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18851_T

Grand Master Philippe Villiers de l'Isle Adam Taking Possession of Mdina

In Grand Master Philippe Villiers de l'Isle Adam Taking Possession of Mdina, how is the The possesso ceremony of 1530 discussed?

In 1530, the Maltese Islands were granted to the Knights Hospitaller by Emperor Charles V (who was also King of Sicily). Shortly after the Hospitallers' arrival on the islands, a ceremony took place in which Grand Master Philippe Villiers de L'Isle-Adam took possession (Italian: possesso) of the medieval capital city of Mdina. This took place on 13 November 1530, and it later became a tradition to organise similar ceremonies upon the election of each new Grand Master.There was some animosity between the Maltese nobility who were based at Mdina and the Hospitallers, since the latter's takeover of Malta decreased the former's power and influence considerably. The Università, which was a municipal council made up of the nobility of Mdina, organised the possesso ceremony in an attempt to develop better relations with the Hospitallers whilst also showing their own capabilities.The event included a procession which began at St Augustine's Friary in Rabat and ended at the cathedral of Mdina. The focal point of the ceremony was the granting of the keys of the city to the Grand Master. The Università's act of giving these keys as a gift to the Grand Master was meant to create an obligation for the latter to protect Mdina and the Maltese population. Through accepting the keys, the Grand Master acknowledged the nobility's authority and allegiance.The 1530 ceremony is known through primary sources such as records from the Università and secondary sources such as Giacomo Bosio's history of the Hospitallers written in 1589. The latter is a detailed account which was probably based on notes from earlier chroniclers, but it likely contains some pro-Hospitaller bias.

18851_NT

Grand Master Philippe Villiers de l'Isle Adam Taking Possession of Mdina

In this artwork, how is the The possesso ceremony of 1530 discussed?

In 1530, the Maltese Islands were granted to the Knights Hospitaller by Emperor Charles V (who was also King of Sicily). Shortly after the Hospitallers' arrival on the islands, a ceremony took place in which Grand Master Philippe Villiers de L'Isle-Adam took possession (Italian: possesso) of the medieval capital city of Mdina. This took place on 13 November 1530, and it later became a tradition to organise similar ceremonies upon the election of each new Grand Master.There was some animosity between the Maltese nobility who were based at Mdina and the Hospitallers, since the latter's takeover of Malta decreased the former's power and influence considerably. The Università, which was a municipal council made up of the nobility of Mdina, organised the possesso ceremony in an attempt to develop better relations with the Hospitallers whilst also showing their own capabilities.The event included a procession which began at St Augustine's Friary in Rabat and ended at the cathedral of Mdina. The focal point of the ceremony was the granting of the keys of the city to the Grand Master. The Università's act of giving these keys as a gift to the Grand Master was meant to create an obligation for the latter to protect Mdina and the Maltese population. Through accepting the keys, the Grand Master acknowledged the nobility's authority and allegiance.The 1530 ceremony is known through primary sources such as records from the Università and secondary sources such as Giacomo Bosio's history of the Hospitallers written in 1589. The latter is a detailed account which was probably based on notes from earlier chroniclers, but it likely contains some pro-Hospitaller bias.

18852_T

Grand Master Philippe Villiers de l'Isle Adam Taking Possession of Mdina

Focus on Grand Master Philippe Villiers de l'Isle Adam Taking Possession of Mdina and explore the History.

The work was painted by Antoine de Favray sometime between 1744 and 1762, probably around 1750. Commissioned by the Hospitallers during the magistracy of Manuel Pinto da Fonseca, the painting is one of a number of works by Favray which illustrate episodes from the Order's history.Today the painting is located within the Ambassadors' Room of the Grandmaster's Palace in Valletta.

18852_NT

Grand Master Philippe Villiers de l'Isle Adam Taking Possession of Mdina

Focus on this artwork and explore the History.

The work was painted by Antoine de Favray sometime between 1744 and 1762, probably around 1750. Commissioned by the Hospitallers during the magistracy of Manuel Pinto da Fonseca, the painting is one of a number of works by Favray which illustrate episodes from the Order's history.Today the painting is located within the Ambassadors' Room of the Grandmaster's Palace in Valletta.

18853_T

Grand Master Philippe Villiers de l'Isle Adam Taking Possession of Mdina

Focus on Grand Master Philippe Villiers de l'Isle Adam Taking Possession of Mdina and explain the Legacy.

In 1938 and 1943, the painting was depicted on 2½d Malta stamps along with a portrait of the then-reigning British monarch George VI. In 1948 and 1953, the stamp design was reissued with Self-Government overprints and it remained in regular use until the mid-1950s. The painting was depicted on another Malta postage stamp in 1999.

18853_NT

Grand Master Philippe Villiers de l'Isle Adam Taking Possession of Mdina

Focus on this artwork and explain the Legacy.

In 1938 and 1943, the painting was depicted on 2½d Malta stamps along with a portrait of the then-reigning British monarch George VI. In 1948 and 1953, the stamp design was reissued with Self-Government overprints and it remained in regular use until the mid-1950s. The painting was depicted on another Malta postage stamp in 1999.

18854_T

Holy Family (Lorenzo Costa)

Explore the abstract of this artwork, Holy Family (Lorenzo Costa).

Holy Family or Nativity is an oil on panel painting created by Lorenzo Costa, Italian painter of the Renaissance, around 1490. It was acquired by the Museum of Fine Arts of Lyon in 1892.

18854_NT

Holy Family (Lorenzo Costa)

Explore the abstract of this artwork.

Holy Family or Nativity is an oil on panel painting created by Lorenzo Costa, Italian painter of the Renaissance, around 1490. It was acquired by the Museum of Fine Arts of Lyon in 1892.

18855_T

Chafariz da Colher

Focus on Chafariz da Colher and discuss the abstract.

The Fountain of Colher (Portuguese: Fonte da Colher), is a fountain in the civil parish of Miragaia, in the municipality of Porto, under the level of the Rua Nova da Alfândega.

18855_NT

Chafariz da Colher

Focus on this artwork and discuss the abstract.

The Fountain of Colher (Portuguese: Fonte da Colher), is a fountain in the civil parish of Miragaia, in the municipality of Porto, under the level of the Rua Nova da Alfândega.

18856_T

Chafariz da Colher

How does Chafariz da Colher elucidate its History?

Although it had an inscription from 1629, it is likely the construction dates earlier, because in the District Archive of Porto, a registry document in Sé (Livro LXXIX das Sentenças, 1491, p. 151) referred to a conditional contract for 300 réis, imposed on all homes in Miragaia.The name of the fountain came from the imposed collection of payment for the waters. Colher is Portuguese for spoon, which was the measure of payment for all goods sold in Porto (bread, flour, walnuts, etc.), which arrived by land or river. The products that arrived by land were paid as tribute at the gate of the Sé to the bishop. Those that arrived by river and normally sold at the fair near the Miragaia shipyards were paid at the fountain. The merchants, for each alqueire of product, was required to pay on colher (spoon) of tribute.The waters of the fountain was considered one of the better quality sources. It is believed that the fountain was one of the oldest, still functioning, structures in the city of Porto. The municipal council tried to appropriate the water from this fountain, ordering the inscription in granite: "A água desta Fonte é somente da Sidade" (The water of this fountain is solely of the city).With the opening-up of the Rua Nova da Alfândega around 1871, the fountain began to exist under the level of the road, and almost lost in a corner of the buildings. This was done to facilitate the access to building and new customhouse in Porto. In 1940, there were efforts by the municipality of Porto to restore and recuperate the fountain.

18856_NT

Chafariz da Colher

How does this artwork elucidate its History?

Although it had an inscription from 1629, it is likely the construction dates earlier, because in the District Archive of Porto, a registry document in Sé (Livro LXXIX das Sentenças, 1491, p. 151) referred to a conditional contract for 300 réis, imposed on all homes in Miragaia.The name of the fountain came from the imposed collection of payment for the waters. Colher is Portuguese for spoon, which was the measure of payment for all goods sold in Porto (bread, flour, walnuts, etc.), which arrived by land or river. The products that arrived by land were paid as tribute at the gate of the Sé to the bishop. Those that arrived by river and normally sold at the fair near the Miragaia shipyards were paid at the fountain. The merchants, for each alqueire of product, was required to pay on colher (spoon) of tribute.The waters of the fountain was considered one of the better quality sources. It is believed that the fountain was one of the oldest, still functioning, structures in the city of Porto. The municipal council tried to appropriate the water from this fountain, ordering the inscription in granite: "A água desta Fonte é somente da Sidade" (The water of this fountain is solely of the city).With the opening-up of the Rua Nova da Alfândega around 1871, the fountain began to exist under the level of the road, and almost lost in a corner of the buildings. This was done to facilitate the access to building and new customhouse in Porto. In 1940, there were efforts by the municipality of Porto to restore and recuperate the fountain.

