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18701_T

Electronic Poet

Explore the abstract of this artwork, Electronic Poet.

Electronic Poet, also known as E.P. (Electronic Poet), is an outdoor 1984 sculpture by Keith Jellum, located above the sidewalk on Southwest Morrison Street, between 9th and 10th Avenues in downtown Portland, Oregon. The abstract piece is made of bronze and an LED light board which displays poems programmed in a loop. It is administered by the Regional Arts & Culture Council.

18701_NT

Electronic Poet

Explore the abstract of this artwork.

Electronic Poet, also known as E.P. (Electronic Poet), is an outdoor 1984 sculpture by Keith Jellum, located above the sidewalk on Southwest Morrison Street, between 9th and 10th Avenues in downtown Portland, Oregon. The abstract piece is made of bronze and an LED light board which displays poems programmed in a loop. It is administered by the Regional Arts & Culture Council.

18702_T

Electronic Poet

Focus on Electronic Poet and discuss the Description.

The sculpture measures 10 inches (0.25 m) x 52 inches (1.3 m) x 20 inches (0.51 m) and is made of bronze and an LED light board. It displays curated collections of poems programmed in an "evolving" loop, intended to be rotated every six months. Selections of Jellum's favorite poems from around the world have featured American poets born before 1990, European, Native American and Northwestern poets, and Oregon place names, among others. The artist wanted to create "opportunities for moments of reflection within the urban landscape".The Smithsonian Institution categorizes the sculpture as abstract. Smithsonian lists the parking garage at the intersection of Southwest 10th and Yamhill as the work's owner, while 'cultureNOW' says it is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council. Electronic Poet was funded by the city's Percent for Art program and is administered by the Regional Arts & Culture Council.

18702_NT

Electronic Poet

Focus on this artwork and discuss the Description.

The sculpture measures 10 inches (0.25 m) x 52 inches (1.3 m) x 20 inches (0.51 m) and is made of bronze and an LED light board. It displays curated collections of poems programmed in an "evolving" loop, intended to be rotated every six months. Selections of Jellum's favorite poems from around the world have featured American poets born before 1990, European, Native American and Northwestern poets, and Oregon place names, among others. The artist wanted to create "opportunities for moments of reflection within the urban landscape".The Smithsonian Institution categorizes the sculpture as abstract. Smithsonian lists the parking garage at the intersection of Southwest 10th and Yamhill as the work's owner, while 'cultureNOW' says it is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council. Electronic Poet was funded by the city's Percent for Art program and is administered by the Regional Arts & Culture Council.

18703_T

Electronic Poet

How does Electronic Poet elucidate its Reception?

"Dr. Know" (Marty Smith) of Willamette Week emphasized that the sculpture does not compose the text it displays and said its six-month rotation schedule "does not appear to be religiously observed". Of the work's introduction, in the form of the text "I am E.P." being displayed approximately every ten minutes, Smith hypothesized: "Since E.T. the Extra-Terrestrial came out in 1982, possibly the Poet’s name was a play on the then-recent sci-fi blockbuster about another technologically advanced being with a wide, flat head. Possibly, but I hope not." The sculpture has been included in walking tours of Portland.

18703_NT

Electronic Poet

How does this artwork elucidate its Reception?

"Dr. Know" (Marty Smith) of Willamette Week emphasized that the sculpture does not compose the text it displays and said its six-month rotation schedule "does not appear to be religiously observed". Of the work's introduction, in the form of the text "I am E.P." being displayed approximately every ten minutes, Smith hypothesized: "Since E.T. the Extra-Terrestrial came out in 1982, possibly the Poet’s name was a play on the then-recent sci-fi blockbuster about another technologically advanced being with a wide, flat head. Possibly, but I hope not." The sculpture has been included in walking tours of Portland.

18704_T

Statue of Robert Fulton

Focus on Statue of Robert Fulton and analyze the abstract.

Robert Fulton is a marble sculpture depicting the American engineer and inventor of the same name by Howard Roberts, installed at the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Pennsylvania in 1889.

18704_NT

Statue of Robert Fulton

Focus on this artwork and analyze the abstract.

Robert Fulton is a marble sculpture depicting the American engineer and inventor of the same name by Howard Roberts, installed at the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Pennsylvania in 1889.

18705_T

Marsuppini Coronation

In Marsuppini Coronation, how is the abstract discussed?

The Marsuppini Coronation is a painting of the Coronation of the Virgin by the Italian Renaissance painter Filippo Lippi, dating to after 1444. It is in the Pinacoteca Vaticana, Rome.

18705_NT

Marsuppini Coronation

In this artwork, how is the abstract discussed?

The Marsuppini Coronation is a painting of the Coronation of the Virgin by the Italian Renaissance painter Filippo Lippi, dating to after 1444. It is in the Pinacoteca Vaticana, Rome.

18706_T

Marsuppini Coronation

Focus on Marsuppini Coronation and explore the History.

The panel was commissioned by the chancellor of the Republic of Florence, Carlo Marsuppini, for the St. Bernard Chapel in the eponymous church at Arezzo. His father Gregorio, to whom it would be dedicated, had died in 1444, and thus the work must date to that year or later, up to c. 1460. The work remained in Arezzo until 1785, when the monastery which owned the church was suppressed. It was subsequently split into three parts and sold to privates, and was later acquired by Pope Gregory XVI. Thenceforth it has been in the Art Gallery of the Vatican Museums.

18706_NT

Marsuppini Coronation

Focus on this artwork and explore the History.

The panel was commissioned by the chancellor of the Republic of Florence, Carlo Marsuppini, for the St. Bernard Chapel in the eponymous church at Arezzo. His father Gregorio, to whom it would be dedicated, had died in 1444, and thus the work must date to that year or later, up to c. 1460. The work remained in Arezzo until 1785, when the monastery which owned the church was suppressed. It was subsequently split into three parts and sold to privates, and was later acquired by Pope Gregory XVI. Thenceforth it has been in the Art Gallery of the Vatican Museums.

18707_T

Marsuppini Coronation

Focus on Marsuppini Coronation and explain the Description.

The panel has a sober and archaic style, similar to that of Fra Angelico. It is divided into three sections. The central one, on his podium with steps and framed by a shell-shaped niche, is the scene of the coronation of Mary: she is kneeling at the feet of Christ, who puts the crown on his head. At the sides are two symmetrical compositions of three musician angels and two standing saints in the foreground. The latter, who are connected to the monastic orders, are presenting the two donors, Gregorio Marsuppini and his son Carlo, both kneeling. The musician angels were executed (at least partly) by assistants.

18707_NT

Marsuppini Coronation

Focus on this artwork and explain the Description.

The panel has a sober and archaic style, similar to that of Fra Angelico. It is divided into three sections. The central one, on his podium with steps and framed by a shell-shaped niche, is the scene of the coronation of Mary: she is kneeling at the feet of Christ, who puts the crown on his head. At the sides are two symmetrical compositions of three musician angels and two standing saints in the foreground. The latter, who are connected to the monastic orders, are presenting the two donors, Gregorio Marsuppini and his son Carlo, both kneeling. The musician angels were executed (at least partly) by assistants.

18708_T

Statue of Giuseppe Garibaldi (New York City)

Explore the Description and history of this artwork, Statue of Giuseppe Garibaldi (New York City).

The statue and its granite pedestal were created by Giovanni Turini upon the organization of the editors of the newspaper Il Progresso Italo-Americano to raise funds to commemorate Garibaldi after his death. Turini was a volunteer member of Garibaldi's Fourth Regiment in the campaign against Austria in 1866. The statue was dedicated on June 4, 1888.In 1970, in order to construct a new promenade through the park, the statue was moved fifteen feet to the east. During its movement, a glass vessel from the 1880s was discovered beneath the statue containing newspaper articles of Garibaldi's death, a history of the Committee for the Monument of Garibaldi, and poster and news clippings describing the statue's dedication.

18708_NT

Statue of Giuseppe Garibaldi (New York City)

Explore the Description and history of this artwork.

The statue and its granite pedestal were created by Giovanni Turini upon the organization of the editors of the newspaper Il Progresso Italo-Americano to raise funds to commemorate Garibaldi after his death. Turini was a volunteer member of Garibaldi's Fourth Regiment in the campaign against Austria in 1866. The statue was dedicated on June 4, 1888.In 1970, in order to construct a new promenade through the park, the statue was moved fifteen feet to the east. During its movement, a glass vessel from the 1880s was discovered beneath the statue containing newspaper articles of Garibaldi's death, a history of the Committee for the Monument of Garibaldi, and poster and news clippings describing the statue's dedication.

18709_T

Dead Germans in a Trench

Focus on Dead Germans in a Trench and discuss the abstract.

Dead Germans in a Trench is a 1918 oil painting by Irish artist William Orpen, made during the First World War. It was inspired by the battlefield of the Battle of the Somme that Orpen had visited in 1917, and depicts the bodies of two dead German soldiers sinking into the mud at the bottom of a trench.The painting depicts two dead German soldiers, one lies on his back, with an agonised open-mouthed expression on his face and a clenched hand raised. The skin on the face and arms are painted in a blue-green colour, suggesting putrefaction and decomposition. The other, wearing a helmet, lies face down in the mud. In the background are the wooden wattle sides of the trench, supported by wooden planks, with white heaps of chalk spoil beyond, and a deep azure sky above. The bright colours contrast with the sombre subject matter. It measures 91.4 by 76.2 centimetres (36.0 in × 30.0 in). It was first exhibited at Agnew's Gallery on Bond Street in London in May 1918, after the initial decision of the military censor Arthur Lee to deny permission was overruled. The Times commented that "Mr Orpen is certainly not a sentimentalist; he seems to paint with cold, serene skill, just as he might paint a bunch of flowers" and "only Germans die in this war". Orpen donated the painting to the Imperial War Museum in 1918.

18709_NT

Dead Germans in a Trench

Focus on this artwork and discuss the abstract.

Dead Germans in a Trench is a 1918 oil painting by Irish artist William Orpen, made during the First World War. It was inspired by the battlefield of the Battle of the Somme that Orpen had visited in 1917, and depicts the bodies of two dead German soldiers sinking into the mud at the bottom of a trench.The painting depicts two dead German soldiers, one lies on his back, with an agonised open-mouthed expression on his face and a clenched hand raised. The skin on the face and arms are painted in a blue-green colour, suggesting putrefaction and decomposition. The other, wearing a helmet, lies face down in the mud. In the background are the wooden wattle sides of the trench, supported by wooden planks, with white heaps of chalk spoil beyond, and a deep azure sky above. The bright colours contrast with the sombre subject matter. It measures 91.4 by 76.2 centimetres (36.0 in × 30.0 in). It was first exhibited at Agnew's Gallery on Bond Street in London in May 1918, after the initial decision of the military censor Arthur Lee to deny permission was overruled. The Times commented that "Mr Orpen is certainly not a sentimentalist; he seems to paint with cold, serene skill, just as he might paint a bunch of flowers" and "only Germans die in this war". Orpen donated the painting to the Imperial War Museum in 1918.

18710_T

Metamorphosis (Miró)

How does Metamorphosis (Miró) elucidate its abstract?

Metamorphosis is a series of collage-drawings by Joan Miró, made between 1935 and 1936. This is a series of works made as an interlude while Miró was painting the series Paintings on masonite.

18710_NT

Metamorphosis (Miró)

How does this artwork elucidate its abstract?

Metamorphosis is a series of collage-drawings by Joan Miró, made between 1935 and 1936. This is a series of works made as an interlude while Miró was painting the series Paintings on masonite.

18711_T

Metamorphosis (Miró)

Focus on Metamorphosis (Miró) and analyze the Description.

As the series made on Masonite, in these works the artist expresses his concern about the political situation in the 1930s, the conservative black biennium in Spain, when the conservative ministers and the central government actions led to a series of widespread protests over land and the Catalan republic cause was renewed by the army. Commentators have seen these collage pictures as adding extra depth to Miró's more colourful production on copper and masonite at this time.

18711_NT

Metamorphosis (Miró)

Focus on this artwork and analyze the Description.

As the series made on Masonite, in these works the artist expresses his concern about the political situation in the 1930s, the conservative black biennium in Spain, when the conservative ministers and the central government actions led to a series of widespread protests over land and the Catalan republic cause was renewed by the army. Commentators have seen these collage pictures as adding extra depth to Miró's more colourful production on copper and masonite at this time.

18712_T

Metamorphosis (Miró)

In Metamorphosis (Miró), how is the 2011 Exhibition discussed?

The exhibition L'escala de l'evasió that opened in October 2011 was supported by access to Wikipedia using QRpedia codes that allowed access to visitors in Catalan, English, and several other languages.

18712_NT

Metamorphosis (Miró)

In this artwork, how is the 2011 Exhibition discussed?

The exhibition L'escala de l'evasió that opened in October 2011 was supported by access to Wikipedia using QRpedia codes that allowed access to visitors in Catalan, English, and several other languages.

18713_T

Laughing Boy with Flute

Focus on Laughing Boy with Flute and explain the abstract.

Laughing Boy with a Flute is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted in the early 1620s.

18713_NT

Laughing Boy with Flute

Focus on this artwork and explain the abstract.

Laughing Boy with a Flute is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted in the early 1620s.

18714_T

Laughing Boy with Flute

Explore the Painting of this artwork, Laughing Boy with Flute.

This painting was documented by Hofstede de Groot in 1910, who wrote "31. A LAUGHING BOY WITH A FLUTE. M. 240. Half-length, in profile to the left. The head is three-quarters left. The long hair falls in disorder. The lips are parted, showing the teeth. On the left the flute is held upright in the right hand. The eyes look to the left and slightly upward. Lifelike colour in the face. Circular panel, n| inches across the grain of the wood running diagonally. A copy is in the Boucher de Perthes Museum, Abbeville. In the collection of the late Alfred Beit, London. In the collection of Otto Beit, London."Hofstede de Groot noted several laughing boys by Hals along with this one (catalogue numbers 11 through to 39). This painting was also documented by W.R. Valentiner in 1923.Other boys painted by Hals in round tondos:

18714_NT

Laughing Boy with Flute

Explore the Painting of this artwork.

This painting was documented by Hofstede de Groot in 1910, who wrote "31. A LAUGHING BOY WITH A FLUTE. M. 240. Half-length, in profile to the left. The head is three-quarters left. The long hair falls in disorder. The lips are parted, showing the teeth. On the left the flute is held upright in the right hand. The eyes look to the left and slightly upward. Lifelike colour in the face. Circular panel, n| inches across the grain of the wood running diagonally. A copy is in the Boucher de Perthes Museum, Abbeville. In the collection of the late Alfred Beit, London. In the collection of Otto Beit, London."Hofstede de Groot noted several laughing boys by Hals along with this one (catalogue numbers 11 through to 39). This painting was also documented by W.R. Valentiner in 1923.Other boys painted by Hals in round tondos:

18715_T

Mountain Landscape with a Watermill

Focus on Mountain Landscape with a Watermill and discuss the abstract.

