurt attracted attention displaying Michael Jackson and Bubbles next to Egyptian mummies and thus established an aesthetic and ironic dialogue between the objects.

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Michael Jackson and Bubbles

Focus on this artwork and discuss the Exhibitions.

In 2012 the Liebieghaus in Frankfurt attracted attention displaying Michael Jackson and Bubbles next to Egyptian mummies and thus established an aesthetic and ironic dialogue between the objects.

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Bourke Street (painting)

How does Bourke Street (painting) elucidate its abstract?

Bourke Street is a 1886 painting by Australian artist Tom Roberts. Roberts originally titled the work Allegro con brio. The painting depicts the western end of Bourke Street, one of the main thoroughfares in Melbourne as seen from the Buckley & Nunn drapery.The work was painted a few months after Roberts' return to Australia in 1885, after he had spent four years in Europe . It was not displayed until 1890, and only five days beforehand, Roberts added three female figures to the lower left. Roberts was unable to find a buyer and handed the painting to fellow artist, Frederick McCubbin. In 1920, McCubbin's widow sold the painting to the Commonwealth Parliamentary Library for 20 guineas—forwarding the proceeds to Roberts, who was in London at the time.

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Bourke Street (painting)

How does this artwork elucidate its abstract?

Bourke Street is a 1886 painting by Australian artist Tom Roberts. Roberts originally titled the work Allegro con brio. The painting depicts the western end of Bourke Street, one of the main thoroughfares in Melbourne as seen from the Buckley & Nunn drapery.The work was painted a few months after Roberts' return to Australia in 1885, after he had spent four years in Europe . It was not displayed until 1890, and only five days beforehand, Roberts added three female figures to the lower left. Roberts was unable to find a buyer and handed the painting to fellow artist, Frederick McCubbin. In 1920, McCubbin's widow sold the painting to the Commonwealth Parliamentary Library for 20 guineas—forwarding the proceeds to Roberts, who was in London at the time.

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The Art of Painting

Focus on The Art of Painting and analyze the abstract.

The Art of Painting (Dutch: Allegorie op de schilderkunst), also known as The Allegory of Painting, or Painter in his Studio, is a 17th-century oil on canvas painting by Dutch painter Johannes Vermeer. It is owned by the Austrian Republic and is on display in the Kunsthistorisches Museum in Vienna.Many art historians think that it is an allegory of painting, hence the alternative title of the painting. Its composition and iconography make it the most complex Vermeer work of all. After Vermeer's Christ in the House of Martha and Mary and The Procuress it is his largest work. This illusionistic painting is one of Vermeer's most famous. In 1868 Thoré-Bürger, known today for his rediscovery of the work of painter Johannes Vermeer, regarded this painting as his most interesting. Svetlana Alpers describes it as unique and ambitious;: 119  Walter Liedtke "as a virtuoso display of the artist's power of invention and execution, staged in an imaginary version of his studio ..." According to Albert Blankert "No other painting so flawlessly integrates naturalistic technique, brightly illuminated space, and a complexly integrated composition."

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The Art of Painting

Focus on this artwork and analyze the abstract.

The Art of Painting (Dutch: Allegorie op de schilderkunst), also known as The Allegory of Painting, or Painter in his Studio, is a 17th-century oil on canvas painting by Dutch painter Johannes Vermeer. It is owned by the Austrian Republic and is on display in the Kunsthistorisches Museum in Vienna.Many art historians think that it is an allegory of painting, hence the alternative title of the painting. Its composition and iconography make it the most complex Vermeer work of all. After Vermeer's Christ in the House of Martha and Mary and The Procuress it is his largest work. This illusionistic painting is one of Vermeer's most famous. In 1868 Thoré-Bürger, known today for his rediscovery of the work of painter Johannes Vermeer, regarded this painting as his most interesting. Svetlana Alpers describes it as unique and ambitious;: 119  Walter Liedtke "as a virtuoso display of the artist's power of invention and execution, staged in an imaginary version of his studio ..." According to Albert Blankert "No other painting so flawlessly integrates naturalistic technique, brightly illuminated space, and a complexly integrated composition."

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The Art of Painting

In The Art of Painting, how is the Description discussed?