18857_T

Chafariz da Colher

Focus on Chafariz da Colher and analyze the Architecture.

The fountain abuts the main floor of a residence, underneath a verandah, which also doubled as covering/awning. It is alongside the western wall of the Largo da Alfândega and oriented towards the support wall of the Rua Nova da Alfândega.On either side of the fountain are two ribbed pilasters that extend into the corbels of the veranda. Between these pilasters are five granite slabs, with the iron waterspout located in the second slab. Another exit point is along the pavement in granite, which takes the form of a small semi-circular pillar. The pavement of the fountain, in granite, is relative to the Rua de Miragaia, three steps above the fountain.Between the corbels, and below the veranda, is an inscription slab, with the words "Loubado seja o Santíssimo Sacramento e a Puríssima Conceição da Virgem Nossa Senhora, concebida sem pecado original - 1629" (Exalted is the Holy Sacrament and Pure Conception of the Our Virgin Lady, conceived without original sin (1629)).

18857_NT

Chafariz da Colher

Focus on this artwork and analyze the Architecture.

The fountain abuts the main floor of a residence, underneath a verandah, which also doubled as covering/awning. It is alongside the western wall of the Largo da Alfândega and oriented towards the support wall of the Rua Nova da Alfândega.On either side of the fountain are two ribbed pilasters that extend into the corbels of the veranda. Between these pilasters are five granite slabs, with the iron waterspout located in the second slab. Another exit point is along the pavement in granite, which takes the form of a small semi-circular pillar. The pavement of the fountain, in granite, is relative to the Rua de Miragaia, three steps above the fountain.Between the corbels, and below the veranda, is an inscription slab, with the words "Loubado seja o Santíssimo Sacramento e a Puríssima Conceição da Virgem Nossa Senhora, concebida sem pecado original - 1629" (Exalted is the Holy Sacrament and Pure Conception of the Our Virgin Lady, conceived without original sin (1629)).

18858_T

Henry Ward Beecher Monument

In Henry Ward Beecher Monument, how is the abstract discussed?

The Henry Ward Beecher Monument, a statue of Henry Ward Beecher created by the sculptor John Quincy Adams Ward, was unveiled on June 24, 1891, in Borough Hall Park, Brooklyn and was later relocated to Cadman Plaza, Brooklyn in 1959.

18858_NT

Henry Ward Beecher Monument

In this artwork, how is the abstract discussed?

The Henry Ward Beecher Monument, a statue of Henry Ward Beecher created by the sculptor John Quincy Adams Ward, was unveiled on June 24, 1891, in Borough Hall Park, Brooklyn and was later relocated to Cadman Plaza, Brooklyn in 1959.

18859_T

Henry Ward Beecher Monument

Focus on Henry Ward Beecher Monument and explore the Description.

The monument features a bronze figural group by John Quincy Adams Ward and Barre granite base designed by architect Richard Morris Hunt. The statues depict Beecher, in subordinate positions are a Black female figure, to the left of the base, and, rightward, two Caucasian children (a boy and girl). The monument was cast on May 10, 1890, and dedicated on June 24, 1891. It was conserved via the Adopt-a-Monument Program in 1987.

18859_NT

Henry Ward Beecher Monument

Focus on this artwork and explore the Description.

The monument features a bronze figural group by John Quincy Adams Ward and Barre granite base designed by architect Richard Morris Hunt. The statues depict Beecher, in subordinate positions are a Black female figure, to the left of the base, and, rightward, two Caucasian children (a boy and girl). The monument was cast on May 10, 1890, and dedicated on June 24, 1891. It was conserved via the Adopt-a-Monument Program in 1987.

18860_T

Venus and Cupid (Lotto)

Focus on Venus and Cupid (Lotto) and explain the abstract.

Venus and Cupid is an oil-on-canvas painting by the Italian Renaissance artist Lorenzo Lotto in the collection of the Metropolitan Museum of Art. It has been dated to several periods, including the late 1530s and the early 1540s, but was probably created in the 1520s.It is a wedding gift for a couple of Bergamo or Venice. Such paintings were inspired by the classical tradition of wedding poetry.

18860_NT

Venus and Cupid (Lotto)

Focus on this artwork and explain the abstract.

Venus and Cupid is an oil-on-canvas painting by the Italian Renaissance artist Lorenzo Lotto in the collection of the Metropolitan Museum of Art. It has been dated to several periods, including the late 1530s and the early 1540s, but was probably created in the 1520s.It is a wedding gift for a couple of Bergamo or Venice. Such paintings were inspired by the classical tradition of wedding poetry.

18861_T

Venus and Cupid (Lotto)

Explore the Description of this artwork, Venus and Cupid (Lotto).

Venus, lying on the ground and leaning on an elbow on a blue cloth, is accompanied by her son Cupid standing with his bow and quiver. He urinates on the bride through a crown of laurels of myrtle which she holds by a ribbon and below which is suspended a burning incense burner. This urine stream is a symbolic act, the meaning of which is to bring fertility, and which would have seemed humorous to contemporary viewers.A red cloth tied to a tree provides a background, and ivy climbs on the tree. Around Venus and Cupid are scattered allegorical objects of marriage (garland of myrtle), femininity (rose, seashell, rose petals), eternal love (ivy). The headdress of Venus, with the tiara, the veil and the earring, is typical of the Venetian brides of the sixteenth century. The pendant earring with a pearl is a symbol of purity. The gesture of Cupid urinating through the crown onto the belly of Venus is an allusion to fertility. The figure of a prepubescent boy in the act of urinating is a classical art motif known as a puer mingens, which was revived during the Renaissance.The painting is Lotto's typically individual contribution to the emerging Venetian tradition of the recling nude, begun by the Dresden Venus by Giorgione and Titian. The goddess shows no discomfort with her nakedness and looks at the spectator in the eye. In front of her are a stick and a snake. The goddess seems to bless the marrying couple, wishing them fertility, and preserving them from hidden dangers like the serpent.

18861_NT

Venus and Cupid (Lotto)

Explore the Description of this artwork.

Venus, lying on the ground and leaning on an elbow on a blue cloth, is accompanied by her son Cupid standing with his bow and quiver. He urinates on the bride through a crown of laurels of myrtle which she holds by a ribbon and below which is suspended a burning incense burner. This urine stream is a symbolic act, the meaning of which is to bring fertility, and which would have seemed humorous to contemporary viewers.A red cloth tied to a tree provides a background, and ivy climbs on the tree. Around Venus and Cupid are scattered allegorical objects of marriage (garland of myrtle), femininity (rose, seashell, rose petals), eternal love (ivy). The headdress of Venus, with the tiara, the veil and the earring, is typical of the Venetian brides of the sixteenth century. The pendant earring with a pearl is a symbol of purity. The gesture of Cupid urinating through the crown onto the belly of Venus is an allusion to fertility. The figure of a prepubescent boy in the act of urinating is a classical art motif known as a puer mingens, which was revived during the Renaissance.The painting is Lotto's typically individual contribution to the emerging Venetian tradition of the recling nude, begun by the Dresden Venus by Giorgione and Titian. The goddess shows no discomfort with her nakedness and looks at the spectator in the eye. In front of her are a stick and a snake. The goddess seems to bless the marrying couple, wishing them fertility, and preserving them from hidden dangers like the serpent.

18862_T

Venus and Cupid (Lotto)

Focus on Venus and Cupid (Lotto) and discuss the History.

This painting is not recorded until an image of it was published in the Directory of paintings of the Middle Ages and the Renaissance by Salomon Reinach in 1918, as being with a French dealer in 1912. In 1986 it was acquired by the Metropolitan Museum of Art. Before the purchase, the painting was cleaned at the Metropolitan, notably to remove an old overpainting that extended the headdress of Venus to drape onto her right thigh.

18862_NT

Venus and Cupid (Lotto)

Focus on this artwork and discuss the History.