Mountainous Landscape (c. 1675-1679) is an oil on canvas painting by the Dutch landscape painter Jacob van Ruisdael. It is an example of Dutch Golden Age painting and is now in the collection of the Hermitage, in Saint Petersburg. This painting was documented by Hofstede de Groot in 1911, who wrote; "155. A WATER-MILL IN A NORWEGIAN LANDSCAPE. Sm. 307. A dark rocky landscape is intersected by a river, on which are a raft of timber and a small sailing boat. To the right, on the farther bank, are a cottage, a pile of timber, and a mill. Near the centre is a castle on a rocky hill. Farther to the left in the distance is a lofty conical hill, the top of which is hidden in a cloud. One of Ruisdael's most important pictures. Probably an evening effect, but very much darkened by time. Attributed in the 1838 catalogue to Salomon van Ruisdael. Canvas, 40 inches by 43 inches. Engraved by P. E. Moitte in the Brühl collection. In the collection of Count Brühl. In the Hermitage Palace, St. Petersburg, 1901 catalogue, No. 1147; it was there in 1835 (Sm., who valued it at £300)."This scene is very similar to other paintings Ruisdael made in this period and these often served as inspiration for later painters of landscape.

18715_NT

Mountain Landscape with a Watermill

Focus on this artwork and discuss the abstract.

Mountainous Landscape (c. 1675-1679) is an oil on canvas painting by the Dutch landscape painter Jacob van Ruisdael. It is an example of Dutch Golden Age painting and is now in the collection of the Hermitage, in Saint Petersburg. This painting was documented by Hofstede de Groot in 1911, who wrote; "155. A WATER-MILL IN A NORWEGIAN LANDSCAPE. Sm. 307. A dark rocky landscape is intersected by a river, on which are a raft of timber and a small sailing boat. To the right, on the farther bank, are a cottage, a pile of timber, and a mill. Near the centre is a castle on a rocky hill. Farther to the left in the distance is a lofty conical hill, the top of which is hidden in a cloud. One of Ruisdael's most important pictures. Probably an evening effect, but very much darkened by time. Attributed in the 1838 catalogue to Salomon van Ruisdael. Canvas, 40 inches by 43 inches. Engraved by P. E. Moitte in the Brühl collection. In the collection of Count Brühl. In the Hermitage Palace, St. Petersburg, 1901 catalogue, No. 1147; it was there in 1835 (Sm., who valued it at £300)."This scene is very similar to other paintings Ruisdael made in this period and these often served as inspiration for later painters of landscape.

18716_T

Man with a Hoe

How does Man with a Hoe elucidate its abstract?

Man with a Hoe (French: L'homme à la houe), sometimes called The Labourer, is a painting by the French Realist painter Jean-François Millet, created 1860–1862. It is held in the J. Paul Getty Museum, in Los Angeles. Man With a Hoe depicts a weary agricultural worker with blunt facial features and rustic clothing taking a moment of rest as he struggles to clear stones and pernicious weeds from a farm field.

18716_NT

Man with a Hoe

How does this artwork elucidate its abstract?

Man with a Hoe (French: L'homme à la houe), sometimes called The Labourer, is a painting by the French Realist painter Jean-François Millet, created 1860–1862. It is held in the J. Paul Getty Museum, in Los Angeles. Man With a Hoe depicts a weary agricultural worker with blunt facial features and rustic clothing taking a moment of rest as he struggles to clear stones and pernicious weeds from a farm field.

18717_T

Man with a Hoe

Focus on Man with a Hoe and analyze the History.

L'homme à la houe was first exhibited at the salon of the Academie des Beaux-Arts in Paris in 1863. The immediate response from several critics was wrath; Paul Saint-Victor notably wrote, "He lights his lantern and looks for a cretin; he must have searched for a long time before finding his peasant leaning on a hoe...There is no gleam of human intelligence in this animal. Has he just come from working? Or from murdering?" Saint-Victor is believed to have been comparing the subject of the painting to French serial killer Martin Dumollard.Man with a Hoe was deliberately provocative in its aesthetic if not its politics; "in which he made a clean sweep of everything that could possibly please, and displayed his roughness absolutely bare. It was, as he said himself, the sheer 'cry of the earth' in all its savage reality." The inclusion of thistles and thorns in the left foreground is said to be suggestive of "barrenness, toil, pain and the Passion of the Christ." The Man with a Hoe was the last painting of Millet's so-called "radical" era, which began with The Sower (1850).After the initial shock of the new, Man with a Hoe lived a quiet life until the 1880s when it re-emerged as a star of three major French exhibitions including the art show at the 1889 World's Fair in Paris.Ellen Sperry Crocker, wife of William H. Crocker, bought the painting in 1891 and brought it to the United States. The price was said to be 700,000 French francs or US$125,000 (equivalent to about $4,071,296 in 2022). The Crockers' butler, Mr. Head, saved the painting from the 1906 San Francisco earthquake and fire that destroyed the Crockers' Nob Hill home. The Getty Museum purchased it from Crocker's heirs in 1985.

18717_NT

Man with a Hoe

Focus on this artwork and analyze the History.

L'homme à la houe was first exhibited at the salon of the Academie des Beaux-Arts in Paris in 1863. The immediate response from several critics was wrath; Paul Saint-Victor notably wrote, "He lights his lantern and looks for a cretin; he must have searched for a long time before finding his peasant leaning on a hoe...There is no gleam of human intelligence in this animal. Has he just come from working? Or from murdering?" Saint-Victor is believed to have been comparing the subject of the painting to French serial killer Martin Dumollard.Man with a Hoe was deliberately provocative in its aesthetic if not its politics; "in which he made a clean sweep of everything that could possibly please, and displayed his roughness absolutely bare. It was, as he said himself, the sheer 'cry of the earth' in all its savage reality." The inclusion of thistles and thorns in the left foreground is said to be suggestive of "barrenness, toil, pain and the Passion of the Christ." The Man with a Hoe was the last painting of Millet's so-called "radical" era, which began with The Sower (1850).After the initial shock of the new, Man with a Hoe lived a quiet life until the 1880s when it re-emerged as a star of three major French exhibitions including the art show at the 1889 World's Fair in Paris.Ellen Sperry Crocker, wife of William H. Crocker, bought the painting in 1891 and brought it to the United States. The price was said to be 700,000 French francs or US$125,000 (equivalent to about $4,071,296 in 2022). The Crockers' butler, Mr. Head, saved the painting from the 1906 San Francisco earthquake and fire that destroyed the Crockers' Nob Hill home. The Getty Museum purchased it from Crocker's heirs in 1985.

18718_T

Man with a Hoe

In Man with a Hoe, how is the Influence discussed?

Along with Woman Pasturing Her Cow and The Gleaners, Man With a Hoe is a Millet painting that casts "a critical light on the conditions of rural labor under the Second Empire and explains [Millet's] sometimes marginal status in the regime's fine arts institutions."The painting has long been seen to have a political and/or philosophical subtext. American critic Ednah Dow Cheney in 1867, in her consideration of the painting's respect for physical labor and the working class generally, wrote, "It stirs the soul with every great problem of life and thought. We would have soon as trusted Garrison or Wendell Phillips to lecture in Charleston before the war as have placed...The Laborer at the mercy of slave holders." In 1908 Gutzon Borglum and Walter Winans wrote that it was not a man with a hoe so much as a "MAN, HANDICAPPED, battling with nature for food, which nature will only yield to him through eternal conflict."According to the critic Robert Hughes, Millet's Man With a Hoe, The Gleaners, The Sower, and The Angelus were collectively "the most popular works of art in the new age of mass production, disseminated by millions of engravings, postcards, knickknacks and parodies. The Sower became the Mona Lisa of socialism, but it served capitalism equally well as the corporate emblem of its owners, the Provident National Bank in Philadelphia."The painting inspired Edwin Markham's 1898 poem "The Man With the Hoe."

18718_NT

Man with a Hoe

In this artwork, how is the Influence discussed?

Along with Woman Pasturing Her Cow and The Gleaners, Man With a Hoe is a Millet painting that casts "a critical light on the conditions of rural labor under the Second Empire and explains [Millet's] sometimes marginal status in the regime's fine arts institutions."The painting has long been seen to have a political and/or philosophical subtext. American critic Ednah Dow Cheney in 1867, in her consideration of the painting's respect for physical labor and the working class generally, wrote, "It stirs the soul with every great problem of life and thought. We would have soon as trusted Garrison or Wendell Phillips to lecture in Charleston before the war as have placed...The Laborer at the mercy of slave holders." In 1908 Gutzon Borglum and Walter Winans wrote that it was not a man with a hoe so much as a "MAN, HANDICAPPED, battling with nature for food, which nature will only yield to him through eternal conflict."According to the critic Robert Hughes, Millet's Man With a Hoe, The Gleaners, The Sower, and The Angelus were collectively "the most popular works of art in the new age of mass production, disseminated by millions of engravings, postcards, knickknacks and parodies. The Sower became the Mona Lisa of socialism, but it served capitalism equally well as the corporate emblem of its owners, the Provident National Bank in Philadelphia."The painting inspired Edwin Markham's 1898 poem "The Man With the Hoe."

18719_T

Prophet Daniel (Michelangelo)

Focus on Prophet Daniel (Michelangelo) and explore the abstract.

The Prophet Daniel is one of the seven Old Testament prophets painted by the Italian High Renaissance master Michelangelo (c. 1542–1545) on the Sistine Chapel ceiling. The Sistine Chapel is in Vatican Palace, in the Vatican City. This particular fresco figure is painted second on the right from the side of the High Altar. Unlike many other paintings of the period, this portrayal makes no reference to the most famous event from Daniel's life, that is his time in the den of the lions. Instead, Michelangelo shows Daniel reading a great book, which is held up by a muscular figure from below.

18719_NT

Prophet Daniel (Michelangelo)

Focus on this artwork and explore the abstract.

The Prophet Daniel is one of the seven Old Testament prophets painted by the Italian High Renaissance master Michelangelo (c. 1542–1545) on the Sistine Chapel ceiling. The Sistine Chapel is in Vatican Palace, in the Vatican City. This particular fresco figure is painted second on the right from the side of the High Altar. Unlike many other paintings of the period, this portrayal makes no reference to the most famous event from Daniel's life, that is his time in the den of the lions. Instead, Michelangelo shows Daniel reading a great book, which is held up by a muscular figure from below.

18720_T

Todos Juntos Podemos Parar el SIDA

Focus on Todos Juntos Podemos Parar el SIDA and explain the abstract.

Todos Juntos Podemos Parar el SIDA (English: Together We Can Stop AIDS) is a mural created by American artist and social activist Keith Haring in 1989. The mural was painted to raise awareness to the AIDS epidemic. It is located next to the Museu d'Art Contemporani de Barcelona museum in the El Raval neighborhood of Barcelona.

18720_NT

Todos Juntos Podemos Parar el SIDA

Focus on this artwork and explain the abstract.

Todos Juntos Podemos Parar el SIDA (English: Together We Can Stop AIDS) is a mural created by American artist and social activist Keith Haring in 1989. The mural was painted to raise awareness to the AIDS epidemic. It is located next to the Museu d'Art Contemporani de Barcelona museum in the El Raval neighborhood of Barcelona.

18721_T

Todos Juntos Podemos Parar el SIDA

Explore the Background of this artwork, Todos Juntos Podemos Parar el SIDA.

Raised in Kutztown, Pennsylvania, Haring moved to New York City to attend the School of Visual Arts in 1978. By the early 1980s, he was drawing graffiti in the New York City Subway, which led to him receiving exhibitions at art galleries. Between 1982 and 1989, Haring created more than 50 public works internationally.Haring was openly gay and when the AIDS epidemic in the U.S. began, he used his work to advocate for safe sex. He was diagnosed with HIV/AIDS in 1987. He told Rolling Stone in 1989: "AIDS has made it even harder for people to accept, because homosexuality has been made to be synonymous with death. It's a justifiable fright with people that are just totally uninformed and therefore ignorant." In 1989, he created the Keith Haring Foundation to provide funding for AIDS organizations and children's programs. Haring died of AIDS-related complications on February 16, 1990.

18721_NT

Todos Juntos Podemos Parar el SIDA

Explore the Background of this artwork.

Raised in Kutztown, Pennsylvania, Haring moved to New York City to attend the School of Visual Arts in 1978. By the early 1980s, he was drawing graffiti in the New York City Subway, which led to him receiving exhibitions at art galleries. Between 1982 and 1989, Haring created more than 50 public works internationally.Haring was openly gay and when the AIDS epidemic in the U.S. began, he used his work to advocate for safe sex. He was diagnosed with HIV/AIDS in 1987. He told Rolling Stone in 1989: "AIDS has made it even harder for people to accept, because homosexuality has been made to be synonymous with death. It's a justifiable fright with people that are just totally uninformed and therefore ignorant." In 1989, he created the Keith Haring Foundation to provide funding for AIDS organizations and children's programs. Haring died of AIDS-related complications on February 16, 1990.

18722_T

Todos Juntos Podemos Parar el SIDA

Focus on Todos Juntos Podemos Parar el SIDA and discuss the Installation.

During Haring's trip back from Madrid in February 1989, Haring's friend Montse Guillén, owner of the restaurant El Internacional in New York, suggested that he create an AIDS awareness mural in Barcelona. Haring agreed under the condition that he chose the location. With permission from the Town Hall, Haring selected a square in the Raval, then a drug infested area known as the Barrio Chino (Chinatown).AIDS was a delicate issue and most celebrities generally didn't talk about the epidemic. Ferran Pujol, a member of the organization Hispano SIDA (Hispanic AIDS) befriended Haring during his visit to Barcelona. Pujol explained that at the time Haring created the mural, people were "still so completely shocked at someone for having been diagnosed with HIV that the issue was never addressed." He said, "The people who had been diagnosed were avoided at all cost, and people speculated on who could be infected." Adding that "seeing someone who openly and explicitly referred to AIDS was very important." The mural was painted on a concrete buttress in la plaza Salvador Seguí and contained many of Haring's famous trademark dancing figures, snakes, hypodermic syringes and the three figures of see no evil, speak no evil, hear no evil. In his journal, Haring wrote: "The wall had a strange slant to it, which made it awkward to paint on, but one of my favorite things about painting murals is the amount of adaptability (physically) you must put up with to accomplish the task. I found positions that were new to me to balance and keep the consistency required. Some of the best photos of this painting are of the body language and posture."

18722_NT

Todos Juntos Podemos Parar el SIDA

Focus on this artwork and discuss the Installation.

During Haring's trip back from Madrid in February 1989, Haring's friend Montse Guillén, owner of the restaurant El Internacional in New York, suggested that he create an AIDS awareness mural in Barcelona. Haring agreed under the condition that he chose the location. With permission from the Town Hall, Haring selected a square in the Raval, then a drug infested area known as the Barrio Chino (Chinatown).AIDS was a delicate issue and most celebrities generally didn't talk about the epidemic. Ferran Pujol, a member of the organization Hispano SIDA (Hispanic AIDS) befriended Haring during his visit to Barcelona. Pujol explained that at the time Haring created the mural, people were "still so completely shocked at someone for having been diagnosed with HIV that the issue was never addressed." He said, "The people who had been diagnosed were avoided at all cost, and people speculated on who could be infected." Adding that "seeing someone who openly and explicitly referred to AIDS was very important." The mural was painted on a concrete buttress in la plaza Salvador Seguí and contained many of Haring's famous trademark dancing figures, snakes, hypodermic syringes and the three figures of see no evil, speak no evil, hear no evil. In his journal, Haring wrote: "The wall had a strange slant to it, which made it awkward to paint on, but one of my favorite things about painting murals is the amount of adaptability (physically) you must put up with to accomplish the task. I found positions that were new to me to balance and keep the consistency required. Some of the best photos of this painting are of the body language and posture."