This canvas depicts an artist painting a woman dressed in blue posing as a model in his studio. The subject is standing by a window and a large map of the Low Countries hangs on the wall behind. It is signed to the right of the girl "I [Oannes] Ver. Meer", but not dated. Most experts assume it was executed sometime between 1665/1668, but some suggest the work could have been created as late as 1670–1675.In 1663 Vermeer had been visited by Balthasar de Monconys, but had no painting to show, so it was possibly done "in order to have an outstanding specimen of his art in his studio." Vermeer obviously liked the painting; he never sold it during his lifetime. According to Alpers "it stands as a kind of summary and assessment of what has been done.": 122

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The Art of Painting

In this artwork, how is the Description discussed?

This canvas depicts an artist painting a woman dressed in blue posing as a model in his studio. The subject is standing by a window and a large map of the Low Countries hangs on the wall behind. It is signed to the right of the girl "I [Oannes] Ver. Meer", but not dated. Most experts assume it was executed sometime between 1665/1668, but some suggest the work could have been created as late as 1670–1675.In 1663 Vermeer had been visited by Balthasar de Monconys, but had no painting to show, so it was possibly done "in order to have an outstanding specimen of his art in his studio." Vermeer obviously liked the painting; he never sold it during his lifetime. According to Alpers "it stands as a kind of summary and assessment of what has been done.": 122

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The Art of Painting

In the context of The Art of Painting, explore the Elements of the Description.

The painting has only two figures, the painter and his subject, a woman with downcast eyes. The painter was thought to be a self-portrait of the artist; Jean-Louis Vaudoyer suggested the young woman could be his daughter.: 172  The painter sits in front of the painting on the easel, where you can see the sketch of the crown. He is dressed in an elegant black garment with cuts on the sleeves and on the back that offers a glimpse of the shirt underneath. He has short puffy breeches and orange stockings, an expensive and fashionable garment that is also found in other works of the time, as in a well-known self-portrait by Rubens. The tapestry and the chair, both repoussoirs, lead the viewer into the painting. As in The Allegory of Faith, the ceiling can be seen. Experts attribute symbols to various aspects of the painting. A number of the items, a plaster mask, perhaps representing the debate on paragone, the presence of a piece of cloth, a folio, and some leather on the table have been linked to the symbols of Liberal Arts. The representation of the marble tiled floor and the splendid golden chandelier are examples of Vermeer's craftsmanship and show his knowledge of perspective. Each object reflects or absorbs light differently, getting the most accurate rendering of material effects.The map, remarkable for the representation of light on it, shows the Seventeen Provinces of the Netherlands, flanked by 20 views of prominent Dutch cities. It was published by Claes Janszoon Visscher in 1636. This map, but without the city views on the left and right can be seen on paintings by Jacob Ochtervelt and Nicolaes Maes. Similar maps were found in the Bibliothèque Nationale in Paris: 120  and in the Swedish Skokloster. In the top left of the map two women can be seen; one bearing a cross-staff and compasses, while the other has a palette, brush, and a city view in the hand.: 126

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The Art of Painting

In the context of this artwork, explore the Elements of the Description.

The painting has only two figures, the painter and his subject, a woman with downcast eyes. The painter was thought to be a self-portrait of the artist; Jean-Louis Vaudoyer suggested the young woman could be his daughter.: 172  The painter sits in front of the painting on the easel, where you can see the sketch of the crown. He is dressed in an elegant black garment with cuts on the sleeves and on the back that offers a glimpse of the shirt underneath. He has short puffy breeches and orange stockings, an expensive and fashionable garment that is also found in other works of the time, as in a well-known self-portrait by Rubens. The tapestry and the chair, both repoussoirs, lead the viewer into the painting. As in The Allegory of Faith, the ceiling can be seen. Experts attribute symbols to various aspects of the painting. A number of the items, a plaster mask, perhaps representing the debate on paragone, the presence of a piece of cloth, a folio, and some leather on the table have been linked to the symbols of Liberal Arts. The representation of the marble tiled floor and the splendid golden chandelier are examples of Vermeer's craftsmanship and show his knowledge of perspective. Each object reflects or absorbs light differently, getting the most accurate rendering of material effects.The map, remarkable for the representation of light on it, shows the Seventeen Provinces of the Netherlands, flanked by 20 views of prominent Dutch cities. It was published by Claes Janszoon Visscher in 1636. This map, but without the city views on the left and right can be seen on paintings by Jacob Ochtervelt and Nicolaes Maes. Similar maps were found in the Bibliothèque Nationale in Paris: 120  and in the Swedish Skokloster. In the top left of the map two women can be seen; one bearing a cross-staff and compasses, while the other has a palette, brush, and a city view in the hand.: 126

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The Art of Painting

In the context of The Art of Painting, explain the Symbolism and allegory of the Description.