This painting is not recorded until an image of it was published in the Directory of paintings of the Middle Ages and the Renaissance by Salomon Reinach in 1918, as being with a French dealer in 1912. In 1986 it was acquired by the Metropolitan Museum of Art. Before the purchase, the painting was cleaned at the Metropolitan, notably to remove an old overpainting that extended the headdress of Venus to drape onto her right thigh.

18863_T

St Euphemia (Mantegna)

How does St Euphemia (Mantegna) elucidate its abstract?

St Euphemia is a glue on tempera painting of Euphemia by Andrea Mantegna, now in the Museo nazionale di Capodimonte in Naples. It is signed and dated 1454 on a small cartouche at the bottom, inscribed "OPVS ANDREAE MANTEGNAE / MCCCCLIIII".

18863_NT

St Euphemia (Mantegna)

How does this artwork elucidate its abstract?

St Euphemia is a glue on tempera painting of Euphemia by Andrea Mantegna, now in the Museo nazionale di Capodimonte in Naples. It is signed and dated 1454 on a small cartouche at the bottom, inscribed "OPVS ANDREAE MANTEGNAE / MCCCCLIIII".

18864_T

Saint Sebastian Tended by Saint Irene (Hendrick ter Brugghen)

Focus on Saint Sebastian Tended by Saint Irene (Hendrick ter Brugghen) and analyze the abstract.

Saint Sebastian Tended by Irene is an oil-on-canvas painting by Hendrick ter Brugghen dated to 1625. Now in the Allen Memorial Art Museum of Oberlin, Ohio, the piece depicts the Roman Catholic subject of Saint Sebastian Tended by Saint Irene, after Irene of Rome and her maid rescued him following his attempted martyrdom by the Roman authorities. An exemplary piece of the Italianate Baroque tendency in Dutch Golden Age painting, the painting employs dramatic uses of light and skillful chiaroscuro to depict its religious subject, evidence of influence from Caravaggio and Ter Brugghen's fellow Utrecht Caravaggisti. It was described by Seymour Slive as Ter Brugghen's "masterpiece": "the large, full, forms of the group have been knit together into a magnificent design, and what could have been hard and sculptural is remarkably softened by the soft, silvery light which plays over Sebastian's half-dead, olive-grey body as well as the reds, creamy whites, and plum colours worn by the women who tend the saint".

18864_NT

Saint Sebastian Tended by Saint Irene (Hendrick ter Brugghen)

Focus on this artwork and analyze the abstract.

Saint Sebastian Tended by Irene is an oil-on-canvas painting by Hendrick ter Brugghen dated to 1625. Now in the Allen Memorial Art Museum of Oberlin, Ohio, the piece depicts the Roman Catholic subject of Saint Sebastian Tended by Saint Irene, after Irene of Rome and her maid rescued him following his attempted martyrdom by the Roman authorities. An exemplary piece of the Italianate Baroque tendency in Dutch Golden Age painting, the painting employs dramatic uses of light and skillful chiaroscuro to depict its religious subject, evidence of influence from Caravaggio and Ter Brugghen's fellow Utrecht Caravaggisti. It was described by Seymour Slive as Ter Brugghen's "masterpiece": "the large, full, forms of the group have been knit together into a magnificent design, and what could have been hard and sculptural is remarkably softened by the soft, silvery light which plays over Sebastian's half-dead, olive-grey body as well as the reds, creamy whites, and plum colours worn by the women who tend the saint".

18865_T

Saint Sebastian Tended by Saint Irene (Hendrick ter Brugghen)

In Saint Sebastian Tended by Saint Irene (Hendrick ter Brugghen), how is the Subject discussed?

This painting depicts Sebastian, slumped in pain as he is tended to by Saint Irene and her maid. According to the traditional story, the Emperor Diocletian, in the Diocletianic Persecution, has the soldier Sebastian shot by archers as punishment for his treason. Looking for his body to bury, Irene found Saint Sebastian tied to a tree and miraculously alive, then nursed him back to health. Rather than painting the scene of Sebastian being shot with arrows, in the midst of his attempted execution, Ter Brugghen chooses to show the moments afterwards where Irene and her maid untie him from the tree. Some attribute this narrative shift to the emergence of the plague within Utrecht in the 1620s: several artists desiring a subject saved from agony, turn to painting the rescue of the Catholicism's personification of suffering. Ter Brugghen depicts Sebastian with a sickly green pallor, his limp body lying in suffering and resembling much of the diseased or dead one would encounter in Utrecht at the time.

18865_NT

Saint Sebastian Tended by Saint Irene (Hendrick ter Brugghen)

In this artwork, how is the Subject discussed?

This painting depicts Sebastian, slumped in pain as he is tended to by Saint Irene and her maid. According to the traditional story, the Emperor Diocletian, in the Diocletianic Persecution, has the soldier Sebastian shot by archers as punishment for his treason. Looking for his body to bury, Irene found Saint Sebastian tied to a tree and miraculously alive, then nursed him back to health. Rather than painting the scene of Sebastian being shot with arrows, in the midst of his attempted execution, Ter Brugghen chooses to show the moments afterwards where Irene and her maid untie him from the tree. Some attribute this narrative shift to the emergence of the plague within Utrecht in the 1620s: several artists desiring a subject saved from agony, turn to painting the rescue of the Catholicism's personification of suffering. Ter Brugghen depicts Sebastian with a sickly green pallor, his limp body lying in suffering and resembling much of the diseased or dead one would encounter in Utrecht at the time.

18866_T

Saint Sebastian Tended by Saint Irene (Hendrick ter Brugghen)

In the context of Saint Sebastian Tended by Saint Irene (Hendrick ter Brugghen), explain the Composition of the Formal elements.

A diagonal line spans the length of the canvas from the top left corner to the bottom right. It stretches down Saint Sebastian's tense arm, across his body and down to his feet, an arrow protruding from the center of his chest continuing the form. Sebastian's lifeless right hand in the air forms a triangular shape at one end of the line with the hands of Irene's maid, at balance with Sebastian's feet and left hand that touches the ground in the opposite corner. At the apex is Irene and Sebastian's faces in the foreground, turned away from each other with their positions juxtaposed, highlighting their symbolic relationship and them as the painting's prime focus. Irene's upturned face toward the source of light, graced with a gentle smile, furnishes her with a sense of hope and rescue. It stands in contrast to Sebastian's head, stricken with anguish as his expression is cast in shadow. The heads of the figures create a "pyramidal form," echoing the arrangement of trios prominent in the piece.

18866_NT

Saint Sebastian Tended by Saint Irene (Hendrick ter Brugghen)

In the context of this artwork, explain the Composition of the Formal elements.

A diagonal line spans the length of the canvas from the top left corner to the bottom right. It stretches down Saint Sebastian's tense arm, across his body and down to his feet, an arrow protruding from the center of his chest continuing the form. Sebastian's lifeless right hand in the air forms a triangular shape at one end of the line with the hands of Irene's maid, at balance with Sebastian's feet and left hand that touches the ground in the opposite corner. At the apex is Irene and Sebastian's faces in the foreground, turned away from each other with their positions juxtaposed, highlighting their symbolic relationship and them as the painting's prime focus. Irene's upturned face toward the source of light, graced with a gentle smile, furnishes her with a sense of hope and rescue. It stands in contrast to Sebastian's head, stricken with anguish as his expression is cast in shadow. The heads of the figures create a "pyramidal form," echoing the arrangement of trios prominent in the piece.

18867_T

Saint Sebastian Tended by Saint Irene (Hendrick ter Brugghen)

Explore the Iconography about the Formal elements of this artwork, Saint Sebastian Tended by Saint Irene (Hendrick ter Brugghen).

Irene's curved form faces away from the lone tree in the background, distantly resembling a crucifixion, counterbalancing Sebastian's arching back and posterior. The opposition of these figures is also highlighted by an arrow that protrudes from his leg. Sebastian rests upon the most vivid object in the piece: a bright red fabric adorned in gold, often used symbolically by Caravaggisti like Ter Brugghen to symbolize the Blood of Christ and martyrdom. The tree in the background contrasts the thick tree of the group, its slender and seemingly flimsy form highlighting the tragic ambiance. The consistent use of groups of three, whether it be the three heads in a formation, the trio of the maid's hands and Sebastian's hand, the leaves of the distant forlorn tree in the background or simply the subject of three biblical figures is symbolic of the Holy Trinity.Ter Brugghen subtly imbues the association of the figures in this piece through both disparity and similarity of their hands. Sebastian's left hand, free of bondage, lies limp and obscured from view, symbolic of his unattainable relief from pain and lack of freedom. Irene's left hand rests on his chest, above his heart and provides support in a benevolent embrace, forming their relationship in the composition as one who tends to the other in suffering. The triangular form in the top left corner represents the connection between the maid and Sebastian; as Stechow describes it, "…the lifeless flesh of Sebastian's right hand yields to the pressure of the rope while the left hand of Irene's servant reacts to the same pressure with lively resilience." The servant's right hand is pulling on the tight ropes on Sebastian's wrist, attempting to undo them. She touches her forefinger and thumb together, the same gesture Irene uses with her right hand to pull an arrow from Sebastian's lower torso. Together, these two women parallel each other in hand gesture and action, both trying to remove a source of Sebastian's pain.