18723_T

Todos Juntos Podemos Parar el SIDA

How does Todos Juntos Podemos Parar el SIDA elucidate its Reconstructions?

Soon after its completion, the original mural was defaced by local graffiti artists and it was affected by environmental degradation. A few years later the building was scheduled to be demolished to make way for the Filmoteca de Catalunya. The City Hall reached an agreement with Haring's heirs and the nearby Museu d'Art Contemporani de Barcelona (MACBA) to transfer the piece, preserving the original design. In September 1992, a restoration team hired by the Ajuntament de Barcelona began the process of transferring the mural.The mural has been recreated three times on a wall next to the MACBA, a few hundred meters from its original location. The current version was painted in 2014 for an event marking the 25th anniversary of the original.

18723_NT

Todos Juntos Podemos Parar el SIDA

How does this artwork elucidate its Reconstructions?

Soon after its completion, the original mural was defaced by local graffiti artists and it was affected by environmental degradation. A few years later the building was scheduled to be demolished to make way for the Filmoteca de Catalunya. The City Hall reached an agreement with Haring's heirs and the nearby Museu d'Art Contemporani de Barcelona (MACBA) to transfer the piece, preserving the original design. In September 1992, a restoration team hired by the Ajuntament de Barcelona began the process of transferring the mural.The mural has been recreated three times on a wall next to the MACBA, a few hundred meters from its original location. The current version was painted in 2014 for an event marking the 25th anniversary of the original.

18724_T

Statue of Joe Paterno

Focus on Statue of Joe Paterno and analyze the abstract.

Joe Paterno is a bronze sculpture of Joe Paterno, former head coach of the Penn State Nittany Lions football team. It was located on the northeast side of Beaver Stadium on the campus of the Pennsylvania State University in State College, Pennsylvania until it was removed in 2012 in the aftermath of the Penn State child sex abuse scandal.

18724_NT

Statue of Joe Paterno

Focus on this artwork and analyze the abstract.

Joe Paterno is a bronze sculpture of Joe Paterno, former head coach of the Penn State Nittany Lions football team. It was located on the northeast side of Beaver Stadium on the campus of the Pennsylvania State University in State College, Pennsylvania until it was removed in 2012 in the aftermath of the Penn State child sex abuse scandal.

18725_T

Statue of Joe Paterno

In Statue of Joe Paterno, how is the Background and description discussed?

The statue was commissioned by friends of Paterno and his wife Sue in recognition of his contributions to the university and was unveiled on November 2, 2001. It was sculpted by Angelo Di Maria of Reading, Pennsylvania and took 2–3 months to complete.The statue is 7 feet (2.1 m) high and weighs 900 pounds (410 kg). It was accompanied by a stone wall in three sections. The left section of the wall read, "Joseph Vincent Paterno: Educator, Coach, Humanitarian". The center section showed a bas-relief of players running behind Paterno. On the right was a quote from Paterno, "They ask me what I'd like written about me when I'm gone. I hope they write I made Penn State a better place, not just that I was a good football coach." The right section also featured plaques with lists of games Paterno had coached at Penn State from 1966 to 2011.

18725_NT

Statue of Joe Paterno

In this artwork, how is the Background and description discussed?

The statue was commissioned by friends of Paterno and his wife Sue in recognition of his contributions to the university and was unveiled on November 2, 2001. It was sculpted by Angelo Di Maria of Reading, Pennsylvania and took 2–3 months to complete.The statue is 7 feet (2.1 m) high and weighs 900 pounds (410 kg). It was accompanied by a stone wall in three sections. The left section of the wall read, "Joseph Vincent Paterno: Educator, Coach, Humanitarian". The center section showed a bas-relief of players running behind Paterno. On the right was a quote from Paterno, "They ask me what I'd like written about me when I'm gone. I hope they write I made Penn State a better place, not just that I was a good football coach." The right section also featured plaques with lists of games Paterno had coached at Penn State from 1966 to 2011.

18726_T

Mickelson-Chapman Fountain

Focus on Mickelson-Chapman Fountain and explore the abstract.

The Mickelson-Chapman Fountain is a monument and sculpture installed in front of Ashland, Oregon's Carnegie Library, in the United States.

18726_NT

Mickelson-Chapman Fountain

Focus on this artwork and explore the abstract.

The Mickelson-Chapman Fountain is a monument and sculpture installed in front of Ashland, Oregon's Carnegie Library, in the United States.

18727_T

Portrait of Frederick III of Saxony

Focus on Portrait of Frederick III of Saxony and explain the abstract.

The Portrait of Frederick III of Saxony is a tempera-on-canvas painting by German Renaissance artist Albrecht Dürer, executed in 1496. It is housed in the Gemäldegalerie of Berlin, Germany.

18727_NT

Portrait of Frederick III of Saxony

Focus on this artwork and explain the abstract.

The Portrait of Frederick III of Saxony is a tempera-on-canvas painting by German Renaissance artist Albrecht Dürer, executed in 1496. It is housed in the Gemäldegalerie of Berlin, Germany.

18728_T

Portrait of Frederick III of Saxony

Explore the History of this artwork, Portrait of Frederick III of Saxony.

The painting was one of the first commissions received from Frederick III, Elector of Saxony, together with the Seven Sorrows Polyptych and the central panel of the Dresden Altarpiece. Dürer knew the elector during the latter's short stay in Nuremberg in April 1496. Dürer portrayed the elector again in an engraving in 1524.

18728_NT

Portrait of Frederick III of Saxony

Explore the History of this artwork.

The painting was one of the first commissions received from Frederick III, Elector of Saxony, together with the Seven Sorrows Polyptych and the central panel of the Dresden Altarpiece. Dürer knew the elector during the latter's short stay in Nuremberg in April 1496. Dürer portrayed the elector again in an engraving in 1524.

18729_T

Man on a Balcony

Focus on Man on a Balcony and discuss the abstract.

Man on a Balcony (also known as Portrait of Dr. Théo Morinaud and 'L'Homme au balcon), is a large oil painting created in 1912 by the French artist, theorist and writer Albert Gleizes (1881–1953). The painting was exhibited in Paris at the Salon d'Automne of 1912 (no. 689). The Cubist contribution to the salon created a controversy in the French Parliament about the use of public funds to provide the venue for such 'barbaric art'. Gleizes was a founder of Cubism, and demonstrates the principles of the movement in this monumental painting (over six feet tall) with its projecting planes and fragmented lines. The large size of the painting reflects Gleizes's ambition to show it in the large annual salon exhibitions in Paris, where he was able with others of his entourage to bring Cubism to wider audiences.In February 1913, Gleizes and other artists introduced the new style of modern art known as Cubism to an American audience at the Armory Show in New York City, Chicago and Boston. In addition to Man on a balcony (no. 196), Gleizes exhibited his 1910 painting Femme aux Phlox (Museum of Fine Arts, Houston).Man on a Balcony was reproduced in L'Excelsior, Au Salon d'Automne, Les Indépendants, 2 October 1912. It was then reproduced in Les Peintres Cubistes, Méditations Esthétiques, a collection of essays by Guillaume Apollinaire published in 1913 The painting was completed around the same time as Albert Gleizes co-authored with Jean Metzinger a major treatise titled Du "Cubisme" (the first and only manifesto on Cubism). Man on a Balcony was purchased at the 1913 Armory Show by the lawyer, author, art critic, private art collector, and American proponent of Cubism Arthur Jerome Eddy for $540. Gleizes' Man on a Balcony was the frontispiece of Arthur Jerome Eddy's book Cubists and Post-Impressionism, March 1914. The painting later formed part of the Louise and Walter Conrad Arensberg Collection, 1950. It is currently in the permanent collection of the Philadelphia Museum of Art.

18729_NT

Man on a Balcony

Focus on this artwork and discuss the abstract.

Man on a Balcony (also known as Portrait of Dr. Théo Morinaud and 'L'Homme au balcon), is a large oil painting created in 1912 by the French artist, theorist and writer Albert Gleizes (1881–1953). The painting was exhibited in Paris at the Salon d'Automne of 1912 (no. 689). The Cubist contribution to the salon created a controversy in the French Parliament about the use of public funds to provide the venue for such 'barbaric art'. Gleizes was a founder of Cubism, and demonstrates the principles of the movement in this monumental painting (over six feet tall) with its projecting planes and fragmented lines. The large size of the painting reflects Gleizes's ambition to show it in the large annual salon exhibitions in Paris, where he was able with others of his entourage to bring Cubism to wider audiences.In February 1913, Gleizes and other artists introduced the new style of modern art known as Cubism to an American audience at the Armory Show in New York City, Chicago and Boston. In addition to Man on a balcony (no. 196), Gleizes exhibited his 1910 painting Femme aux Phlox (Museum of Fine Arts, Houston).Man on a Balcony was reproduced in L'Excelsior, Au Salon d'Automne, Les Indépendants, 2 October 1912. It was then reproduced in Les Peintres Cubistes, Méditations Esthétiques, a collection of essays by Guillaume Apollinaire published in 1913 The painting was completed around the same time as Albert Gleizes co-authored with Jean Metzinger a major treatise titled Du "Cubisme" (the first and only manifesto on Cubism). Man on a Balcony was purchased at the 1913 Armory Show by the lawyer, author, art critic, private art collector, and American proponent of Cubism Arthur Jerome Eddy for $540. Gleizes' Man on a Balcony was the frontispiece of Arthur Jerome Eddy's book Cubists and Post-Impressionism, March 1914. The painting later formed part of the Louise and Walter Conrad Arensberg Collection, 1950. It is currently in the permanent collection of the Philadelphia Museum of Art.

18730_T

Man on a Balcony

How does Man on a Balcony elucidate its Description?

Man on a Balcony is a large oil painting on canvas with dimensions 195.6 x 114.9 cm (77 by 45.25 inches) signed and dated Albert Gleizes 12, lower left. Studies for this work began in the spring of 1912 while the full-figure portrait was probably completed during the late summer of 1912. A study for L'Homme au balcon was exhibited at the 1912 Salon des Indépendants and reproduced in Du "Cubisme".Gleizes deliberately contrasts angular and curved shapes, while the tubular, block-like forms of the figure and head are derived directly from the principled of Cubism, as laid out in Du "Cubisme".Daniel Robbins in Albert Gleizes 1881–1953, A Retrospective Exhibition, The Solomon R. Guggenheim Museum, New York, writes of Gleizes' Man on a Balcony:This second portrait of Dr. Morinaud, probably from his office on Avenue de l'Opera, shows Gleizes again giving prominence to the curvilinear elements that had been important in his style in 1907-09. The painting became the subject of a lively debate between Marinetti and Lhote (La Vie des Lettres et des Arts, no. 16, 1922, p. 10,) in which the Futurist leader insisted that a Futurist painter would have attempted to "give the ensemble of visual sensations capable of being experienced by the person on the balcony". Lhote replied that such preoccupations were "literary" and "psychological", and outside the interests of the French Cubists. He was wrong for, although not primarily concerned with the reality of visual sensations, Gleizes was, nevertheless, deeply committed to symbolic and psychological relationships. (Daniel Robbins, 1964) The figure of Dr. Théo Morinaud is intentionally still identifiable, unlike the degree of abstraction present within Marcel Duchamp’s Nude Descending a Staircase No. 2, on view in the same gallery at the Armory Show, and unlike The Dance at the Spring or The Procession, Seville by Francis Picabia, or Robert Delaunay's, Window on the City, No. 4. Essentially, the emphasis on simplified form—particularly those that comprise the Dr. Théo Morinaud—does not overwhelm the representational interest of the painting. In this painting the simplification of the representational form gives way to a new complexity in which foreground and background are united, and yet the subject of the painting is not obscured entirely by the network of interlocking geometrical elements. That is not to say that Gleizes sought to make a portrait of the Doctor Morinaud as he actually appeared. Neither in this portrait of Morinaud, Portrait of Igor Stravinsky, 1914 (The Museum of Modern Art, MoMA) or Gleizes' Portrait of Jacques Nayral, nor Picasso's portraits of Vollard, Uhde or Kahnweiler, had the artists sought as a primary goal resemblance with the sitters.In Du "Cubisme", Gleizes and Metzinger attempted to clarify the distinction between the picture and decorative painting. And Gleizes, writing in The Epic, From immobile form to mobile form (first published in 1925), explains the key to the relationship that develops between the artwork and the viewer, between representation or abstraction of from:The plastic results are determined by the technique. As we can see straightaway, it is not a matter of describing, nor is it a matter of abstracting from, anything that is external to itself. There is a concrete act that has to be realised, a reality to be produced - of the same order as that which everyone is prepared to recognise in music, at the lowest level of the esemplastic scale, and in architecture, at the highest. Like any natural, physical reality, painting, understood in this way, will touch anyone who knows how to enter into it, not through their opinions on something that exists independently of it, but through its own existence, through those inter-relations, constantly in movement, which enable us to transmit life itself. (Albert Gleizes) Every artist of the Section d'Or agreed that painting no longer had to be imitative. Gleizes there was no exception. All were in agreement too that the great value of modern art lay in that conception synthesized from experience could be recreated in the mind of the observer. However, there was diversity in defining the constituents of the experience to be synthesized. For Gleizes, then, principles needed to be formulated and derived out of the internal necessity of particular subjects. Important was not just the outward physical aspects or traits of a subject. Gleizes would incorporate 'penetrations', 'recollections' and 'correspondences' (to use his terms) between the subject and the environment. What he knew or felt about the subject became just as fundamental to the outcome of the painting as what he saw in the subject. His conception involved the search for qualities and equivalencies that would relate seemingly disparate phenomena, comparing and identifying one property with another—for example, the elements of the urban background appear as an extension of the pensive Dr. Morinaud. "This is a fundamentally synthetic notion", as pointed out art historian Daniel Robbins, "that points to the unity or compatibility of things. Ironically", he continues, "it is this idea that Kahnweiler was to shape much later as Cubist metaphor in his monograph on Juan Gris".After John Quinn, the largest buyer at the Armory Show was Arthur Jerome Eddy. Following his purchase of Gleizes' Man on a Balcony and of Jacques Villon's Jeune femme (Young Girl), he returned to the exhibition the following day and bought four more works, including Francis Picabia's Danse à la source (Dances at the Spring), Marcel Duchamp's Le Roi et la Reine entourés de nus vites, André Derain's La forêt (Forest at Martigues), and Maurice de Vlaminck's Rueil. Eddy writes of Man on a Balcony in his Cubists and Post-Impressionism, March 1914:Of all the Cubist pictures exhibited, most people liked "The Man on the Balcony" best. Why?Because it looked like a good painting of a man in armour."I like the 'Man in Armour,'" was an expression frequently heard.All of which goes to show that appreciation is largely a matter of association rather than of knowledge and taste. Tell the people it is not a man in armour, and immediately they ask, in a tone of disgust, "Then what is he?" and the picture they liked a moment before becomes ridiculous in their eyes. (Eddy, 1914) Man on a Balcony, with its monumental architecture of semi-abstract elements, is an open declaration of the principles of Cubist painting. The composition exemplifies the Cubist style of reverberating lines and fractured planes as applied to the traditional format of the full-length portraiture. The treatment of the subject is sufficiently representational to permit the identification of the tall, elegant figure as Dr. Théo Morinaud, a dental surgeon in Paris. After the completion of both this work and the publication of Du "Cubisme", Gleizes became convinced that artists could explain themselves as well as or better than critics. He wrote and granted interviews during the following years when Du "Cubisme" was enjoying wide circulation and considerable success. While still 'readable' in the figurative or representational sense, Man on a Balcony demonstrates the mobile, dynamic fragmentation of form characteristic of Cubism at the artistic movements peak of 1912. Highly sophisticated both physically and in theory, this aspect of visualizing objects from several successive viewpoints called multiple perspective—different from illusion of motion associated with Futurism—would soon become ubiquitously identified with the practices of the Groupe de Puteaux.The Man on a Balcony leans nonchalantly against a balustrade occupying the foreground of the composition. At first glance he appears bathed in natural light. But upon close examination there is no clear light source or direction from which the light emanates, giving the overall work the theatrical feeling of a stage set. Aimed at a wide audience, the models monumental three-dimensional presence 'gazes' at the spectator, while the spectator contemplates the painting in return. Just as in Gleizes' Le Chemin, Paysage à Meudon (1911) and Les Baigneuses (The Bathers) of the same year, there is present throughout an interplay of perpendicular lines and hyperbolic arcs that produce a rhythm that permeate the complex urban backdrop; here of smokestacks, train tracks, windows, bridge girders and clouds (the view from the balcony of the doctors office on the avenue de l'Opéra). "Suggestive of the air, the space, and even the passage of time between these places are bubblelike shapes that emanate from the man to the animated urban panorama behind him. Gleizes's vocabulary becomes more experimental as he captures the cacophony and simultaneity of modern city life using a vocabulary of abbreviated, invented signs. The gray, ocher, beige, and brown colors, often identified with the rigor of Cubist thought, suggest the grimy, smoky city atmosphere, although Gleizes has enlivened this neutral palette by including bright greens and reds as well as creamy white highlights. The large size of the painting contrasts with the intimately scaled Cubist works of Picasso and Braque, reflecting the destination Gleizes envisioned for his work: the public salons of Paris, where he exhibited in the hope of bringing Cubism to wider audiences.