Vermeer had a theoretical interest for painting. The subject is presumed to be Fama, Pictura,: 172  or Clio, the Muse of History, evidenced by her wearing a laurel wreath, holding a trumpet, possibly carrying a book by Herodotus or Thucydides, which matches the description in Cesare Ripa's 16th century book on emblems and personifications entitled Iconologia. However, according to Ripa History should look back and not down as in this painting. Following Vermeer's contemporary Gerard de Lairesse, interested in French Classicism and Ripa, there is another explanation; he mentions history and poetry as the main resources of a painter. The woman in blue could be representing poetry,: 175  pointing to Plutarch who observed that "Simonides calls painting silent poetry and poetry painting that speaks", later paraphrased by the Latin poet Horace as ut pictura poesis. If so, the map is representing history. The double-headed eagle, symbol of the Habsburg Holy Roman Empire, which possibly adorns the central golden chandelier, may represent the former rulers of the Low Countries. The large map on the back wall has a prominent crease that divides the Seventeen Provinces into the north and south. (West is at the top of the map.) The crease may symbolize the division between the Dutch Republic to the north and southern provinces under Habsburg rule. The map shows the earlier political division between the Union of Utrecht to the north, and the loyal provinces to the south. This interpretation might have appealed to Hitler who owned the painting during the war.: 182  According to Liedtke a political interpretation of the map and the Habsburg eagle is unconvincing; they overlook other motives. The map could suggest though that painting has brought fame to the Netherlands; ships sailing over the folds suggest that.

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The Art of Painting

In the context of this artwork, explain the Symbolism and allegory of the Description.

Vermeer had a theoretical interest for painting. The subject is presumed to be Fama, Pictura,: 172  or Clio, the Muse of History, evidenced by her wearing a laurel wreath, holding a trumpet, possibly carrying a book by Herodotus or Thucydides, which matches the description in Cesare Ripa's 16th century book on emblems and personifications entitled Iconologia. However, according to Ripa History should look back and not down as in this painting. Following Vermeer's contemporary Gerard de Lairesse, interested in French Classicism and Ripa, there is another explanation; he mentions history and poetry as the main resources of a painter. The woman in blue could be representing poetry,: 175  pointing to Plutarch who observed that "Simonides calls painting silent poetry and poetry painting that speaks", later paraphrased by the Latin poet Horace as ut pictura poesis. If so, the map is representing history. The double-headed eagle, symbol of the Habsburg Holy Roman Empire, which possibly adorns the central golden chandelier, may represent the former rulers of the Low Countries. The large map on the back wall has a prominent crease that divides the Seventeen Provinces into the north and south. (West is at the top of the map.) The crease may symbolize the division between the Dutch Republic to the north and southern provinces under Habsburg rule. The map shows the earlier political division between the Union of Utrecht to the north, and the loyal provinces to the south. This interpretation might have appealed to Hitler who owned the painting during the war.: 182  According to Liedtke a political interpretation of the map and the Habsburg eagle is unconvincing; they overlook other motives. The map could suggest though that painting has brought fame to the Netherlands; ships sailing over the folds suggest that.

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The Art of Painting

Explore the Provenance of this artwork, The Art of Painting.

The painting is considered a work with significance for Vermeer because he did not part with it or sell it, even when he was in debt. On 24 February 1676, his widow Catharina bequeathed it to her mother, Maria Thins, in an attempt to avoid the sale of the painting to satisfy creditors.: 338–339  The executor of Vermeer's estate, the famous Delft microscopist Antonie van Leeuwenhoek, determined that the transferral of the work to the late painter's mother-in-law was illegal and, according to John Michael Montias, at least a curious transaction.: 219, 229  On 15 March 1677 most of his paintings were sold in an auction at the Guild in Delft. It is not known who bought The Art of Painting; perhaps it was Jacob Dissius. It can not be determined with certainty whether the painting is quoted in the auction Dissius of 1696 as "Portrait of Vermeer in a room with various accessories." The painting was owned by Gerard van Swieten, and passed into the hands of Gottfried van Swieten. In 1813, it was purchased for 50 florins by the Bohemian-Austrian Count Rudolf Czernin. It was placed on public display in the Czernin Museum in Vienna. Until 1860, the painting was considered to have been painted by Vermeer's contemporary, Pieter de Hooch; Vermeer was little-known until the late 19th century. Hooch's signature was even forged on the painting. It was at the intervention of the German art historian Gustav Friedrich Waagen that it was recognised as a Vermeer original.

18694_NT

The Art of Painting

Explore the Provenance of this artwork.