18867_NT

Saint Sebastian Tended by Saint Irene (Hendrick ter Brugghen)

Explore the Iconography about the Formal elements of this artwork.

Irene's curved form faces away from the lone tree in the background, distantly resembling a crucifixion, counterbalancing Sebastian's arching back and posterior. The opposition of these figures is also highlighted by an arrow that protrudes from his leg. Sebastian rests upon the most vivid object in the piece: a bright red fabric adorned in gold, often used symbolically by Caravaggisti like Ter Brugghen to symbolize the Blood of Christ and martyrdom. The tree in the background contrasts the thick tree of the group, its slender and seemingly flimsy form highlighting the tragic ambiance. The consistent use of groups of three, whether it be the three heads in a formation, the trio of the maid's hands and Sebastian's hand, the leaves of the distant forlorn tree in the background or simply the subject of three biblical figures is symbolic of the Holy Trinity.Ter Brugghen subtly imbues the association of the figures in this piece through both disparity and similarity of their hands. Sebastian's left hand, free of bondage, lies limp and obscured from view, symbolic of his unattainable relief from pain and lack of freedom. Irene's left hand rests on his chest, above his heart and provides support in a benevolent embrace, forming their relationship in the composition as one who tends to the other in suffering. The triangular form in the top left corner represents the connection between the maid and Sebastian; as Stechow describes it, "…the lifeless flesh of Sebastian's right hand yields to the pressure of the rope while the left hand of Irene's servant reacts to the same pressure with lively resilience." The servant's right hand is pulling on the tight ropes on Sebastian's wrist, attempting to undo them. She touches her forefinger and thumb together, the same gesture Irene uses with her right hand to pull an arrow from Sebastian's lower torso. Together, these two women parallel each other in hand gesture and action, both trying to remove a source of Sebastian's pain.

18868_T

Saint Sebastian Tended by Saint Irene (Hendrick ter Brugghen)

Focus on Saint Sebastian Tended by Saint Irene (Hendrick ter Brugghen) and discuss the Interpretation.

Had this painting been truly intended for an institution dedicated to healing the sick and afflicted with plague or hidden church, it is interesting to see how Ter Brugghen constructs this composition for its audience. Dramatic lighting cast from the upper left corner of the painting and subtle use of iconography such as the tree in the background, symbolic of a crucifixion, delicately suggests the presence of God, perhaps observing the rescue from above. Further stylistic choices made by Ter Brugghen—such as the juxtaposition of the maid's hands and Sebastian's or the pallor of Sebastian's skin compared to the lively tones of the maid's—introduce themes of hope, strength and endurance in the face of despair, as well as alleviation to the afflicted whether in the form of recovery or entrance into heaven. Combining these themes in such a way that is exhibited in Ter Brugghen's Saint Sebastian Tended by Saint Irene subtlety demonstrates clear consideration for its original intended destination: the plague afflicted, facing their impending mortality. Victims seeking relief and comfort would look upon Ter Brugghen's painting, finding likeness in Sebastian's sickly pallor as he is alleviated from affliction and perhaps encounter respite or be invoked to religious worship.

18868_NT

Saint Sebastian Tended by Saint Irene (Hendrick ter Brugghen)

Focus on this artwork and discuss the Interpretation.

Had this painting been truly intended for an institution dedicated to healing the sick and afflicted with plague or hidden church, it is interesting to see how Ter Brugghen constructs this composition for its audience. Dramatic lighting cast from the upper left corner of the painting and subtle use of iconography such as the tree in the background, symbolic of a crucifixion, delicately suggests the presence of God, perhaps observing the rescue from above. Further stylistic choices made by Ter Brugghen—such as the juxtaposition of the maid's hands and Sebastian's or the pallor of Sebastian's skin compared to the lively tones of the maid's—introduce themes of hope, strength and endurance in the face of despair, as well as alleviation to the afflicted whether in the form of recovery or entrance into heaven. Combining these themes in such a way that is exhibited in Ter Brugghen's Saint Sebastian Tended by Saint Irene subtlety demonstrates clear consideration for its original intended destination: the plague afflicted, facing their impending mortality. Victims seeking relief and comfort would look upon Ter Brugghen's painting, finding likeness in Sebastian's sickly pallor as he is alleviated from affliction and perhaps encounter respite or be invoked to religious worship.

18869_T

Saint Sebastian Tended by Saint Irene (Hendrick ter Brugghen)

How does Saint Sebastian Tended by Saint Irene (Hendrick ter Brugghen) elucidate its Comparisons?

Painted the same year, Ter Brugghen's Crucifixion with the Virgin and St. John is accepted to be very similar in stylistic features and perhaps intended for the same destination as Saint Sebastian Tended by Irene. The archaic style of the Christ on the crucifix recalls old Netherland styles but remains in contrast to the more contemporary Mary and John, creating a piece where "Ter Brugghen rejects the ahistorical for the meta-historical." A stronger connection is also made between the two paintings based on the similarities between the Crucifixion's Saint John and Sebastian in Saint Sebastian, believed to be the same model.Dirck van Baburen, another Utrecht Caravaggisti who once shared a studio with Ter Brugghen, painted his own rendition of Saint Irene tending to the shot Sebastian a decade earlier. The two paintings share a striking similarity of Sebastian slumping down to the right corner of the canvas, mouth agape as his face is downcast, held right above the breast. Most likely, this painting had the most influence on Ter Brugghen envisioning the biblical scene.

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Saint Sebastian Tended by Saint Irene (Hendrick ter Brugghen)

How does this artwork elucidate its Comparisons?

Painted the same year, Ter Brugghen's Crucifixion with the Virgin and St. John is accepted to be very similar in stylistic features and perhaps intended for the same destination as Saint Sebastian Tended by Irene. The archaic style of the Christ on the crucifix recalls old Netherland styles but remains in contrast to the more contemporary Mary and John, creating a piece where "Ter Brugghen rejects the ahistorical for the meta-historical." A stronger connection is also made between the two paintings based on the similarities between the Crucifixion's Saint John and Sebastian in Saint Sebastian, believed to be the same model.Dirck van Baburen, another Utrecht Caravaggisti who once shared a studio with Ter Brugghen, painted his own rendition of Saint Irene tending to the shot Sebastian a decade earlier. The two paintings share a striking similarity of Sebastian slumping down to the right corner of the canvas, mouth agape as his face is downcast, held right above the breast. Most likely, this painting had the most influence on Ter Brugghen envisioning the biblical scene.

18870_T

St Mark (Hals)

Focus on St Mark (Hals) and analyze the abstract.

St. Mark is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted in 1625. It was purchased by Russian philanthropist Alisher Usmanov from the art dealer Colnaghi, London in September 2013 for the Pushkin Museum and donated by him to that museum in November that year, where it still hangs.

18870_NT

St Mark (Hals)

Focus on this artwork and analyze the abstract.

St. Mark is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted in 1625. It was purchased by Russian philanthropist Alisher Usmanov from the art dealer Colnaghi, London in September 2013 for the Pushkin Museum and donated by him to that museum in November that year, where it still hangs.

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St Mark (Hals)

In St Mark (Hals), how is the Description discussed?

The painting depicts St. Mark in traditional iconography as a gray-haired old man in a rough cloak, leaning on a pile of books of the biography of Christ written by him. At his elbow shows the head of a lion – an indispensable attribute of Mark. The waist section of the figure and the small size of the canvas (68.5 x 52.5 cm) indicate its chamber purpose. The space of the room is barely marked, which focuses the viewer's attention on the subject's face and hands, which are sharply characterized. The painting is made with oil on canvas in warm colors, with a predominance of brown, which corresponds to the color scheme of the Golden Age of Dutch art.

18871_NT

St Mark (Hals)

In this artwork, how is the Description discussed?