18730_NT

Man on a Balcony

How does this artwork elucidate its Description?

Man on a Balcony is a large oil painting on canvas with dimensions 195.6 x 114.9 cm (77 by 45.25 inches) signed and dated Albert Gleizes 12, lower left. Studies for this work began in the spring of 1912 while the full-figure portrait was probably completed during the late summer of 1912. A study for L'Homme au balcon was exhibited at the 1912 Salon des Indépendants and reproduced in Du "Cubisme".Gleizes deliberately contrasts angular and curved shapes, while the tubular, block-like forms of the figure and head are derived directly from the principled of Cubism, as laid out in Du "Cubisme".Daniel Robbins in Albert Gleizes 1881–1953, A Retrospective Exhibition, The Solomon R. Guggenheim Museum, New York, writes of Gleizes' Man on a Balcony:This second portrait of Dr. Morinaud, probably from his office on Avenue de l'Opera, shows Gleizes again giving prominence to the curvilinear elements that had been important in his style in 1907-09. The painting became the subject of a lively debate between Marinetti and Lhote (La Vie des Lettres et des Arts, no. 16, 1922, p. 10,) in which the Futurist leader insisted that a Futurist painter would have attempted to "give the ensemble of visual sensations capable of being experienced by the person on the balcony". Lhote replied that such preoccupations were "literary" and "psychological", and outside the interests of the French Cubists. He was wrong for, although not primarily concerned with the reality of visual sensations, Gleizes was, nevertheless, deeply committed to symbolic and psychological relationships. (Daniel Robbins, 1964) The figure of Dr. Théo Morinaud is intentionally still identifiable, unlike the degree of abstraction present within Marcel Duchamp’s Nude Descending a Staircase No. 2, on view in the same gallery at the Armory Show, and unlike The Dance at the Spring or The Procession, Seville by Francis Picabia, or Robert Delaunay's, Window on the City, No. 4. Essentially, the emphasis on simplified form—particularly those that comprise the Dr. Théo Morinaud—does not overwhelm the representational interest of the painting. In this painting the simplification of the representational form gives way to a new complexity in which foreground and background are united, and yet the subject of the painting is not obscured entirely by the network of interlocking geometrical elements. That is not to say that Gleizes sought to make a portrait of the Doctor Morinaud as he actually appeared. Neither in this portrait of Morinaud, Portrait of Igor Stravinsky, 1914 (The Museum of Modern Art, MoMA) or Gleizes' Portrait of Jacques Nayral, nor Picasso's portraits of Vollard, Uhde or Kahnweiler, had the artists sought as a primary goal resemblance with the sitters.In Du "Cubisme", Gleizes and Metzinger attempted to clarify the distinction between the picture and decorative painting. And Gleizes, writing in The Epic, From immobile form to mobile form (first published in 1925), explains the key to the relationship that develops between the artwork and the viewer, between representation or abstraction of from:The plastic results are determined by the technique. As we can see straightaway, it is not a matter of describing, nor is it a matter of abstracting from, anything that is external to itself. There is a concrete act that has to be realised, a reality to be produced - of the same order as that which everyone is prepared to recognise in music, at the lowest level of the esemplastic scale, and in architecture, at the highest. Like any natural, physical reality, painting, understood in this way, will touch anyone who knows how to enter into it, not through their opinions on something that exists independently of it, but through its own existence, through those inter-relations, constantly in movement, which enable us to transmit life itself. (Albert Gleizes) Every artist of the Section d'Or agreed that painting no longer had to be imitative. Gleizes there was no exception. All were in agreement too that the great value of modern art lay in that conception synthesized from experience could be recreated in the mind of the observer. However, there was diversity in defining the constituents of the experience to be synthesized. For Gleizes, then, principles needed to be formulated and derived out of the internal necessity of particular subjects. Important was not just the outward physical aspects or traits of a subject. Gleizes would incorporate 'penetrations', 'recollections' and 'correspondences' (to use his terms) between the subject and the environment. What he knew or felt about the subject became just as fundamental to the outcome of the painting as what he saw in the subject. His conception involved the search for qualities and equivalencies that would relate seemingly disparate phenomena, comparing and identifying one property with another—for example, the elements of the urban background appear as an extension of the pensive Dr. Morinaud. "This is a fundamentally synthetic notion", as pointed out art historian Daniel Robbins, "that points to the unity or compatibility of things. Ironically", he continues, "it is this idea that Kahnweiler was to shape much later as Cubist metaphor in his monograph on Juan Gris".After John Quinn, the largest buyer at the Armory Show was Arthur Jerome Eddy. Following his purchase of Gleizes' Man on a Balcony and of Jacques Villon's Jeune femme (Young Girl), he returned to the exhibition the following day and bought four more works, including Francis Picabia's Danse à la source (Dances at the Spring), Marcel Duchamp's Le Roi et la Reine entourés de nus vites, André Derain's La forêt (Forest at Martigues), and Maurice de Vlaminck's Rueil. Eddy writes of Man on a Balcony in his Cubists and Post-Impressionism, March 1914:Of all the Cubist pictures exhibited, most people liked "The Man on the Balcony" best. Why?Because it looked like a good painting of a man in armour."I like the 'Man in Armour,'" was an expression frequently heard.All of which goes to show that appreciation is largely a matter of association rather than of knowledge and taste. Tell the people it is not a man in armour, and immediately they ask, in a tone of disgust, "Then what is he?" and the picture they liked a moment before becomes ridiculous in their eyes. (Eddy, 1914) Man on a Balcony, with its monumental architecture of semi-abstract elements, is an open declaration of the principles of Cubist painting. The composition exemplifies the Cubist style of reverberating lines and fractured planes as applied to the traditional format of the full-length portraiture. The treatment of the subject is sufficiently representational to permit the identification of the tall, elegant figure as Dr. Théo Morinaud, a dental surgeon in Paris. After the completion of both this work and the publication of Du "Cubisme", Gleizes became convinced that artists could explain themselves as well as or better than critics. He wrote and granted interviews during the following years when Du "Cubisme" was enjoying wide circulation and considerable success. While still 'readable' in the figurative or representational sense, Man on a Balcony demonstrates the mobile, dynamic fragmentation of form characteristic of Cubism at the artistic movements peak of 1912. Highly sophisticated both physically and in theory, this aspect of visualizing objects from several successive viewpoints called multiple perspective—different from illusion of motion associated with Futurism—would soon become ubiquitously identified with the practices of the Groupe de Puteaux.The Man on a Balcony leans nonchalantly against a balustrade occupying the foreground of the composition. At first glance he appears bathed in natural light. But upon close examination there is no clear light source or direction from which the light emanates, giving the overall work the theatrical feeling of a stage set. Aimed at a wide audience, the models monumental three-dimensional presence 'gazes' at the spectator, while the spectator contemplates the painting in return. Just as in Gleizes' Le Chemin, Paysage à Meudon (1911) and Les Baigneuses (The Bathers) of the same year, there is present throughout an interplay of perpendicular lines and hyperbolic arcs that produce a rhythm that permeate the complex urban backdrop; here of smokestacks, train tracks, windows, bridge girders and clouds (the view from the balcony of the doctors office on the avenue de l'Opéra). "Suggestive of the air, the space, and even the passage of time between these places are bubblelike shapes that emanate from the man to the animated urban panorama behind him. Gleizes's vocabulary becomes more experimental as he captures the cacophony and simultaneity of modern city life using a vocabulary of abbreviated, invented signs. The gray, ocher, beige, and brown colors, often identified with the rigor of Cubist thought, suggest the grimy, smoky city atmosphere, although Gleizes has enlivened this neutral palette by including bright greens and reds as well as creamy white highlights. The large size of the painting contrasts with the intimately scaled Cubist works of Picasso and Braque, reflecting the destination Gleizes envisioned for his work: the public salons of Paris, where he exhibited in the hope of bringing Cubism to wider audiences.

18731_T

Man on a Balcony

Focus on Man on a Balcony and analyze the Salon d'Automne, 1912.

The Salon d'Automne of 1912, held in Paris at the Grand Palais from 1 October to 8 November, saw the Cubists (listed below) regrouped into the same room XI. For the occasion, Danseuse au café was reproduced in a photograph published in an article entitled Au Salon d'Automne "Les Indépendants" in the French newspaper Excelsior, 2 Octobre 1912. Excelsior was the first publication to privilege photographic illustrations in the treatment of news media; shooting photographs and publishing images in order to tell news stories. As such L'Excelsior was a pioneer of photojournalism. The history of the Salon d'Automne is marked by two important dates: 1905, bore witness to the birth of Fauvism (with the participation of Metzinger), and 1912, the xenophobe and anti-modernist quarrel (with the participation of both Metzinger and Gleizes). The 1912 polemic leveled against both the French and non-French avant-garde artists originated in Salle XI where the Cubists exhibited their works. The resistance to avant-garde artists and foreigners (dubbed "apaches") was just the visible face of a more profound crises: that of defining modern French art, centered in Paris, and the dwindling of an artistic system crystallized around the heritage of Impressionism. Burgeoning was a new avant-garde system, the international logic of which—mercantile and médiatique—put into question the modern ideology elaborated upon since the late 19th century. What had begun as a question of aesthetics quickly turned political, and as in the 1905 Salon d'Automne, with his infamous "Donatello chez les fauves", the critic Louis Vauxcelles (Les Arts..., 1912) was most implicated in the deliberations. It was Vauxcelles who, on the occasion of the 1910 Salon des Indépendants, wrote disparagingly of 'pallid' cubes with reference to the paintings of Metzinger, Gleizes, Le Fauconnier, Léger and Delaunay.On 3 December 1912 the polemic reached the Chambre des députés and was debated at the Assemblée Nationale in Paris. Albert Gleizes, exhibited l'Homme au Balcon (Man on a Balcony), (Portrait of Dr. Théo Morinaud) 1912 (Philadelphia Museum of Art), also exhibited at the Armory show, New York, Chicago, Boston, 1913. Jean Metzinger entered three works: Dancer in cafe (Danseuse au café), La Plume Jaune (The Yellow Feather), Femme à l'Éventail (Woman with a Fan) (now at the Solomon R. Guggenheim Museum, New York), hung in the decorative arts section inside La Maison Cubiste (the Cubist House). Fernand Léger exhibited La Femme en Bleu (Woman in Blue), 1912 (Kunstmuseum, Basel) and Le passage à niveau (The Level Crossing), 1912 (Fondation Beyeler, Riehen, Switzerland) Roger de La Fresnaye, Les Baigneuse (The bathers) 1912 (The National Gallery, Washington) and Les joueurs de cartes (Card Players) Henri Le Fauconnier, The Huntsman (Haags Gemeentemuseum, The Hague, Netherlands) and Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) 1912 (Museum of Art, Rhode Island School of Design). André Lhote, Le jugement de Paris, 1912 (Private collection) František Kupka, Amorpha, Fugue à deux couleurs (Fugue in Two Colors), 1912 (Narodni Galerie, Prague), and Amorpha Chromatique Chaude. Francis Picabia, 1912, La Source (The Spring) (Museum of Modern Art, New York) Alexander Archipenko, Family Life, 1912, sculpture Amedeo Modigliani, exhibited four elongated and highly stylized heads, sculptures Joseph Csaky exhibited the sculptures Groupe de femmes, 1911-1912 (location unknown), Portrait de M.S.H., no. 91 (location unknown), and Danseuse (Femme à l'éventail, Femme à la cruche), no. 405 (location unknown)This exhibition also featured La Maison cubiste. Raymond Duchamp-Villon designed facade of a 10 meter by 3 meter house, which included a hall, a living room and a bedroom. This installation was placed in the Art Décoratif section of the Salon d'Automne. The major contributors were André Mare, a decorative designer, Roger de La Fresnaye, Jacques Villon and Marie Laurencin. In the house were hung cubist paintings by Marcel Duchamp, Albert Gleizes, Fernand Léger, Roger de La Fresnaye, and Jean Metzinger (Woman with a Fan, 1912). Though in the Deco section of the Parisian salon, the installation would soon find its way into the Cubist room at the 1913 Armory Show in New York City.

18731_NT

Man on a Balcony

Focus on this artwork and analyze the Salon d'Automne, 1912.