The painting is considered a work with significance for Vermeer because he did not part with it or sell it, even when he was in debt. On 24 February 1676, his widow Catharina bequeathed it to her mother, Maria Thins, in an attempt to avoid the sale of the painting to satisfy creditors.: 338–339  The executor of Vermeer's estate, the famous Delft microscopist Antonie van Leeuwenhoek, determined that the transferral of the work to the late painter's mother-in-law was illegal and, according to John Michael Montias, at least a curious transaction.: 219, 229  On 15 March 1677 most of his paintings were sold in an auction at the Guild in Delft. It is not known who bought The Art of Painting; perhaps it was Jacob Dissius. It can not be determined with certainty whether the painting is quoted in the auction Dissius of 1696 as "Portrait of Vermeer in a room with various accessories." The painting was owned by Gerard van Swieten, and passed into the hands of Gottfried van Swieten. In 1813, it was purchased for 50 florins by the Bohemian-Austrian Count Rudolf Czernin. It was placed on public display in the Czernin Museum in Vienna. Until 1860, the painting was considered to have been painted by Vermeer's contemporary, Pieter de Hooch; Vermeer was little-known until the late 19th century. Hooch's signature was even forged on the painting. It was at the intervention of the German art historian Gustav Friedrich Waagen that it was recognised as a Vermeer original.

18695_T

The Art of Painting

In the context of The Art of Painting, discuss the Nazi interest of the Provenance.

In 1935, Count Jaromir Czernin had tried to sell the painting to Andrew W. Mellon, but the Austrian government prohibited the export of the painting. After the annexation of Austria, Philipp Reemtsma with the help of Reichsmarschall Hermann Göring attempted to acquire the painting. The transaction to a private person was refused being cultural heritage. It was finally acquired by Adolf Hitler for the collection of the Linzer Museum at a price of 1.82 million Reichsmark through his agent, Hans Posse on 20 November 1940. The painting was rescued from a salt mine near Altaussee at the end of World War II in 1945, where it was preserved from Allied bombing raids, with other works of art. The painting was escorted to Vienna from Munich by Andrew Ritchie, chief of the Monuments, Fine Arts, and Archives program (MFA&A) for Austria, who transported it by locking himself and the painting in a train compartment.The Americans presented the painting to the Austrian Government in late 1945 since the Czernin family were deemed to have sold it voluntarily, without undue force from Hitler. The Czernin family made several attempts to claim restitution, each time being rejected, although this played a role in securing an official certification of Hitler's death in 1956. In 1958, Vermeer's The Art of Painting was finally moved from temporary status into the permanent collection of the Kunsthistorisches Museum in Vienna. A 1998 restitution law, which pertains to public institutions, bolstered the family's legal position, but the case was rejected again by the Austrian government in 2011.

18695_NT

The Art of Painting

In the context of this artwork, discuss the Nazi interest of the Provenance.

In 1935, Count Jaromir Czernin had tried to sell the painting to Andrew W. Mellon, but the Austrian government prohibited the export of the painting. After the annexation of Austria, Philipp Reemtsma with the help of Reichsmarschall Hermann Göring attempted to acquire the painting. The transaction to a private person was refused being cultural heritage. It was finally acquired by Adolf Hitler for the collection of the Linzer Museum at a price of 1.82 million Reichsmark through his agent, Hans Posse on 20 November 1940. The painting was rescued from a salt mine near Altaussee at the end of World War II in 1945, where it was preserved from Allied bombing raids, with other works of art. The painting was escorted to Vienna from Munich by Andrew Ritchie, chief of the Monuments, Fine Arts, and Archives program (MFA&A) for Austria, who transported it by locking himself and the painting in a train compartment.The Americans presented the painting to the Austrian Government in late 1945 since the Czernin family were deemed to have sold it voluntarily, without undue force from Hitler. The Czernin family made several attempts to claim restitution, each time being rejected, although this played a role in securing an official certification of Hitler's death in 1956. In 1958, Vermeer's The Art of Painting was finally moved from temporary status into the permanent collection of the Kunsthistorisches Museum in Vienna. A 1998 restitution law, which pertains to public institutions, bolstered the family's legal position, but the case was rejected again by the Austrian government in 2011.

18696_T

Statue of George VI, Hong Kong

How does Statue of George VI, Hong Kong elucidate its abstract?

The statue of George VI is a bronze sculpture by British artist Gilbert Ledward, installed at the Hong Kong Zoological and Botanical Gardens, in Hong Kong. The statue was erected in 1958 to commemorate Hong Kong's centennial, and replaced one depicting Arthur Kennedy.