The painting depicts St. Mark in traditional iconography as a gray-haired old man in a rough cloak, leaning on a pile of books of the biography of Christ written by him. At his elbow shows the head of a lion – an indispensable attribute of Mark. The waist section of the figure and the small size of the canvas (68.5 x 52.5 cm) indicate its chamber purpose. The space of the room is barely marked, which focuses the viewer's attention on the subject's face and hands, which are sharply characterized. The painting is made with oil on canvas in warm colors, with a predominance of brown, which corresponds to the color scheme of the Golden Age of Dutch art.

18872_T

St Mark (Hals)

Focus on St Mark (Hals) and explore the The Four Evangelists of Frans Hals.

Initially, the picture was part of a series of paintings of the four Evangelists: Luke, Matthew, Mark and John. The art historians Seymour Slive and Klaus Grimm agree the series dates to the mid-1620s.Nothing is known about the commissioner of the paintings and the circumstances of their creation. Perhaps the paintings were made for the Catholic or Lutheran church, although the small size and intimate nature of the painting suggests that they were made for a small private chapel, or perhaps for the hidden Catholic church (schuilkerk) in Haarlem, or even for a private house. Catholic services were allowed in Haarlem in April 1581, but home chapels were before. It is also possible that the customer was a Protestant, or the artist painted them for himself, as Hendrick ter Brugghen did with a similar cycle, or Rembrandt with the apostles. Klaus Grimm and Seymour Slive agree that the order was most likely private, rather than secular. Until the 18th century, the canvases were in Holland.The four evangelists by Hals were documented in 1910 by Hofstede de Groot, who wrote "The Four Evangelists. - Four separate pictures, each of them a half-length, showing the hands and attributes of the saint. Canvas, each 27 1/2 inches by 22 inches. Sales. - Gerard Hoet, The Hague, August 25, 1760 (Terw. 231), No. 134 (120 florins, Yver). The Hague, April 13, 1771, Z. No. 35. F.W. Baron van Borck, Amsterdam, May 1, 1771, No. 34 (33 florins, Yver)." At the time he was writing, these paintings were considered lost:

18872_NT

St Mark (Hals)

Focus on this artwork and explore the The Four Evangelists of Frans Hals.

Initially, the picture was part of a series of paintings of the four Evangelists: Luke, Matthew, Mark and John. The art historians Seymour Slive and Klaus Grimm agree the series dates to the mid-1620s.Nothing is known about the commissioner of the paintings and the circumstances of their creation. Perhaps the paintings were made for the Catholic or Lutheran church, although the small size and intimate nature of the painting suggests that they were made for a small private chapel, or perhaps for the hidden Catholic church (schuilkerk) in Haarlem, or even for a private house. Catholic services were allowed in Haarlem in April 1581, but home chapels were before. It is also possible that the customer was a Protestant, or the artist painted them for himself, as Hendrick ter Brugghen did with a similar cycle, or Rembrandt with the apostles. Klaus Grimm and Seymour Slive agree that the order was most likely private, rather than secular. Until the 18th century, the canvases were in Holland.The four evangelists by Hals were documented in 1910 by Hofstede de Groot, who wrote "The Four Evangelists. - Four separate pictures, each of them a half-length, showing the hands and attributes of the saint. Canvas, each 27 1/2 inches by 22 inches. Sales. - Gerard Hoet, The Hague, August 25, 1760 (Terw. 231), No. 134 (120 florins, Yver). The Hague, April 13, 1771, Z. No. 35. F.W. Baron van Borck, Amsterdam, May 1, 1771, No. 34 (33 florins, Yver)." At the time he was writing, these paintings were considered lost:

18873_T

Tsuchida Bakusen

Focus on Tsuchida Bakusen and explain the abstract.

Tsuchida Bakusen (土田麦僊, February 9, 1887 – June 10, 1936) was the art-name of a Japanese painter in the Nihonga style, active during the Taishō and early Shōwa eras. His birth name was Tsuchida Kinji (土田金二).

18873_NT

Tsuchida Bakusen

Focus on this artwork and explain the abstract.

Tsuchida Bakusen (土田麦僊, February 9, 1887 – June 10, 1936) was the art-name of a Japanese painter in the Nihonga style, active during the Taishō and early Shōwa eras. His birth name was Tsuchida Kinji (土田金二).

18874_T

Tsuchida Bakusen

Explore the Biography of this artwork, Tsuchida Bakusen.

He was born on Sado island in Niigata Prefecture into a wealthy and influential family. His younger brother was the noted philosopher Tsuchida Kyōson (1891-1934). As an adolescent, Bakusen's father put him on the career path of a Buddhist priest, but he fled the temple where he was apprenticed in order to study art instead. He was accepted as a student by painter Takeuchi Seihō, and later studied at the Kyoto Kaiga Senmon Gakko (present day Kyoto City University of Arts) from which he graduated in 1911. In 1918, Bakusen established a painting collective together with Murakami Kagaku, Ono Chikkyō, Sakakibara Shihō, and Nonagase Banka called the Kokuga Society (Kokuga Sōsaku Kyōkai, or "Society for the Creation of National Painting"), which was used as a vehicle to disseminate the group's eclectic style combining western yōga and Japanese (Nihonga) painting techniques and styles. His favorite subjects were women (bijinga), especially portraits of maiko, but he also painted flowers and still life themes. The Kokuga Society established its own annual exhibition, the Kokuten (abbreviation for "Kokuga Sōsaku Kyōkai Tenrankai") in competition with the increasingly restrictive Bunten Exhibitions in 1918. Seven Kokuten exhibitions were held between 1918 and 1928. In 1921, the Kokuga Society went on hiatus when Bakusen traveled to Europe with Ono Chikkyō to tour Western art museums. They returned after a little more than a year, and resumed the Kokuga Society in 1923. Bakusen was particularly fond of French Impressionism and post-impressionism, especially the works of Paul Gauguin, Vincent van Gogh and Paul Cézanne, and collected several of their works while in Europe. The Kokuga Society broke up in 1928, due to financial difficulties and internal disagreements. In 1934, Bakusen was appointed to the Teikoku Bijutsuin (Imperial Art Academy). He died in June 1936 of pancreatic cancer. His grave is at the temple of Chishaku-in in Kyoto. One of his works from 1918, Bathhouse Maiden (湯女図, Yunazu), now at the Tokyo National Museum of Modern Art is registered as an Important Cultural Property (ICP) by the Agency for Cultural Affairs. However, his painting Maiko in Garden (舞妓林泉, Bugi rinsen) from 1923, owned by the same museum, is considered his masterpiece.

18874_NT

Tsuchida Bakusen

Explore the Biography of this artwork.

He was born on Sado island in Niigata Prefecture into a wealthy and influential family. His younger brother was the noted philosopher Tsuchida Kyōson (1891-1934). As an adolescent, Bakusen's father put him on the career path of a Buddhist priest, but he fled the temple where he was apprenticed in order to study art instead. He was accepted as a student by painter Takeuchi Seihō, and later studied at the Kyoto Kaiga Senmon Gakko (present day Kyoto City University of Arts) from which he graduated in 1911. In 1918, Bakusen established a painting collective together with Murakami Kagaku, Ono Chikkyō, Sakakibara Shihō, and Nonagase Banka called the Kokuga Society (Kokuga Sōsaku Kyōkai, or "Society for the Creation of National Painting"), which was used as a vehicle to disseminate the group's eclectic style combining western yōga and Japanese (Nihonga) painting techniques and styles. His favorite subjects were women (bijinga), especially portraits of maiko, but he also painted flowers and still life themes. The Kokuga Society established its own annual exhibition, the Kokuten (abbreviation for "Kokuga Sōsaku Kyōkai Tenrankai") in competition with the increasingly restrictive Bunten Exhibitions in 1918. Seven Kokuten exhibitions were held between 1918 and 1928. In 1921, the Kokuga Society went on hiatus when Bakusen traveled to Europe with Ono Chikkyō to tour Western art museums. They returned after a little more than a year, and resumed the Kokuga Society in 1923. Bakusen was particularly fond of French Impressionism and post-impressionism, especially the works of Paul Gauguin, Vincent van Gogh and Paul Cézanne, and collected several of their works while in Europe. The Kokuga Society broke up in 1928, due to financial difficulties and internal disagreements. In 1934, Bakusen was appointed to the Teikoku Bijutsuin (Imperial Art Academy). He died in June 1936 of pancreatic cancer. His grave is at the temple of Chishaku-in in Kyoto. One of his works from 1918, Bathhouse Maiden (湯女図, Yunazu), now at the Tokyo National Museum of Modern Art is registered as an Important Cultural Property (ICP) by the Agency for Cultural Affairs. However, his painting Maiko in Garden (舞妓林泉, Bugi rinsen) from 1923, owned by the same museum, is considered his masterpiece.