The Salon d'Automne of 1912, held in Paris at the Grand Palais from 1 October to 8 November, saw the Cubists (listed below) regrouped into the same room XI. For the occasion, Danseuse au café was reproduced in a photograph published in an article entitled Au Salon d'Automne "Les Indépendants" in the French newspaper Excelsior, 2 Octobre 1912. Excelsior was the first publication to privilege photographic illustrations in the treatment of news media; shooting photographs and publishing images in order to tell news stories. As such L'Excelsior was a pioneer of photojournalism. The history of the Salon d'Automne is marked by two important dates: 1905, bore witness to the birth of Fauvism (with the participation of Metzinger), and 1912, the xenophobe and anti-modernist quarrel (with the participation of both Metzinger and Gleizes). The 1912 polemic leveled against both the French and non-French avant-garde artists originated in Salle XI where the Cubists exhibited their works. The resistance to avant-garde artists and foreigners (dubbed "apaches") was just the visible face of a more profound crises: that of defining modern French art, centered in Paris, and the dwindling of an artistic system crystallized around the heritage of Impressionism. Burgeoning was a new avant-garde system, the international logic of which—mercantile and médiatique—put into question the modern ideology elaborated upon since the late 19th century. What had begun as a question of aesthetics quickly turned political, and as in the 1905 Salon d'Automne, with his infamous "Donatello chez les fauves", the critic Louis Vauxcelles (Les Arts..., 1912) was most implicated in the deliberations. It was Vauxcelles who, on the occasion of the 1910 Salon des Indépendants, wrote disparagingly of 'pallid' cubes with reference to the paintings of Metzinger, Gleizes, Le Fauconnier, Léger and Delaunay.On 3 December 1912 the polemic reached the Chambre des députés and was debated at the Assemblée Nationale in Paris. Albert Gleizes, exhibited l'Homme au Balcon (Man on a Balcony), (Portrait of Dr. Théo Morinaud) 1912 (Philadelphia Museum of Art), also exhibited at the Armory show, New York, Chicago, Boston, 1913. Jean Metzinger entered three works: Dancer in cafe (Danseuse au café), La Plume Jaune (The Yellow Feather), Femme à l'Éventail (Woman with a Fan) (now at the Solomon R. Guggenheim Museum, New York), hung in the decorative arts section inside La Maison Cubiste (the Cubist House). Fernand Léger exhibited La Femme en Bleu (Woman in Blue), 1912 (Kunstmuseum, Basel) and Le passage à niveau (The Level Crossing), 1912 (Fondation Beyeler, Riehen, Switzerland) Roger de La Fresnaye, Les Baigneuse (The bathers) 1912 (The National Gallery, Washington) and Les joueurs de cartes (Card Players) Henri Le Fauconnier, The Huntsman (Haags Gemeentemuseum, The Hague, Netherlands) and Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) 1912 (Museum of Art, Rhode Island School of Design). André Lhote, Le jugement de Paris, 1912 (Private collection) František Kupka, Amorpha, Fugue à deux couleurs (Fugue in Two Colors), 1912 (Narodni Galerie, Prague), and Amorpha Chromatique Chaude. Francis Picabia, 1912, La Source (The Spring) (Museum of Modern Art, New York) Alexander Archipenko, Family Life, 1912, sculpture Amedeo Modigliani, exhibited four elongated and highly stylized heads, sculptures Joseph Csaky exhibited the sculptures Groupe de femmes, 1911-1912 (location unknown), Portrait de M.S.H., no. 91 (location unknown), and Danseuse (Femme à l'éventail, Femme à la cruche), no. 405 (location unknown)This exhibition also featured La Maison cubiste. Raymond Duchamp-Villon designed facade of a 10 meter by 3 meter house, which included a hall, a living room and a bedroom. This installation was placed in the Art Décoratif section of the Salon d'Automne. The major contributors were André Mare, a decorative designer, Roger de La Fresnaye, Jacques Villon and Marie Laurencin. In the house were hung cubist paintings by Marcel Duchamp, Albert Gleizes, Fernand Léger, Roger de La Fresnaye, and Jean Metzinger (Woman with a Fan, 1912). Though in the Deco section of the Parisian salon, the installation would soon find its way into the Cubist room at the 1913 Armory Show in New York City.

18732_T

Man on a Balcony

In Man on a Balcony, how is the Armory Show discussed?

The International Exhibition of Modern Art, known today as the Armory Show was a landmark event in the history of art. This monumental series of exhibitions showcased the works of the most radical European artists of the time alongside those of their progressive American contemporaries. This massive exhibition was presented in varying forms at three venues—New York (69th Regiment Armory, February 17–March 15), Chicago (Art Institute of Chicago, March 24–April 16), and Boston (Copley Society, April 23–May 14). The exhibition introduced the visual language of European modernism to a wide spectrum of the American public, changing the aesthetic outlook for American artists, collectors, critics, galleries and museums. In 1913, Archipenko, Gleizes, Picabia, Picasso, the Duchamp brothers and others introduced Cubism to an American audience at the Armory Show in three major cities, New York City, Chicago and Boston. In addition to Man on a balcony (no. 196), Gleizes exhibited his 1910 painting (no. 195 of the catalogue) Femme aux Phlox (Museum of Fine Arts, Houston), an example of early Cubism.

18732_NT

Man on a Balcony

In this artwork, how is the Armory Show discussed?

The International Exhibition of Modern Art, known today as the Armory Show was a landmark event in the history of art. This monumental series of exhibitions showcased the works of the most radical European artists of the time alongside those of their progressive American contemporaries. This massive exhibition was presented in varying forms at three venues—New York (69th Regiment Armory, February 17–March 15), Chicago (Art Institute of Chicago, March 24–April 16), and Boston (Copley Society, April 23–May 14). The exhibition introduced the visual language of European modernism to a wide spectrum of the American public, changing the aesthetic outlook for American artists, collectors, critics, galleries and museums. In 1913, Archipenko, Gleizes, Picabia, Picasso, the Duchamp brothers and others introduced Cubism to an American audience at the Armory Show in three major cities, New York City, Chicago and Boston. In addition to Man on a balcony (no. 196), Gleizes exhibited his 1910 painting (no. 195 of the catalogue) Femme aux Phlox (Museum of Fine Arts, Houston), an example of early Cubism.

18733_T

Man on a Balcony

Focus on Man on a Balcony and explore the Literature.

Guillaume Apollinaire, Les Peintres Cubistes, Méditations Esthétiques, Eugène Figuière Éditeurs, 1913 Jerome Eddy, Cubists and Post-Impressionism, A.C. McClurg & Co., Chicago, 1914 Willard Huntington Wright, Modern painting, its tendency and meaning, 3 editions, first published in 1915 Bulletin, Art Institute of Chicago, 1922 Ozenfant and jeanneret, La Peinture Moderne, Paris, 1924 Albert Gleizes, 'L'Epopée', Le Rouge et le Noir, 1929 Frank Jewett Mather, Modern Painting: A Study of Tendencies, 1931 René Édouard-Joseph, Dictionnaire biographique des artistes contemporains, 1910-1930, Published 1931 Arts Magazine, Volume 7, Art Digest Incorporated, 1932 Quarterly, Art Institute of Chicago, 1933 Charles Terrasse, André Gloeckner and Eveline Byam Shaw, La Peinture Française au XXe siècle (French Painting in the Twentieth Century), 1939 Bulletin of the Art Institute of Chicago, 1948 20th Century Art, from the Louise and Walter Arensberg Collection, The Art Institute of Chicago, October 20 to December 18, 1949 André Lhote, Figure painting, 1953 Philadelphia Museum or Art, Arensberg Catalogue, 1954 Madeleine Vincent, La peinture des XIXe et XXe siècles, 1956 François Fosca, Bilan du cubisme, 1956 Frank Trapp, The 1913 Armory Show in Retrospect, 1958 Guy Habasque, Cubism: Biographical and Critical Study, 1959 José Pierre, Le Futurisme Et Le Dadaïsme, 1966 José Pierre, Cubism, 1969 Albert Gleizes, Puissances Du Cubisme, 1969 (Collection of articles published between 1925 and 1946) Daniel Robbins, Albert Gleizes, 1881-1953: A Retrospective Exhibition Solomon R. Guggenheim Museum, 1964 Calvin Tomkins, The world of Marcel Duchamp, 1887-, Time-Life Books, 1966 Douglas Cooper, The Cubist epoch, 1971 George Heard Hamilton, Painting and sculpture in Europe, 1880-1940, 1972 Richard H. Axsom, "Parade", Cubism as theater, 1974 John Malcolm Nash, Cubism, Futurism and Constructivism, 1974 Carl Zigrosser, A world of art and museums, Albert Gleizes, L'Homme au Balcon (sturdy crusader), 1975 Angelica Zander Rudenstine, The Guggenheim Museum collection: paintings, 1880-1945, 1976 Philip Alan Cecchettini, Don Whittemore, Art America: A Resource Manual, 1977 Patricia E. Kaplan, Susan Manso, Major European art movements, 1900-1945: a critical anthology, 1977 Edward F. Fry, Cubism, 1978 Revue de l'art, Issues 43-46, Flammarion, 1979 Anne D'Harnoncourt, Germano Celant, Futurism and the international avant-garde, Philadelphia Museum of Art, 1980 Cahiers du Musée national d'art moderne, 1981 Pierre Alibert, Albert Gleizes, Naissance Et Avenir Du Cubisme, 1982 Milton A. Cohen, E.E. Cummings paintings: the hidden career, 1982 Pierre Cabanne, Le cubisme, 1982 L'art sacré d'Albert Gleizes: 22 mai-31 août 1985, Musée des beaux-arts, Caen, 1985 Dewey F. Mosby, Vivian Endicott Barnett, Abstraction, Non-objectivity, Realism: Twentieth-century Painting, Solomon R. Guggenheim Museum, 1987 Milton A. Cohen, Poet and painter: the aesthetics of E.E. Cummings's early work, 1987 John Golding, Cubism: A History and an Analysis, 1907-1914, 1959, 1988 Milton Wolf Brown, The Story of the Armory Show, 1988 Pierre Alibert, Gleizes: biographie, 1990 Adele Heller, Lois Palken Rudnick, 1915, the cultural moment: the new politics, the new woman, the new psychology, the new art & the new theatre in America, 1991 Jean Jacques Lévêque, Les années de la Belle Époque: 1890-1914, 1991 Guillaume Apollinaire, Michel Décaudin, Pierre Caizergues, 1991 George Heard Hamilton, Painting and Sculpture in Europe: 1880-1940, 1993 Abraham A. Davidson, Early American modernist painting, 1910-1935, 1994 Bruce Altshuler, The avant-garde in exhibition: new art in the 20th century, 1994 Philadelphia Museum of Art, Paintings from Europe and the Americas in the Philadelphia Museum of Art: a concise catalogue, 1994 Francis M. Naumann, New York Dada, 1915-23, 1994 Helen Topliss, Modernism and Feminism: Australian Women Artists, 1900-1940, 1996 Dietrich Schubert, Kunstmuseum Winterthur, Dieter Schwarz, Lehmbruck, Brâncuși, Léger, Bonnard, Klee, Fontana, Morandi..., 1997 Anne Varichon, Daniel Robbins, Albert Gleizes: catalogue raisonné, 1998 Diego Rivera, Juan Coronel Rivera, Luis-Martín Lozano, Diego Rivera: Art & Revolution, 1999 Emmanuel Bénézit, Jacques Busse, Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, 1999 Ann Temkin, Susan Rosenberg, Twentieth Century painting and sculpture in the Philadelphia Museum of Art, 2000 Pierre Daix, Pour une histoire culturelle de l'art moderne: De David à Cézanne, 2000 Allan Antliff, Anarchist Modernism: Art, Politics, and the First American Avant-Garde, 2001 Martin Klepper, Joseph C. Schöpp, Transatlantic Modernism, 2001 Guillaume Apollinaire, LeRoy C. Breunig, Apollinaire on art: essays and reviews, 1902-1918, 2001 Peter Brooke, Albert Gleizes: For and Against the Twentieth Century, 2001 Русский авангард: проблемы репрезентации и интерпретации И. Н. Карасик, Йосеф Киблицкий, Государственный русский музей (Саинт Петерсбург, Руссиа), 2001 [Russian Avant-garde: The Problem of Representation and Interpretation, I. Karasik, Joseph Kiblitsky, State Russian Museum, Saint Petersbourg, 2001] David Cottington, Cubism and Its Histories, 2004 Laura Mattioli Rossi, Boccioni's materia: a futurist masterpiece and the avant-garde in Milan and Paris, Solomon R. Guggenheim Museum, New York, February 6 - May 9, 2004, Volume 3 Anisabelle Berès, Galerie Berès, Au temps des cubistes: 1910-1920, 2006 Gregory Galligan, The Cube in the Kaleidoscope: The American Reception of French Cubism, 1918 –1938, 2007 Mark Antliff, Patricia Dee Leighten, A cubism reader: documents and criticism, 1906-1914, 2008 Khédija Laouani, Manuel d'histoire de la peinture: du classicisme aux mouvements..., 2008 Françoise Levaillant, Dario Gamboni, Jean-Roch Bouiller, Les bibliothèques d'artistes: XXe-XXIe siècles, 2010 Nancy Hopkins Reily, Georgia O'Keeffe, A Private Friendship, Part I: Walking the Sun Prairie Land, 2011

18733_NT

Man on a Balcony

Focus on this artwork and explore the Literature.