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Statue of George VI, Hong Kong

How does this artwork elucidate its abstract?

The statue of George VI is a bronze sculpture by British artist Gilbert Ledward, installed at the Hong Kong Zoological and Botanical Gardens, in Hong Kong. The statue was erected in 1958 to commemorate Hong Kong's centennial, and replaced one depicting Arthur Kennedy.

18697_T

Arab Woman (watercolor)

Focus on Arab Woman (watercolor) and analyze the abstract.

Arab Woman is a watercolor painting by American artist John Singer Sargent, created c. 1905-1906. It is in the collection of the Metropolitan Museum of Art, in New York.

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Arab Woman (watercolor)

Focus on this artwork and analyze the abstract.

Arab Woman is a watercolor painting by American artist John Singer Sargent, created c. 1905-1906. It is in the collection of the Metropolitan Museum of Art, in New York.

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Arab Woman (watercolor)

In Arab Woman (watercolor), how is the Description discussed?

Prominent American painter John Singer Sargent took two notable trips to the Middle East during his lifetime; the first trip was to Greece, Egypt, and Turkey in 1890, while the second was to the-then Ottoman provinces of Syria and Palestine in 1905. These trips spurred Sargent to create a number of works of art concerning various subjects.Arab Woman was produced by Sargent during his one of his travels in the Middle East. The image, done in watercolor and gouache on woven white paper, depicts a veiled Muslim woman wearing a white niqāb. According to an inscription left by Sargent on the painting, the work is incomplete.

18698_NT

Arab Woman (watercolor)

In this artwork, how is the Description discussed?

Prominent American painter John Singer Sargent took two notable trips to the Middle East during his lifetime; the first trip was to Greece, Egypt, and Turkey in 1890, while the second was to the-then Ottoman provinces of Syria and Palestine in 1905. These trips spurred Sargent to create a number of works of art concerning various subjects.Arab Woman was produced by Sargent during his one of his travels in the Middle East. The image, done in watercolor and gouache on woven white paper, depicts a veiled Muslim woman wearing a white niqāb. According to an inscription left by Sargent on the painting, the work is incomplete.

18699_T

Albani Torlonia Polyptych

Focus on Albani Torlonia Polyptych and explore the abstract.

The Albani Torlonia Altarpiece is a painting by the Italian Renaissance painter Pietro Perugino, executed in 1491 and housed in the Torlonia Collection, Rome. It was commissioned by Cardinal Giuliano della Rovere, the future pope Julius II.

18699_NT

Albani Torlonia Polyptych

Focus on this artwork and explore the abstract.

The Albani Torlonia Altarpiece is a painting by the Italian Renaissance painter Pietro Perugino, executed in 1491 and housed in the Torlonia Collection, Rome. It was commissioned by Cardinal Giuliano della Rovere, the future pope Julius II.

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Albani Torlonia Polyptych

Focus on Albani Torlonia Polyptych and explain the Description.

The polyptych includes two levels: the lower one has in the centre a Nativity scene and, at the sides, two arched panels depicting Michael the Archangel, John the Baptist, Jerome and Saint George, sharing the same background. The upper one as, in the centre, a lunette with a Crucifixion, flanked by two small panels, with the Annunciation Angel and the Annunciation to the Virgin, set in a double portico. The main scene, that of the Nativity, is perhaps inspired by that painted by Perugino in the Sistine Chapel, which is now lost. The Child is housed in the Virgin's dress, lying on a red cushion; Mary and Saint Joseph are adoring him, flanked by two kneeling angels and, behind, the ox and the donkey. The scene is set inside a perspective portico, while the background includes a series of hills.

18700_NT

Albani Torlonia Polyptych

Focus on this artwork and explain the Description.

The polyptych includes two levels: the lower one has in the centre a Nativity scene and, at the sides, two arched panels depicting Michael the Archangel, John the Baptist, Jerome and Saint George, sharing the same background. The upper one as, in the centre, a lunette with a Crucifixion, flanked by two small panels, with the Annunciation Angel and the Annunciation to the Virgin, set in a double portico. The main scene, that of the Nativity, is perhaps inspired by that painted by Perugino in the Sistine Chapel, which is now lost. The Child is housed in the Virgin's dress, lying on a red cushion; Mary and Saint Joseph are adoring him, flanked by two kneeling angels and, behind, the ox and the donkey. The scene is set inside a perspective portico, while the background includes a series of hills.