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Tsuchida Bakusen

Focus on Tsuchida Bakusen and discuss the Philately.

One of Bakusen's works was selected as the subject of a commemorative postage stamp by the Japanese government:1979: Bugirinsen, commemorating the 1968 Philatelic Week

18875_NT

Tsuchida Bakusen

Focus on this artwork and discuss the Philately.

One of Bakusen's works was selected as the subject of a commemorative postage stamp by the Japanese government:1979: Bugirinsen, commemorating the 1968 Philatelic Week

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Tsuchida Bakusen

How does Tsuchida Bakusen elucidate its Noted works?

Island Woman (島の女, Shima no onna), 1912, Tokyo National Museum of Modern Art [1] Bathhouse Maiden (湯女図, Yunazu), 1918, Tokyo National Museum of Modern Art [2] Maiko in Garden (舞妓林泉, Bugirinsen), 1924, Tokyo National Museum of Modern Art [3] Woman Peddlar of Ohara (大原女, Oharame), 1927, Kyoto National Museum of Modern Art [4]

18876_NT

Tsuchida Bakusen

How does this artwork elucidate its Noted works?

Island Woman (島の女, Shima no onna), 1912, Tokyo National Museum of Modern Art [1] Bathhouse Maiden (湯女図, Yunazu), 1918, Tokyo National Museum of Modern Art [2] Maiko in Garden (舞妓林泉, Bugirinsen), 1924, Tokyo National Museum of Modern Art [3] Woman Peddlar of Ohara (大原女, Oharame), 1927, Kyoto National Museum of Modern Art [4]

18877_T

A Sunday Afternoon on the Island of La Grande Jatte

Focus on A Sunday Afternoon on the Island of La Grande Jatte and analyze the abstract.

A Sunday Afternoon on the Island of La Grande Jatte (French: Un dimanche après-midi à l'Île de la Grande Jatte) was painted from 1884 to 1886 and is Georges Seurat's most famous work. A leading example of pointillist technique, executed on a large canvas, it is a founding work of the neo-impressionist movement. Seurat's composition includes a number of Parisians at a park on the banks of the River Seine. It is held in the collection of the Art Institute of Chicago.

18877_NT

A Sunday Afternoon on the Island of La Grande Jatte

Focus on this artwork and analyze the abstract.

A Sunday Afternoon on the Island of La Grande Jatte (French: Un dimanche après-midi à l'Île de la Grande Jatte) was painted from 1884 to 1886 and is Georges Seurat's most famous work. A leading example of pointillist technique, executed on a large canvas, it is a founding work of the neo-impressionist movement. Seurat's composition includes a number of Parisians at a park on the banks of the River Seine. It is held in the collection of the Art Institute of Chicago.

18878_T

A Sunday Afternoon on the Island of La Grande Jatte

In A Sunday Afternoon on the Island of La Grande Jatte, how is the Background discussed?

Georges Seurat painted A Sunday Afternoon between May 1884 and March 1885, and from October 1885 to May 1886, focusing meticulously on the landscape of the park and concentrating on issues of colour, light, and form. The painting is approximately 2 by 3 metres (6.6 ft × 9.8 ft) in size. Seurat completed numerous preliminary drawings and oil sketches before completing his masterpiece. One complete painting, the study featured to the right, measures 27 3/4 x 41 in. (70.5 x 104.1 cm) and is on display in the Metropolitan Museum.Inspired by optical effects and perception inherent in the color theories of Michel Eugène Chevreul, Ogden Rood and others, Seurat adapted this scientific research to his painting. Seurat contrasted miniature dots or small brushstrokes of colors that when unified optically in the human eye were perceived as a single shade or hue. He believed that this form of painting, called Divisionism at the time (a term he preferred) but now known as Pointillism, would make the colors more brilliant and powerful than standard brushstrokes. The use of dots of almost uniform size came in the second year of his work on the painting, 1885–86. To make the experience of the painting even more vivid, at the paintings edge, he surrounded it with a frame of painted dots, which in turn he enclosed with a pure white, wooden frame, which is how the painting is exhibited at the Art Institute of Chicago.The Island of la Grande Jatte is located at the very gates of Paris, lying in the Seine between Neuilly and Levallois-Perret, a short distance from where La Défense business district currently stands. Although for many years it was an industrial site, it has become the site of a public garden and a housing development. When Seurat began the painting in 1884, the island was a bucolic retreat far from the urban center. The painting was first exhibited at the eighth (and last) Impressionist exhibition in May 1886, then in August 1886, dominating the second Salon of the Société des Artistes Indépendants, of which Seurat had been a founder in 1884. Seurat was extremely disciplined, always serious, and private to the point of secretiveness—for the most part, steering his own steady course. As a painter, he wanted to make a difference in the history of art and with La Grande Jatte, Seurat was immediately acknowledged as the leader of a new and rebellious form of Impressionism called Neo-Impressionism.

18878_NT

A Sunday Afternoon on the Island of La Grande Jatte

In this artwork, how is the Background discussed?

Georges Seurat painted A Sunday Afternoon between May 1884 and March 1885, and from October 1885 to May 1886, focusing meticulously on the landscape of the park and concentrating on issues of colour, light, and form. The painting is approximately 2 by 3 metres (6.6 ft × 9.8 ft) in size. Seurat completed numerous preliminary drawings and oil sketches before completing his masterpiece. One complete painting, the study featured to the right, measures 27 3/4 x 41 in. (70.5 x 104.1 cm) and is on display in the Metropolitan Museum.Inspired by optical effects and perception inherent in the color theories of Michel Eugène Chevreul, Ogden Rood and others, Seurat adapted this scientific research to his painting. Seurat contrasted miniature dots or small brushstrokes of colors that when unified optically in the human eye were perceived as a single shade or hue. He believed that this form of painting, called Divisionism at the time (a term he preferred) but now known as Pointillism, would make the colors more brilliant and powerful than standard brushstrokes. The use of dots of almost uniform size came in the second year of his work on the painting, 1885–86. To make the experience of the painting even more vivid, at the paintings edge, he surrounded it with a frame of painted dots, which in turn he enclosed with a pure white, wooden frame, which is how the painting is exhibited at the Art Institute of Chicago.The Island of la Grande Jatte is located at the very gates of Paris, lying in the Seine between Neuilly and Levallois-Perret, a short distance from where La Défense business district currently stands. Although for many years it was an industrial site, it has become the site of a public garden and a housing development. When Seurat began the painting in 1884, the island was a bucolic retreat far from the urban center. The painting was first exhibited at the eighth (and last) Impressionist exhibition in May 1886, then in August 1886, dominating the second Salon of the Société des Artistes Indépendants, of which Seurat had been a founder in 1884. Seurat was extremely disciplined, always serious, and private to the point of secretiveness—for the most part, steering his own steady course. As a painter, he wanted to make a difference in the history of art and with La Grande Jatte, Seurat was immediately acknowledged as the leader of a new and rebellious form of Impressionism called Neo-Impressionism.

18879_T

A Sunday Afternoon on the Island of La Grande Jatte

Focus on A Sunday Afternoon on the Island of La Grande Jatte and explore the Interpretation.