Guillaume Apollinaire, Les Peintres Cubistes, Méditations Esthétiques, Eugène Figuière Éditeurs, 1913 Jerome Eddy, Cubists and Post-Impressionism, A.C. McClurg & Co., Chicago, 1914 Willard Huntington Wright, Modern painting, its tendency and meaning, 3 editions, first published in 1915 Bulletin, Art Institute of Chicago, 1922 Ozenfant and jeanneret, La Peinture Moderne, Paris, 1924 Albert Gleizes, 'L'Epopée', Le Rouge et le Noir, 1929 Frank Jewett Mather, Modern Painting: A Study of Tendencies, 1931 René Édouard-Joseph, Dictionnaire biographique des artistes contemporains, 1910-1930, Published 1931 Arts Magazine, Volume 7, Art Digest Incorporated, 1932 Quarterly, Art Institute of Chicago, 1933 Charles Terrasse, André Gloeckner and Eveline Byam Shaw, La Peinture Française au XXe siècle (French Painting in the Twentieth Century), 1939 Bulletin of the Art Institute of Chicago, 1948 20th Century Art, from the Louise and Walter Arensberg Collection, The Art Institute of Chicago, October 20 to December 18, 1949 André Lhote, Figure painting, 1953 Philadelphia Museum or Art, Arensberg Catalogue, 1954 Madeleine Vincent, La peinture des XIXe et XXe siècles, 1956 François Fosca, Bilan du cubisme, 1956 Frank Trapp, The 1913 Armory Show in Retrospect, 1958 Guy Habasque, Cubism: Biographical and Critical Study, 1959 José Pierre, Le Futurisme Et Le Dadaïsme, 1966 José Pierre, Cubism, 1969 Albert Gleizes, Puissances Du Cubisme, 1969 (Collection of articles published between 1925 and 1946) Daniel Robbins, Albert Gleizes, 1881-1953: A Retrospective Exhibition Solomon R. Guggenheim Museum, 1964 Calvin Tomkins, The world of Marcel Duchamp, 1887-, Time-Life Books, 1966 Douglas Cooper, The Cubist epoch, 1971 George Heard Hamilton, Painting and sculpture in Europe, 1880-1940, 1972 Richard H. Axsom, "Parade", Cubism as theater, 1974 John Malcolm Nash, Cubism, Futurism and Constructivism, 1974 Carl Zigrosser, A world of art and museums, Albert Gleizes, L'Homme au Balcon (sturdy crusader), 1975 Angelica Zander Rudenstine, The Guggenheim Museum collection: paintings, 1880-1945, 1976 Philip Alan Cecchettini, Don Whittemore, Art America: A Resource Manual, 1977 Patricia E. Kaplan, Susan Manso, Major European art movements, 1900-1945: a critical anthology, 1977 Edward F. Fry, Cubism, 1978 Revue de l'art, Issues 43-46, Flammarion, 1979 Anne D'Harnoncourt, Germano Celant, Futurism and the international avant-garde, Philadelphia Museum of Art, 1980 Cahiers du Musée national d'art moderne, 1981 Pierre Alibert, Albert Gleizes, Naissance Et Avenir Du Cubisme, 1982 Milton A. Cohen, E.E. Cummings paintings: the hidden career, 1982 Pierre Cabanne, Le cubisme, 1982 L'art sacré d'Albert Gleizes: 22 mai-31 août 1985, Musée des beaux-arts, Caen, 1985 Dewey F. Mosby, Vivian Endicott Barnett, Abstraction, Non-objectivity, Realism: Twentieth-century Painting, Solomon R. Guggenheim Museum, 1987 Milton A. Cohen, Poet and painter: the aesthetics of E.E. Cummings's early work, 1987 John Golding, Cubism: A History and an Analysis, 1907-1914, 1959, 1988 Milton Wolf Brown, The Story of the Armory Show, 1988 Pierre Alibert, Gleizes: biographie, 1990 Adele Heller, Lois Palken Rudnick, 1915, the cultural moment: the new politics, the new woman, the new psychology, the new art & the new theatre in America, 1991 Jean Jacques Lévêque, Les années de la Belle Époque: 1890-1914, 1991 Guillaume Apollinaire, Michel Décaudin, Pierre Caizergues, 1991 George Heard Hamilton, Painting and Sculpture in Europe: 1880-1940, 1993 Abraham A. Davidson, Early American modernist painting, 1910-1935, 1994 Bruce Altshuler, The avant-garde in exhibition: new art in the 20th century, 1994 Philadelphia Museum of Art, Paintings from Europe and the Americas in the Philadelphia Museum of Art: a concise catalogue, 1994 Francis M. Naumann, New York Dada, 1915-23, 1994 Helen Topliss, Modernism and Feminism: Australian Women Artists, 1900-1940, 1996 Dietrich Schubert, Kunstmuseum Winterthur, Dieter Schwarz, Lehmbruck, Brâncuși, Léger, Bonnard, Klee, Fontana, Morandi..., 1997 Anne Varichon, Daniel Robbins, Albert Gleizes: catalogue raisonné, 1998 Diego Rivera, Juan Coronel Rivera, Luis-Martín Lozano, Diego Rivera: Art & Revolution, 1999 Emmanuel Bénézit, Jacques Busse, Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, 1999 Ann Temkin, Susan Rosenberg, Twentieth Century painting and sculpture in the Philadelphia Museum of Art, 2000 Pierre Daix, Pour une histoire culturelle de l'art moderne: De David à Cézanne, 2000 Allan Antliff, Anarchist Modernism: Art, Politics, and the First American Avant-Garde, 2001 Martin Klepper, Joseph C. Schöpp, Transatlantic Modernism, 2001 Guillaume Apollinaire, LeRoy C. Breunig, Apollinaire on art: essays and reviews, 1902-1918, 2001 Peter Brooke, Albert Gleizes: For and Against the Twentieth Century, 2001 Русский авангард: проблемы репрезентации и интерпретации И. Н. Карасик, Йосеф Киблицкий, Государственный русский музей (Саинт Петерсбург, Руссиа), 2001 [Russian Avant-garde: The Problem of Representation and Interpretation, I. Karasik, Joseph Kiblitsky, State Russian Museum, Saint Petersbourg, 2001] David Cottington, Cubism and Its Histories, 2004 Laura Mattioli Rossi, Boccioni's materia: a futurist masterpiece and the avant-garde in Milan and Paris, Solomon R. Guggenheim Museum, New York, February 6 - May 9, 2004, Volume 3 Anisabelle Berès, Galerie Berès, Au temps des cubistes: 1910-1920, 2006 Gregory Galligan, The Cube in the Kaleidoscope: The American Reception of French Cubism, 1918 –1938, 2007 Mark Antliff, Patricia Dee Leighten, A cubism reader: documents and criticism, 1906-1914, 2008 Khédija Laouani, Manuel d'histoire de la peinture: du classicisme aux mouvements..., 2008 Françoise Levaillant, Dario Gamboni, Jean-Roch Bouiller, Les bibliothèques d'artistes: XXe-XXIe siècles, 2010 Nancy Hopkins Reily, Georgia O'Keeffe, A Private Friendship, Part I: Walking the Sun Prairie Land, 2011

18734_T

Truth Coming Out of Her Well

Focus on Truth Coming Out of Her Well and explain the abstract.

La Vérité sortant du puits armée de son martinet pour châtier l'humanité (English: Truth coming from the well armed with her whip to chastise humanity) is an 1896 painting by the French artist Jean-Léon Gérôme.

18734_NT

Truth Coming Out of Her Well

Focus on this artwork and explain the abstract.

La Vérité sortant du puits armée de son martinet pour châtier l'humanité (English: Truth coming from the well armed with her whip to chastise humanity) is an 1896 painting by the French artist Jean-Léon Gérôme.

18735_T

Truth Coming Out of Her Well

Explore the Overview of this artwork, Truth Coming Out of Her Well.

Beginning in the mid-1890s, in the last decade of his life, Gérôme made at least four paintings personifying Truth as a nude woman, either thrown into, at the bottom of, or emerging from a well. The imagery arises from a translation of an aphorism of the philosopher Democritus, "Of truth we know nothing, for truth is in a well". (Greek ἐτεῇ δὲ οὐδὲν ἴδμεν: ἐν βυθῷ γὰρ ἡ ἀλήθεια, eteêi dè oudèn ídmen: en buthô gàr hē alḗtheia, [literally] "in reality we know nothing; for the truth is in an abyss".) The nudity of the model may arise from the expression la vérité nue, "the naked truth".At the Champs Elysées Salon of 1895, Gérôme showed a painting entitled Mendacibus et histrionibus occisa in puteo jacet alma Veritas (English: The nurturer Truth lies in a well, having been killed by liars and actors), in which he depicted "naked Truth killed by Falsehood, her body flung into a well and the mirror after her, from which flashes of light are cast as it lightens the dark abyss". At the next Salon in 1896, Gérôme showed Truth Coming Out of Her Well.It has been assumed that both paintings (like a similar, later work by Édouard Debat-Ponsan) were comments on the Dreyfus affair, but art historian Bernard Tillier argues that Gérôme's images of Truth and the well were part of his ongoing diatribe against Impressionism.In a preface for Émile Bayard's Le Nu Esthétique published in 1902, Gérôme uses the metaphor of Truth and the well to characterize the profound and irreversible influence of photography:Gérôme kept at least one of the paintings. When he died in 1904, "the maid found him dead in the little room next to his atelier, slumped in front of a portrait of Rembrandt and at the foot of his own painting, Truth"—but the source for this anecdote, the biographer Charles Moreau-Vauthier, does not specify which painting of Truth.Since 1978, Truth Coming Out of Her Well has been part of the permanent exhibition at the Musée Anne de Beaujeu in Moulins, France. In 2012, after the painting traveled to Los Angeles, Paris and Madrid, the museum featured the exhibition La vérité est au musée ("Truth is at the Museum"), which collected numerous drawings, sketches, and variants made by Gérôme, and by other artists, relating to the painting and its theme. The multiple interpretations of the painting's enigmatic meaning prompted one of the museum's curators to say, "C'est notre Joconde à nous." ("This is our Mona Lisa.")

18735_NT

Truth Coming Out of Her Well

Explore the Overview of this artwork.

Beginning in the mid-1890s, in the last decade of his life, Gérôme made at least four paintings personifying Truth as a nude woman, either thrown into, at the bottom of, or emerging from a well. The imagery arises from a translation of an aphorism of the philosopher Democritus, "Of truth we know nothing, for truth is in a well". (Greek ἐτεῇ δὲ οὐδὲν ἴδμεν: ἐν βυθῷ γὰρ ἡ ἀλήθεια, eteêi dè oudèn ídmen: en buthô gàr hē alḗtheia, [literally] "in reality we know nothing; for the truth is in an abyss".) The nudity of the model may arise from the expression la vérité nue, "the naked truth".At the Champs Elysées Salon of 1895, Gérôme showed a painting entitled Mendacibus et histrionibus occisa in puteo jacet alma Veritas (English: The nurturer Truth lies in a well, having been killed by liars and actors), in which he depicted "naked Truth killed by Falsehood, her body flung into a well and the mirror after her, from which flashes of light are cast as it lightens the dark abyss". At the next Salon in 1896, Gérôme showed Truth Coming Out of Her Well.It has been assumed that both paintings (like a similar, later work by Édouard Debat-Ponsan) were comments on the Dreyfus affair, but art historian Bernard Tillier argues that Gérôme's images of Truth and the well were part of his ongoing diatribe against Impressionism.In a preface for Émile Bayard's Le Nu Esthétique published in 1902, Gérôme uses the metaphor of Truth and the well to characterize the profound and irreversible influence of photography:Gérôme kept at least one of the paintings. When he died in 1904, "the maid found him dead in the little room next to his atelier, slumped in front of a portrait of Rembrandt and at the foot of his own painting, Truth"—but the source for this anecdote, the biographer Charles Moreau-Vauthier, does not specify which painting of Truth.Since 1978, Truth Coming Out of Her Well has been part of the permanent exhibition at the Musée Anne de Beaujeu in Moulins, France. In 2012, after the painting traveled to Los Angeles, Paris and Madrid, the museum featured the exhibition La vérité est au musée ("Truth is at the Museum"), which collected numerous drawings, sketches, and variants made by Gérôme, and by other artists, relating to the painting and its theme. The multiple interpretations of the painting's enigmatic meaning prompted one of the museum's curators to say, "C'est notre Joconde à nous." ("This is our Mona Lisa.")

18736_T

Brooklyn Bridge (Gleizes)

Focus on Brooklyn Bridge (Gleizes) and discuss the Description.

Brooklyn Bridge is an oil and gouache painting on canvas with dimensions 102 x 102 cm (40 1/8 x 40 1/8 inches) inscribed "Brooklyn Bridge, Alb. Gleizes, 15, lower right. In a celebration of this feat of modernity, the architecture of the Brooklyn Bridge served as the inspiration for a series of works by Gleizes. In this first painting of the series, juxtaposed arabesques and distinctive diagonals interconnect dynamically, suggesting the bridge's complex architectonic engineering.As in earlier works by Gleizes, this canvas is directly engaged with the environment. While highly abstract, Brooklyn Bridge maintains an evident visual basis. From 1914 to the end of the New York period, however nonrepresentational, works by the artist continued to be shaped by his personal experience, by the conviction that art was a social function, susceptible to theoretical formulation, and imbued with optimism.In Du "Cubisme" Gleizes and Metzinger wrote: "...let us admit that the reminiscence of natural forms cannot be banished—in any event, not yet. An art cannot be raised to the level of pure effusion at the first step."Three years later, the transformation toward pure effusion would manifest itself in the Brooklyn Bridge and continue further still in subsequent works produced by the artist in New York. The features of the bridge are described by forceful rhythms and colors, even though the actual bridge itself has disappeared; superseded by a synthesis of Gleizes's plastic equivalents of physical reality. The three Brooklyn Bridge paintings are a prime example of Gleizes's experimentation with the plastic translation of one of his most treasured themes: the city which draws life from the river.Already, in his 1913 publication The Cubist Painters, Aesthetic Meditations, Guillaume Apollinaire drew parallels between the work of Gleizes and the realization of metal constructions such as bridges:Majesty: this is what, above all, characterizes the art of Albert Gleizes. He thus brings a startling innovation to contemporary art. Something that before him was found in but few of the modern painters.This majesty arouses and provokes the imagination; considered from the plastic point of view, it is the immensity of things.This art is vigorous. The pictures of Albert Gleizes are realized by a force of the same sort as that which realized the Pyramids and the Cathedrals, the constructions in metal, the bridges and the tunnels. (Apollinaire, 1913)

18736_NT

Brooklyn Bridge (Gleizes)

Focus on this artwork and discuss the Description.

Brooklyn Bridge is an oil and gouache painting on canvas with dimensions 102 x 102 cm (40 1/8 x 40 1/8 inches) inscribed "Brooklyn Bridge, Alb. Gleizes, 15, lower right. In a celebration of this feat of modernity, the architecture of the Brooklyn Bridge served as the inspiration for a series of works by Gleizes. In this first painting of the series, juxtaposed arabesques and distinctive diagonals interconnect dynamically, suggesting the bridge's complex architectonic engineering.As in earlier works by Gleizes, this canvas is directly engaged with the environment. While highly abstract, Brooklyn Bridge maintains an evident visual basis. From 1914 to the end of the New York period, however nonrepresentational, works by the artist continued to be shaped by his personal experience, by the conviction that art was a social function, susceptible to theoretical formulation, and imbued with optimism.In Du "Cubisme" Gleizes and Metzinger wrote: "...let us admit that the reminiscence of natural forms cannot be banished—in any event, not yet. An art cannot be raised to the level of pure effusion at the first step."Three years later, the transformation toward pure effusion would manifest itself in the Brooklyn Bridge and continue further still in subsequent works produced by the artist in New York. The features of the bridge are described by forceful rhythms and colors, even though the actual bridge itself has disappeared; superseded by a synthesis of Gleizes's plastic equivalents of physical reality. The three Brooklyn Bridge paintings are a prime example of Gleizes's experimentation with the plastic translation of one of his most treasured themes: the city which draws life from the river.Already, in his 1913 publication The Cubist Painters, Aesthetic Meditations, Guillaume Apollinaire drew parallels between the work of Gleizes and the realization of metal constructions such as bridges:Majesty: this is what, above all, characterizes the art of Albert Gleizes. He thus brings a startling innovation to contemporary art. Something that before him was found in but few of the modern painters.This majesty arouses and provokes the imagination; considered from the plastic point of view, it is the immensity of things.This art is vigorous. The pictures of Albert Gleizes are realized by a force of the same sort as that which realized the Pyramids and the Cathedrals, the constructions in metal, the bridges and the tunnels. (Apollinaire, 1913)

18737_T

Brooklyn Bridge (Gleizes)

How does Brooklyn Bridge (Gleizes) elucidate its Background?