Seurat's painting was a mirror impression of his own painting, Bathers at Asnières, completed shortly before, in 1884. Whereas the bathers in that earlier painting are doused in light, almost every figure on La Grande Jatte appears to be cast in shadow, either under trees or an umbrella, or from another person. For Parisians, Sunday was the day to escape the heat of the city and head for the shade of the trees and the cool breezes that came off the river. And at first glance, the viewer sees many different people relaxing in a park by the river. On the right, a fashionable couple, the woman with the sunshade and the man in his top hat, are on a stroll. On the left, another woman who is also well dressed extends her fishing pole over the water. There is a small man with the black hat and thin cane looking at the river, and a white dog with a brown head, a woman knitting, a man playing a trumpet, two soldiers standing at attention as the musician plays, and a woman hunched under an orange umbrella. Seurat also painted a man with a pipe, a woman under a parasol in a boat filled with rowers, and a couple admiring their infant child.Some of the characters are doing curious things. The lady on the right side has a pet monkey on a leash. A lady on the left near the river bank is fishing. The area was known at the time as being a place to procure prostitutes among the bourgeoisie, a likely allusion of the otherwise odd "fishing" rod. In the painting's center stands a little girl dressed in white (who is not in a shadow), who stares directly at the viewer of the painting. This may be interpreted as someone who is silently questioning the audience.In the 1950s, historian and Marxist philosopher Ernst Bloch drew social and political significance from Seurat's La Grande Jatte. The historian's focal point was what he saw as Seurat's mechanical use of the figures and what their static nature said about French society at the time. Afterward, critique of the work often centered on the artist's presumed mathematical and robotic interpretation of the meaning of modernity in Paris.According to historian of Modernism William R. Everdell: Seurat himself told a sympathetic critic, Gustave Kahn, that his model was the Panathenaic procession in the Parthenon frieze. But Seurat didn't want to paint ancient Athenians. He wanted 'to make the moderns file past ... in their essential form.' By 'moderns' he meant nothing very complicated. He wanted ordinary people as his subject, and ordinary life. He was a bit of a democrat—a "Communard," as one of his friends remarked, referring to the left-wing revolutionaries of 1871; and he was fascinated by the way things distinct and different encountered each other: the city and the country, the farm and the factory, the bourgeois and the proletarian meeting at their edges in a sort of harmony of opposites. The border of the painting is, unusually, in inverted color, as if the world around them is also slowly inverting from the way of life they have known. Seen in this context, the boy who bathes on the other side of the river bank at Asnières appears to be calling out to them, as if to say, "We are the future. Come and join us".

18879_NT

A Sunday Afternoon on the Island of La Grande Jatte

Focus on this artwork and explore the Interpretation.

Seurat's painting was a mirror impression of his own painting, Bathers at Asnières, completed shortly before, in 1884. Whereas the bathers in that earlier painting are doused in light, almost every figure on La Grande Jatte appears to be cast in shadow, either under trees or an umbrella, or from another person. For Parisians, Sunday was the day to escape the heat of the city and head for the shade of the trees and the cool breezes that came off the river. And at first glance, the viewer sees many different people relaxing in a park by the river. On the right, a fashionable couple, the woman with the sunshade and the man in his top hat, are on a stroll. On the left, another woman who is also well dressed extends her fishing pole over the water. There is a small man with the black hat and thin cane looking at the river, and a white dog with a brown head, a woman knitting, a man playing a trumpet, two soldiers standing at attention as the musician plays, and a woman hunched under an orange umbrella. Seurat also painted a man with a pipe, a woman under a parasol in a boat filled with rowers, and a couple admiring their infant child.Some of the characters are doing curious things. The lady on the right side has a pet monkey on a leash. A lady on the left near the river bank is fishing. The area was known at the time as being a place to procure prostitutes among the bourgeoisie, a likely allusion of the otherwise odd "fishing" rod. In the painting's center stands a little girl dressed in white (who is not in a shadow), who stares directly at the viewer of the painting. This may be interpreted as someone who is silently questioning the audience.In the 1950s, historian and Marxist philosopher Ernst Bloch drew social and political significance from Seurat's La Grande Jatte. The historian's focal point was what he saw as Seurat's mechanical use of the figures and what their static nature said about French society at the time. Afterward, critique of the work often centered on the artist's presumed mathematical and robotic interpretation of the meaning of modernity in Paris.According to historian of Modernism William R. Everdell: Seurat himself told a sympathetic critic, Gustave Kahn, that his model was the Panathenaic procession in the Parthenon frieze. But Seurat didn't want to paint ancient Athenians. He wanted 'to make the moderns file past ... in their essential form.' By 'moderns' he meant nothing very complicated. He wanted ordinary people as his subject, and ordinary life. He was a bit of a democrat—a "Communard," as one of his friends remarked, referring to the left-wing revolutionaries of 1871; and he was fascinated by the way things distinct and different encountered each other: the city and the country, the farm and the factory, the bourgeois and the proletarian meeting at their edges in a sort of harmony of opposites. The border of the painting is, unusually, in inverted color, as if the world around them is also slowly inverting from the way of life they have known. Seen in this context, the boy who bathes on the other side of the river bank at Asnières appears to be calling out to them, as if to say, "We are the future. Come and join us".

18880_T

A Sunday Afternoon on the Island of La Grande Jatte

Focus on A Sunday Afternoon on the Island of La Grande Jatte and explain the Painting materials.

Seurat painted the La Grande Jatte in three distinct stages. In the first stage, which was started in 1884, he mixed his paints from several individual pigments and was still using dull earth pigments such as ochre or burnt sienna. In the second stage, during 1885 and 1886, Seurat dispensed with the earth pigments and also limited the number of individual pigments in his paints. This change in his palette was due to his application of the advanced color theories of his time. His intention was to paint small dots or strokes of pure color that would then mix on the retina of the beholder to achieve the desired color impression instead of the usual practice of mixing individual pigments. Seurat's palette consisted of the usual pigments of his time such as cobalt blue, emerald green and vermilion. Additionally, he used the then new pigment zinc yellow (zinc chromate), predominantly for yellow highlights in the sunlit grass in the middle of the painting but also in mixtures with orange and blue pigments. In the century and more since the painting's completion, the zinc yellow has darkened to brown—a color degeneration that was already showing in the painting in Seurat's lifetime. The discoloration of the originally bright yellow zinc yellow (zinc chromate) to a brownish color is due to the chemical reaction of the chromate ions to orange-colored dichromate ions. In the third stage during 1888–89 Seurat added the colored borders to his composition. The results of investigation into the discoloration of this painting have been combined with further research into natural aging of paints to digitally rejuvenate the painting.

18880_NT

A Sunday Afternoon on the Island of La Grande Jatte

Focus on this artwork and explain the Painting materials.

Seurat painted the La Grande Jatte in three distinct stages. In the first stage, which was started in 1884, he mixed his paints from several individual pigments and was still using dull earth pigments such as ochre or burnt sienna. In the second stage, during 1885 and 1886, Seurat dispensed with the earth pigments and also limited the number of individual pigments in his paints. This change in his palette was due to his application of the advanced color theories of his time. His intention was to paint small dots or strokes of pure color that would then mix on the retina of the beholder to achieve the desired color impression instead of the usual practice of mixing individual pigments. Seurat's palette consisted of the usual pigments of his time such as cobalt blue, emerald green and vermilion. Additionally, he used the then new pigment zinc yellow (zinc chromate), predominantly for yellow highlights in the sunlit grass in the middle of the painting but also in mixtures with orange and blue pigments. In the century and more since the painting's completion, the zinc yellow has darkened to brown—a color degeneration that was already showing in the painting in Seurat's lifetime. The discoloration of the originally bright yellow zinc yellow (zinc chromate) to a brownish color is due to the chemical reaction of the chromate ions to orange-colored dichromate ions. In the third stage during 1888–89 Seurat added the colored borders to his composition. The results of investigation into the discoloration of this painting have been combined with further research into natural aging of paints to digitally rejuvenate the painting.

18881_T

A Sunday Afternoon on the Island of La Grande Jatte

Explore the Acquisition by the Art Institute of Chicago of this artwork, A Sunday Afternoon on the Island of La Grande Jatte.

In 1923, Frederic Bartlett was appointed trustee of the Art Institute of Chicago. He and his second wife, Helen Birch Bartlett, loaned their collection of French Post-Impressionist and Modernist art to the museum. It was Mrs. Bartlett who had an interest in French and avant-garde artists and influenced her husband's collecting tastes. Sunday Afternoon on the Island of La Grande Jatte was purchased on the advice of the Art Institute of Chicago's curatorial staff in 1924.In conceptual artist Don Celender's 1974–75 book Observation and Scholarship Examination for Art Historians, Museum Directors, Artists, Dealers and Collectors, it is claimed that the institute paid $24,000 for the work (over $354,000 in 2018 dollars). In 1958, the painting was loaned for the only time: to the Museum of Modern Art in New York. On 15 April 1958, a fire there, which killed one person on the second floor of the museum, forced the evacuation of the painting, which had been on a floor above the fire, to the Whitney Museum, which adjoined MoMA at the time.

18881_NT

A Sunday Afternoon on the Island of La Grande Jatte

Explore the Acquisition by the Art Institute of Chicago of this artwork.