Gleizes stated his admiration for the Brooklyn Bridge in the first interview after his arrival in the United States, comparing it to the noblest achievements of European architecture.The Brooklyn Bridge was a key component of the New York landscape for the Ashcan School, though it hadn't held for them the fascination that it did for the generation of modern artists that arrived or returned from Europe during the First World War.Joseph Stella wrote of the Brooklyn Bridge: "Seen for the first time, as a weird metallic Apparition under a metallic sky, out of proportion with the winged lightness of its arch, traced for the conjunction of Worlds… it impressed me as the shrine containing all the efforts of the new civilization of America".Albert Gleizes remarked: "the genius who built the Brooklyn Bridge is to be classed alongside the genius who built Notre Dame de Paris". Supporting Gleizes' claim that the Brooklyn Bridge belongs in the same category as the Notre Dame Cathedral, Marcel Duchamp said America's greatest works of art are its bridges and its plumbing. (Stella and Walter Arensberg accompanied Duchamp to a plumbing supply store in 1917 to purchase the infamous urinal, soon to be entitled Fountain and signed "R.Mutt"). Whereas other proto-modernists such as Henry James, H. G. Wells and Alvin Langdon Coburn pondered the bridge from a distance—contemplating its cultural and industrial aspects—artists like John Marin, Max Weber, Joseph Stella and Gleizes worked directly at the bridge itself, reveling in the personal experience. This is what Alan Trachtenberg called “the classic moment” when the bridge—in front of the eyes—transforms itself from a public icon to “a private event”. The classic moment is not studied or pondered but entirely instant and radically subjective. It is a personal response to modernity of the unique structure, an attempt to “know the bridge from the inside”.Stemming back to his years at the Abbaye de Créteil, the interest in ambitious subjects continued to inspire Albert Gleizes throughout the 1910s: Passy, Bridges of Paris, La Chasse (The Hunt), Harvest Threshing (Le Dépiquage des Moissons), Les Joueurs de football (Football Players). From 1915, Gleizes drew inspiration from the music of jazz, from the skyscrapers of New York, from neon signs, from the hustle and bustle of busy Manhattan streets and avenues such as Broadway, and from the Brooklyn Bridge; expressing the various sensations and vast drama of modern city life in an unprecedented series of works. During the months of autumn, following his demobilization in 1915, Gleizes married Juliette Roche and moved to New York. There they were met by Carlos Salzedo, Francis Picabia, Man Ray, Marcel Duchamp, and Jean Crotti (who would eventually marry Suzanne Duchamp). Marcel Duchamp had emigrated to New York several months earlier after being judged physically unfit for his service in the military. Shortly after his arrival, Gleizes, accompanied by Salzedo, frequented jazz clubs in Harlem. With all it had to offer, New York had a strong impact on the artist's production.Gleizes had previously been to New York for the occasion of the Armory Show (which in 1913 introduced European modern art to an American audience), exhibiting his La Femme aux Phlox (Woman with Phlox)’’, Museum of Fine Arts, Houston, and L'Homme au Balcon, Man on a Balcony (Portrait of Dr. Théo Morinaud)’’, Philadelphia Museum of Art. In New York Gleizes met Walter Pach (who he knew from Paris), Stuart Davis, Max Weber, Joseph Stella, and participated in a show at Montross Gallery (April 1916)—exhibiting Brooklyn Bridge—with Duchamp, Crotti and Metzinger (who remained in Paris). At this exhibition the group was dubbed 'The Four Musketeers' in the press. The Montross exhibition introduced some of the most avant-garde French art of the time to the New York art scene, causing a sensation and once again forcing American artists to rethink their ideas about art. This exhibitions demonstrated that there existed an even more radical approach in art than that offered by the Futurists and Cubists, who were considered at the time to represent the most extreme forms of art. After Gleizes returned to Europe, Stella became interested in the Bridge as a motif. In Paris, from 1911 to 1912, Stella had been in contact with the Cubists and Italian Futurists, who admired contemporary concepts of the future, including motion, speed and technological triumphs of humanity over nature. When he return to New York he moved to Brooklyn and there found in the Bridge the perfect vehicle for his Futurist vision, though he was also interested in the structural experiments of the Cubists and the dynamic color of the Fauves.

18737_NT

Brooklyn Bridge (Gleizes)

How does this artwork elucidate its Background?

Gleizes stated his admiration for the Brooklyn Bridge in the first interview after his arrival in the United States, comparing it to the noblest achievements of European architecture.The Brooklyn Bridge was a key component of the New York landscape for the Ashcan School, though it hadn't held for them the fascination that it did for the generation of modern artists that arrived or returned from Europe during the First World War.Joseph Stella wrote of the Brooklyn Bridge: "Seen for the first time, as a weird metallic Apparition under a metallic sky, out of proportion with the winged lightness of its arch, traced for the conjunction of Worlds… it impressed me as the shrine containing all the efforts of the new civilization of America".Albert Gleizes remarked: "the genius who built the Brooklyn Bridge is to be classed alongside the genius who built Notre Dame de Paris". Supporting Gleizes' claim that the Brooklyn Bridge belongs in the same category as the Notre Dame Cathedral, Marcel Duchamp said America's greatest works of art are its bridges and its plumbing. (Stella and Walter Arensberg accompanied Duchamp to a plumbing supply store in 1917 to purchase the infamous urinal, soon to be entitled Fountain and signed "R.Mutt"). Whereas other proto-modernists such as Henry James, H. G. Wells and Alvin Langdon Coburn pondered the bridge from a distance—contemplating its cultural and industrial aspects—artists like John Marin, Max Weber, Joseph Stella and Gleizes worked directly at the bridge itself, reveling in the personal experience. This is what Alan Trachtenberg called “the classic moment” when the bridge—in front of the eyes—transforms itself from a public icon to “a private event”. The classic moment is not studied or pondered but entirely instant and radically subjective. It is a personal response to modernity of the unique structure, an attempt to “know the bridge from the inside”.Stemming back to his years at the Abbaye de Créteil, the interest in ambitious subjects continued to inspire Albert Gleizes throughout the 1910s: Passy, Bridges of Paris, La Chasse (The Hunt), Harvest Threshing (Le Dépiquage des Moissons), Les Joueurs de football (Football Players). From 1915, Gleizes drew inspiration from the music of jazz, from the skyscrapers of New York, from neon signs, from the hustle and bustle of busy Manhattan streets and avenues such as Broadway, and from the Brooklyn Bridge; expressing the various sensations and vast drama of modern city life in an unprecedented series of works. During the months of autumn, following his demobilization in 1915, Gleizes married Juliette Roche and moved to New York. There they were met by Carlos Salzedo, Francis Picabia, Man Ray, Marcel Duchamp, and Jean Crotti (who would eventually marry Suzanne Duchamp). Marcel Duchamp had emigrated to New York several months earlier after being judged physically unfit for his service in the military. Shortly after his arrival, Gleizes, accompanied by Salzedo, frequented jazz clubs in Harlem. With all it had to offer, New York had a strong impact on the artist's production.Gleizes had previously been to New York for the occasion of the Armory Show (which in 1913 introduced European modern art to an American audience), exhibiting his La Femme aux Phlox (Woman with Phlox)’’, Museum of Fine Arts, Houston, and L'Homme au Balcon, Man on a Balcony (Portrait of Dr. Théo Morinaud)’’, Philadelphia Museum of Art. In New York Gleizes met Walter Pach (who he knew from Paris), Stuart Davis, Max Weber, Joseph Stella, and participated in a show at Montross Gallery (April 1916)—exhibiting Brooklyn Bridge—with Duchamp, Crotti and Metzinger (who remained in Paris). At this exhibition the group was dubbed 'The Four Musketeers' in the press. The Montross exhibition introduced some of the most avant-garde French art of the time to the New York art scene, causing a sensation and once again forcing American artists to rethink their ideas about art. This exhibitions demonstrated that there existed an even more radical approach in art than that offered by the Futurists and Cubists, who were considered at the time to represent the most extreme forms of art. After Gleizes returned to Europe, Stella became interested in the Bridge as a motif. In Paris, from 1911 to 1912, Stella had been in contact with the Cubists and Italian Futurists, who admired contemporary concepts of the future, including motion, speed and technological triumphs of humanity over nature. When he return to New York he moved to Brooklyn and there found in the Bridge the perfect vehicle for his Futurist vision, though he was also interested in the structural experiments of the Cubists and the dynamic color of the Fauves.

18738_T

Brooklyn Bridge (Gleizes)

Focus on Brooklyn Bridge (Gleizes) and analyze the Abstraction.

Gleizes' Brooklyn Bridge (his first painting of the bridge) was the most abstract image made of the bridge to date. His second version, also of 1915, measuring 148.1 x 120.4 cm (58¼ x 47 3/8in.), is entirely abstract. His third and last oil painting of the series, dated 1917 and entitled On Brooklyn Bridge (Sur Brooklyn Bridge), Solomon R. Guggenheim Museum, New York, measures 161.8 x 129.5 cm (63 3/4 x 51 in.). This composition relates most closely with a 1915 drawing (25 x 19 cm). It is an attempt to synthesize New York City under the symbol of the bridge through a collection of unifying circles, spheres and arcs. In the composition Gleizes portrays both ends of the bridge with the East River below. The Manhattan skyline and Brooklyn appear in the distance. This 1917 canvas—the least abstract of the three—more so than the other paintings of the series, resembles Stella's 1919-20 painting.Non-objective painting rarely has to do with realistic qualities and yet it is still bound to the logic of painting as representational of the subject matter. In Andréi Nakov's study, Abstract/Concrete - Russian and Polish Non-objective Art, non-representation itself becomes the impetus for depicting a subject. In his last book, Painting and on Man become Painter, written in 1948, Gleizes warns against the trend of non-representation becoming an end unto itself, insisting on the importance, instead, of esemplastic qualities. For Gleizes, the latter prevails over the concepts of representational or abstract qualities of the painting.Toward the end of 1913 Gleizes defended the need for a representational subject matter in 'Opinion' published by Ricciotto Canudo in Monjoie!, but it was for reasons that were entirely plastic and non-representational at the same time:We are agreed that anecdote counts for nothing in a painted work. It is a pretext, so be it, but a pretext which we should not reject. Through a certain coefficient of imitation we will verify the legitimacy of the things we have discovered, the picture will not be reduced to the merely pleasurable arabesque of an oriental carpet, and we will obtain an infinite variety which would otherwise be impossible. (Gleizes, 1913) In The Epic, From immobile form to mobile form, Gleizes writes:As we can see straightaway, it is not a matter of describing, nor is it a matter of abstracting from, anything that is external to itself. There is a concrete act that has to be realized, a reality to be produced - of the same order as that which everyone is prepared to recognize in music, at the lowest level of the esemplastic scale, and in architecture, at the highest. Like any natural, physical reality, painting, understood in this way, will touch anyone who knows how to enter into it, not through their opinions on something that exists independently of it, but through its own existence, through those inter-relations, constantly in movement, which enable us to transmit life itself. (Gleizes, 1928)

18738_NT

Brooklyn Bridge (Gleizes)

Focus on this artwork and analyze the Abstraction.

Gleizes' Brooklyn Bridge (his first painting of the bridge) was the most abstract image made of the bridge to date. His second version, also of 1915, measuring 148.1 x 120.4 cm (58¼ x 47 3/8in.), is entirely abstract. His third and last oil painting of the series, dated 1917 and entitled On Brooklyn Bridge (Sur Brooklyn Bridge), Solomon R. Guggenheim Museum, New York, measures 161.8 x 129.5 cm (63 3/4 x 51 in.). This composition relates most closely with a 1915 drawing (25 x 19 cm). It is an attempt to synthesize New York City under the symbol of the bridge through a collection of unifying circles, spheres and arcs. In the composition Gleizes portrays both ends of the bridge with the East River below. The Manhattan skyline and Brooklyn appear in the distance. This 1917 canvas—the least abstract of the three—more so than the other paintings of the series, resembles Stella's 1919-20 painting.Non-objective painting rarely has to do with realistic qualities and yet it is still bound to the logic of painting as representational of the subject matter. In Andréi Nakov's study, Abstract/Concrete - Russian and Polish Non-objective Art, non-representation itself becomes the impetus for depicting a subject. In his last book, Painting and on Man become Painter, written in 1948, Gleizes warns against the trend of non-representation becoming an end unto itself, insisting on the importance, instead, of esemplastic qualities. For Gleizes, the latter prevails over the concepts of representational or abstract qualities of the painting.Toward the end of 1913 Gleizes defended the need for a representational subject matter in 'Opinion' published by Ricciotto Canudo in Monjoie!, but it was for reasons that were entirely plastic and non-representational at the same time:We are agreed that anecdote counts for nothing in a painted work. It is a pretext, so be it, but a pretext which we should not reject. Through a certain coefficient of imitation we will verify the legitimacy of the things we have discovered, the picture will not be reduced to the merely pleasurable arabesque of an oriental carpet, and we will obtain an infinite variety which would otherwise be impossible. (Gleizes, 1913) In The Epic, From immobile form to mobile form, Gleizes writes:As we can see straightaway, it is not a matter of describing, nor is it a matter of abstracting from, anything that is external to itself. There is a concrete act that has to be realized, a reality to be produced - of the same order as that which everyone is prepared to recognize in music, at the lowest level of the esemplastic scale, and in architecture, at the highest. Like any natural, physical reality, painting, understood in this way, will touch anyone who knows how to enter into it, not through their opinions on something that exists independently of it, but through its own existence, through those inter-relations, constantly in movement, which enable us to transmit life itself. (Gleizes, 1928)

18739_T

Brooklyn Bridge (Gleizes)

In Brooklyn Bridge (Gleizes), how is the Exhibitions discussed?

Montross Gallery, New York, Pictures by Crotti, Duchamp, Gleizes, Metzinger, no. 40, April 4–22, 1916 The Museum of Modern Art, New York, Cubism and Abstract Art, no. 88, March 2-April 19, 1936 Toledo Museum of Art, Ohio, Contemporary Movements in European Painting, no. 40, November 6-December 11, 1938 The Brooklyn Museum, New York, The Brooklyn Bridge, April 29-July 27, 1958 The Solomon R. Guggenheim Museum, New York, Cézanne and Structure in Modern Painting, June 5-October 13, 1963 The Solomon R. Guggenheim Museum, New York, Albert Gleizes, no. 84, September 15-November 1, 1964; Musée National d'Art Moderne, Paris, December 5, 1964-January 1965; Museum-Am-Ostwall, Dortmund, Germany, March 13-April 25, 1965 Musée des Beaux-Arts, Bordeaux, La peinture française, collections américaines, cat. no. 96, May 13-September 15, 1966

18739_NT

Brooklyn Bridge (Gleizes)

In this artwork, how is the Exhibitions discussed?

Montross Gallery, New York, Pictures by Crotti, Duchamp, Gleizes, Metzinger, no. 40, April 4–22, 1916 The Museum of Modern Art, New York, Cubism and Abstract Art, no. 88, March 2-April 19, 1936 Toledo Museum of Art, Ohio, Contemporary Movements in European Painting, no. 40, November 6-December 11, 1938 The Brooklyn Museum, New York, The Brooklyn Bridge, April 29-July 27, 1958 The Solomon R. Guggenheim Museum, New York, Cézanne and Structure in Modern Painting, June 5-October 13, 1963 The Solomon R. Guggenheim Museum, New York, Albert Gleizes, no. 84, September 15-November 1, 1964; Musée National d'Art Moderne, Paris, December 5, 1964-January 1965; Museum-Am-Ostwall, Dortmund, Germany, March 13-April 25, 1965 Musée des Beaux-Arts, Bordeaux, La peinture française, collections américaines, cat. no. 96, May 13-September 15, 1966

18740_T

De strijkster

Focus on De strijkster and explain the abstract.

De strijkster (English: The Ironer) is a painting by Rik Wouters in the Royal Museum of Fine Arts Antwerp (Dutch: Koninklijk Museum voor Schone Kunsten Antwerpen). It is one of many scenes from daily life from which the painter found inspiration and took as a subject. His wife, muse and favourite model was Hélène Duerinckx (Nel).The picture shows a woman in a comfortable domestic setting bending over a table ironing a blue garment. She wears a pink dress over a white shirt and is looking up from her work at the viewer.

18740_NT

De strijkster

Focus on this artwork and explain the abstract.

De strijkster (English: The Ironer) is a painting by Rik Wouters in the Royal Museum of Fine Arts Antwerp (Dutch: Koninklijk Museum voor Schone Kunsten Antwerpen). It is one of many scenes from daily life from which the painter found inspiration and took as a subject. His wife, muse and favourite model was Hélène Duerinckx (Nel).The picture shows a woman in a comfortable domestic setting bending over a table ironing a blue garment. She wears a pink dress over a white shirt and is looking up from her work at the viewer.

18741_T

De strijkster

Explore the Style of this artwork, De strijkster.

The colours in the work are strong; the brushwork is loose and expressive. In style it has links to Impressionism, Fauvism and Expressionism and all these approaches have been referenced in regard to this work. In 1912, the time of this painting, Wouters had been staying in Paris, where he discovered the colours of Cézanne and Matisse, Monet's landscapes, and Renoir's women. His own palette became brighter and more vibrant; its intensity and the turbulence of the surface recalling Fauvism. In the same year, he also travelled to Cologne and Düsseldorf where he admired the works of Van Gogh and German Expressionism.

18741_NT

De strijkster

Explore the Style of this artwork.

The colours in the work are strong; the brushwork is loose and expressive. In style it has links to Impressionism, Fauvism and Expressionism and all these approaches have been referenced in regard to this work. In 1912, the time of this painting, Wouters had been staying in Paris, where he discovered the colours of Cézanne and Matisse, Monet's landscapes, and Renoir's women. His own palette became brighter and more vibrant; its intensity and the turbulence of the surface recalling Fauvism. In the same year, he also travelled to Cologne and Düsseldorf where he admired the works of Van Gogh and German Expressionism.

18742_T

De strijkster

Focus on De strijkster and discuss the Subject and precedents.

The subject of laundresses and washerwomen attracted the French Impressionist painters who had begun to take an interest in the working lives of ordinary people. Both contemporary social concerns as well as themes of industrial modernity had informed such works in the decades preceding Wouter's The Ironer.Among painters who produced notable works on this theme were Edgar Degas, Henri de Toulouse-Lautrec, and Berthe Morisot. Morisot had done Hanging the Laundry out to Dry in 1875 and The Farmer Hanging Laundry. The former uses softer pinks and blues than Wouter's, and the latter has a pale, subtle palette in contrast to Wouter's vibrant one. Washerwomen had become one of Degas's favourite subjects between 1869 and 1895. His Repasseuses, the third of a series of four, shows one woman yawning and another leaning heavily on her iron.Compared with Wouter's Ironer, the French artists' laundresses are shown in a more commercial/industrial context. George Washington Lambert had also produced The Laundresses about 1901 as well as La Blanchisseuse (The French Landlady) in the same year but without the expressive use of colour. The latter in particular was a formal group composition concerned with unity of effect in tones of black and white. In 1904, Pablo Picasso also painted the figure of a single Woman Ironing, in neutral tones of blue and gray. Whereas Wouter's is bright in mood and colour, in Picasso's the mood is melancholy. In the same year as De strijkster, Australian Vida Lahey produced a narrative painting of the domestic weekly washing routine which at the time, was normally done on Mondays. It showed the physicality of the work. She gave it the title ''Monday morning".

18742_NT

De strijkster

Focus on this artwork and discuss the Subject and precedents.

The subject of laundresses and washerwomen attracted the French Impressionist painters who had begun to take an interest in the working lives of ordinary people. Both contemporary social concerns as well as themes of industrial modernity had informed such works in the decades preceding Wouter's The Ironer.Among painters who produced notable works on this theme were Edgar Degas, Henri de Toulouse-Lautrec, and Berthe Morisot. Morisot had done Hanging the Laundry out to Dry in 1875 and The Farmer Hanging Laundry. The former uses softer pinks and blues than Wouter's, and the latter has a pale, subtle palette in contrast to Wouter's vibrant one. Washerwomen had become one of Degas's favourite subjects between 1869 and 1895. His Repasseuses, the third of a series of four, shows one woman yawning and another leaning heavily on her iron.Compared with Wouter's Ironer, the French artists' laundresses are shown in a more commercial/industrial context. George Washington Lambert had also produced The Laundresses about 1901 as well as La Blanchisseuse (The French Landlady) in the same year but without the expressive use of colour. The latter in particular was a formal group composition concerned with unity of effect in tones of black and white. In 1904, Pablo Picasso also painted the figure of a single Woman Ironing, in neutral tones of blue and gray. Whereas Wouter's is bright in mood and colour, in Picasso's the mood is melancholy. In the same year as De strijkster, Australian Vida Lahey produced a narrative painting of the domestic weekly washing routine which at the time, was normally done on Mondays. It showed the physicality of the work. She gave it the title ''Monday morning".

18743_T

Jabach Altarpiece

How does Jabach Altarpiece elucidate its abstract?

The Jabach Altarpiece is an oil on lime tree panel painting by German Renaissance artist Albrecht Dürer, executed around 1503–1504. Originally a triptych, only the side panels are now preserved: the right picture, measuring 96×54 cm, is housed in the Wallraf-Richartz Museum of Cologne; the left picture, measuring 96×51 cm, is housed in the Städel of Frankfurt.

18743_NT

Jabach Altarpiece

How does this artwork elucidate its abstract?

The Jabach Altarpiece is an oil on lime tree panel painting by German Renaissance artist Albrecht Dürer, executed around 1503–1504. Originally a triptych, only the side panels are now preserved: the right picture, measuring 96×54 cm, is housed in the Wallraf-Richartz Museum of Cologne; the left picture, measuring 96×51 cm, is housed in the Städel of Frankfurt.

18744_T

Jabach Altarpiece

Focus on Jabach Altarpiece and analyze the History.

The altarpiece was probably commissioned by Frederick III, Elector of Saxony, for a chapel in his castle at Wittenberg, perhaps in occasion of the end of the plague in 1503. The reconstruction of the work is disputed. Some art historians identify the central panel with the Uffizi Adoration of the Magi, while according to others there was instead a group of sculptures. The Apostles on gilded background now at the Alte Pinakothek of Munich have also been associated with the polyptych: in this view, the two known paintings would form a single image on the external shutters once closed; in fact, the two share a common background, and the dress of Job's wife continues to the right panel as well.It is named after one of its owners, Everhard Jabach, in whose family chapel it was still hanging in the late 18th century, before being split up and scattered to different locations.

18744_NT

Jabach Altarpiece

Focus on this artwork and analyze the History.

The altarpiece was probably commissioned by Frederick III, Elector of Saxony, for a chapel in his castle at Wittenberg, perhaps in occasion of the end of the plague in 1503. The reconstruction of the work is disputed. Some art historians identify the central panel with the Uffizi Adoration of the Magi, while according to others there was instead a group of sculptures. The Apostles on gilded background now at the Alte Pinakothek of Munich have also been associated with the polyptych: in this view, the two known paintings would form a single image on the external shutters once closed; in fact, the two share a common background, and the dress of Job's wife continues to the right panel as well.It is named after one of its owners, Everhard Jabach, in whose family chapel it was still hanging in the late 18th century, before being split up and scattered to different locations.

18745_T

Jabach Altarpiece

In Jabach Altarpiece, how is the Description discussed?

The left panel depicts the prophet Job seated, with a desperate expression on his face, after Satan has defied him to keep his allegiance to God even in the most tremendous afflictions. These include his flock getting scattered in the other panel, while his properties are on fire at the left edge. Further, his skin is covered by blisters, an appropriate element for a painting likely originated as an ex-voto for the end of plague. His wife, dressed in Renaissance garments, is pouring dirty water above him, while a small devil flees in the far background.The right panel shows two standing musicians. The right one, with the drum, is perhaps a self-portrait. Their meaning has not been explained: they could be a further element of mockery against Job, or, instead, an attempt to console him through music.

18745_NT

Jabach Altarpiece

In this artwork, how is the Description discussed?

The left panel depicts the prophet Job seated, with a desperate expression on his face, after Satan has defied him to keep his allegiance to God even in the most tremendous afflictions. These include his flock getting scattered in the other panel, while his properties are on fire at the left edge. Further, his skin is covered by blisters, an appropriate element for a painting likely originated as an ex-voto for the end of plague. His wife, dressed in Renaissance garments, is pouring dirty water above him, while a small devil flees in the far background.The right panel shows two standing musicians. The right one, with the drum, is perhaps a self-portrait. Their meaning has not been explained: they could be a further element of mockery against Job, or, instead, an attempt to console him through music.

18746_T

The Baptism of Christ (David)

Focus on The Baptism of Christ (David) and explore the abstract.

The Baptism of Christ or the Jan des Trompes Triptych is an altarpiece painted between 1502 and 1508 by the Flemish painter Gerard David. It is now in the Groeningemuseum in Bruges, Belgium.

18746_NT

The Baptism of Christ (David)

Focus on this artwork and explore the abstract.

The Baptism of Christ or the Jan des Trompes Triptych is an altarpiece painted between 1502 and 1508 by the Flemish painter Gerard David. It is now in the Groeningemuseum in Bruges, Belgium.

18747_T

The Baptism of Christ (David)

Focus on The Baptism of Christ (David) and explain the Description.

Its central panel is 127.9 cm high by 96.6 cm wide and shows Christ's baptism in the Jordan, with an angel holding Christ's clothing and God the Father and the Holy Spirit in the form of a dove above Christ. In the background is a landscape with scenes from the life of John the Baptist, whilst the foreground is filled with plants and flowers. The side panels are 132 cm high by 43.1 and 43.2 cm wide, and contain donor portraits. They show the donors and their children – on the left panel is Jan de Trompes, treasurer of Bruges, being presented by John the Evangelist, his name saint, whilst his second wife Elisabeth van der Meersch is shown being presented by her name saint, Elisabeth of Hungary. The landscape flows across all three panels.

18747_NT

The Baptism of Christ (David)

Focus on this artwork and explain the Description.

Its central panel is 127.9 cm high by 96.6 cm wide and shows Christ's baptism in the Jordan, with an angel holding Christ's clothing and God the Father and the Holy Spirit in the form of a dove above Christ. In the background is a landscape with scenes from the life of John the Baptist, whilst the foreground is filled with plants and flowers. The side panels are 132 cm high by 43.1 and 43.2 cm wide, and contain donor portraits. They show the donors and their children – on the left panel is Jan de Trompes, treasurer of Bruges, being presented by John the Evangelist, his name saint, whilst his second wife Elisabeth van der Meersch is shown being presented by her name saint, Elisabeth of Hungary. The landscape flows across all three panels.

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Statue of Irene Robledo

Explore the abstract of this artwork, Statue of Irene Robledo.

A statue of Irene Robledo is installed along the Rotonda de los Jaliscienses Ilustres in Centro, Guadalajara, in the Mexican state of Jalisco. Before its installation (and that of Rita Pérez Jiménez) the roundabout was named the "Rotonda de los Hombres Ilustres". Robledo's rests remain there. The statue was installed in 2000.

18748_NT

Statue of Irene Robledo

Explore the abstract of this artwork.

A statue of Irene Robledo is installed along the Rotonda de los Jaliscienses Ilustres in Centro, Guadalajara, in the Mexican state of Jalisco. Before its installation (and that of Rita Pérez Jiménez) the roundabout was named the "Rotonda de los Hombres Ilustres". Robledo's rests remain there. The statue was installed in 2000.

18749_T

Black Leaf on Green Background

Focus on Black Leaf on Green Background and discuss the abstract.

Black Leaf on Green Background (1952) is a collage by Henri Matisse. The medium is gouache and cut paper on paper. It is in the Menil Collection, Houston, Texas. During the early-to-mid-1940s Matisse was in poor health, and by 1950 he stopped painting in favor of his paper cutouts. Black Leaf on Green Background is an example of Matisse's final body of works known as the cutouts.

18749_NT

Black Leaf on Green Background

Focus on this artwork and discuss the abstract.

Black Leaf on Green Background (1952) is a collage by Henri Matisse. The medium is gouache and cut paper on paper. It is in the Menil Collection, Houston, Texas. During the early-to-mid-1940s Matisse was in poor health, and by 1950 he stopped painting in favor of his paper cutouts. Black Leaf on Green Background is an example of Matisse's final body of works known as the cutouts.

18750_T

The Greek Slave

How does The Greek Slave elucidate its abstract?

The Greek Slave is a marble sculpture by the American sculptor Hiram Powers. It was one of the best-known and critically acclaimed American artworks of the nineteenth century, and is among the most popular American sculptures ever. It was the first publicly exhibited, life-size, American sculpture depicting a fully nude female figure. Powers originally modeled the work in clay, in Florence, Italy, completing it on March 12, 1843. The first marble version (prime version) of the sculpture was completed by Powers' studio in 1844 and is now in Raby Castle, England.Five more full-sized versions of the statue in marble were mechanically reproduced for private patrons, based on Powers' original model, along with numerous smaller-scale versions. Copies of the statue were displayed in a number of venues around Great Britain and the United States; it quickly became one of Powers' most famous works, and held symbolic meaning for some American abolitionists, inspiring an outpouring of prose and poetry. The position of the figure is said to have been inspired by the Venus de' Medici in the Uffizi Gallery in Florence.

18750_NT

The Greek Slave

How does this artwork elucidate its abstract?

The Greek Slave is a marble sculpture by the American sculptor Hiram Powers. It was one of the best-known and critically acclaimed American artworks of the nineteenth century, and is among the most popular American sculptures ever. It was the first publicly exhibited, life-size, American sculpture depicting a fully nude female figure. Powers originally modeled the work in clay, in Florence, Italy, completing it on March 12, 1843. The first marble version (prime version) of the sculpture was completed by Powers' studio in 1844 and is now in Raby Castle, England.Five more full-sized versions of the statue in marble were mechanically reproduced for private patrons, based on Powers' original model, along with numerous smaller-scale versions. Copies of the statue were displayed in a number of venues around Great Britain and the United States; it quickly became one of Powers' most famous works, and held symbolic meaning for some American abolitionists, inspiring an outpouring of prose and poetry. The position of the figure is said to have been inspired by the Venus de' Medici in the Uffizi Gallery in Florence.