In 1923, Frederic Bartlett was appointed trustee of the Art Institute of Chicago. He and his second wife, Helen Birch Bartlett, loaned their collection of French Post-Impressionist and Modernist art to the museum. It was Mrs. Bartlett who had an interest in French and avant-garde artists and influenced her husband's collecting tastes. Sunday Afternoon on the Island of La Grande Jatte was purchased on the advice of the Art Institute of Chicago's curatorial staff in 1924.In conceptual artist Don Celender's 1974–75 book Observation and Scholarship Examination for Art Historians, Museum Directors, Artists, Dealers and Collectors, it is claimed that the institute paid $24,000 for the work (over $354,000 in 2018 dollars). In 1958, the painting was loaned for the only time: to the Museum of Modern Art in New York. On 15 April 1958, a fire there, which killed one person on the second floor of the museum, forced the evacuation of the painting, which had been on a floor above the fire, to the Whitney Museum, which adjoined MoMA at the time.

18882_T

A Sunday Afternoon on the Island of La Grande Jatte

Focus on A Sunday Afternoon on the Island of La Grande Jatte and discuss the In popular culture.

The painting is the basis for the 1984 Broadway musical Sunday in the Park with George by Stephen Sondheim and James Lapine, which tells a fictionalized story of the painting's creation. Subsequently, the painting is sometimes referred to by the misnomer "Sunday in the Park". The painting is prominently featured in the 1986 comedy film Ferris Bueller's Day Off, in a scene later parodied, among others, in Looney Tunes: Back in Action, Family Guy, and Muppet Babies.In Topiary Park (formerly Old Deaf School Park) in Columbus, Ohio, sculptor James T. Mason re-created the painting in topiary form; the installation was completed in 1989.

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A Sunday Afternoon on the Island of La Grande Jatte

Focus on this artwork and discuss the In popular culture.

The painting is the basis for the 1984 Broadway musical Sunday in the Park with George by Stephen Sondheim and James Lapine, which tells a fictionalized story of the painting's creation. Subsequently, the painting is sometimes referred to by the misnomer "Sunday in the Park". The painting is prominently featured in the 1986 comedy film Ferris Bueller's Day Off, in a scene later parodied, among others, in Looney Tunes: Back in Action, Family Guy, and Muppet Babies.In Topiary Park (formerly Old Deaf School Park) in Columbus, Ohio, sculptor James T. Mason re-created the painting in topiary form; the installation was completed in 1989.

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St. Francis in Ecstasy (Bellini)

Focus on St. Francis in Ecstasy (Bellini) and analyze the abstract.

St. Francis in Ecstasy (or St. Francis in the Desert) is a painting by Italian Renaissance master Giovanni Bellini, started in 1475 and completed around 1480. Bellini depicted the religious figure of St. Francis of Assisi in a landscape. In 1852, the painting was listed on June 19 at Christie's. It was part of the 1857 Manchester Art Treasures exhibition. In 1915, Henry Clay Frick bought the painting for $170,000, and it remains in the Frick Collection, in New York City.

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St. Francis in Ecstasy (Bellini)

Focus on this artwork and analyze the abstract.

St. Francis in Ecstasy (or St. Francis in the Desert) is a painting by Italian Renaissance master Giovanni Bellini, started in 1475 and completed around 1480. Bellini depicted the religious figure of St. Francis of Assisi in a landscape. In 1852, the painting was listed on June 19 at Christie's. It was part of the 1857 Manchester Art Treasures exhibition. In 1915, Henry Clay Frick bought the painting for $170,000, and it remains in the Frick Collection, in New York City.

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St. Francis in Ecstasy (Bellini)

In St. Francis in Ecstasy (Bellini), how is the Subject discussed?

The painting portrays Francis of Assisi, the Italian saint of the early 13th century, in an Italian landscape, stepping out in the sun from his cave, his figure anchoring the creamy celadon and golden-green landscape. The oil painting by Bellini has a length of approximately four feet with a width of around four and a half feet, depicting a natural, but dramatic scene. This painting includes one of the largest and most extensive Renaissance landscapes.

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St. Francis in Ecstasy (Bellini)

In this artwork, how is the Subject discussed?

The painting portrays Francis of Assisi, the Italian saint of the early 13th century, in an Italian landscape, stepping out in the sun from his cave, his figure anchoring the creamy celadon and golden-green landscape. The oil painting by Bellini has a length of approximately four feet with a width of around four and a half feet, depicting a natural, but dramatic scene. This painting includes one of the largest and most extensive Renaissance landscapes.

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St. Francis in Ecstasy (Bellini)

Focus on St. Francis in Ecstasy (Bellini) and explore the Description.

The painting contains a strong effect of mystical light through the use of golden rays coming from the uppermost left corner of the painting, showering over Saint Francis. The tones of brown and gold are used to illustrate the body, and a rocky niche is depicted in the shady portion. His brighter body contrasts with the darker environment of the painting. In the foreground, the focus is on a stony, dangerous, dark, and mossy cave with a shady entrance covered by twisted grapevines. Inside the cave, several possessions of the saint are represented, including a Holy Book, desk, hermit's skull, a thorny crown, and a crucifix made of stems. Although the scene is rocky, it does not look infertile. In the center and the background of this painting is a walled hill with growing fields, a bridge over a running waterway, a coastal bird similar to a gray heron, a donkey, as well as a shepherd looking at his flock grazing. The landscape depicts a transformation into spring through the inclusion of growing grass.In the painting, the sky is dynamic, sparkling, and bright blue. From the uppermost left edge, the light is falling, making its way inside the scenery. There is an illuminated feel arising from the whole painting, and a sense of rays originating from stones and green fields, making it seem as if, through the holiness of St. Francis, the world is being illuminated. The painting depicts St. Francis having come out of his cave in a brown traditional robe, standing barefooted, looking upwards at paradise with widely opened arms and heaving chest. The rocks around him in the painting are converting into a stream, implying that his life has just transformed. In the painting, a mystical light is showered over St. Francis; he seems to be absorbing this light and spreading it throughout the entire painting.

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St. Francis in Ecstasy (Bellini)

Focus on this artwork and explore the Description.

The painting contains a strong effect of mystical light through the use of golden rays coming from the uppermost left corner of the painting, showering over Saint Francis. The tones of brown and gold are used to illustrate the body, and a rocky niche is depicted in the shady portion. His brighter body contrasts with the darker environment of the painting. In the foreground, the focus is on a stony, dangerous, dark, and mossy cave with a shady entrance covered by twisted grapevines. Inside the cave, several possessions of the saint are represented, including a Holy Book, desk, hermit's skull, a thorny crown, and a crucifix made of stems. Although the scene is rocky, it does not look infertile. In the center and the background of this painting is a walled hill with growing fields, a bridge over a running waterway, a coastal bird similar to a gray heron, a donkey, as well as a shepherd looking at his flock grazing. The landscape depicts a transformation into spring through the inclusion of growing grass.In the painting, the sky is dynamic, sparkling, and bright blue. From the uppermost left edge, the light is falling, making its way inside the scenery. There is an illuminated feel arising from the whole painting, and a sense of rays originating from stones and green fields, making it seem as if, through the holiness of St. Francis, the world is being illuminated. The painting depicts St. Francis having come out of his cave in a brown traditional robe, standing barefooted, looking upwards at paradise with widely opened arms and heaving chest. The rocks around him in the painting are converting into a stream, implying that his life has just transformed. In the painting, a mystical light is showered over St. Francis; he seems to be absorbing this light and spreading it throughout the entire painting.

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St. Francis in Ecstasy (Bellini)

In the context of St. Francis in Ecstasy (Bellini), explain the Materials of the Description.

In Saint Francis in Ecstasy, Bellini used a combination of oil and tempera paints, perhaps having been under the influence of Antonello da Messina.The painting shows the influence of Andrea Mantegna, who was the painter's brother-in-law. It is signed IOANNES BELLINVS on a small, creased tag visible in the lower-left corner. The original size of the painting was cut-down from the top side; this is evident because the painting continues completely to the end of the panel. However, the original painting would not be much larger than the present by estimation. Saint Francis in Ecstasy was directed towards Art Museum Metropolitan for detailed cleaning and highly technical assessment of this painting by Scientists, Art Masters and Conservators, the painting had evidence of underdrawings. The major findings such as compositional modifications, fingerprints, brushwork, sketching and the exposure of certain innovation belongs to the students of Bellini, i.e. Titian and Giorgione. Though it has been cut down, it has otherwise been well-cared for since its creation.

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St. Francis in Ecstasy (Bellini)

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

In Saint Francis in Ecstasy, Bellini used a combination of oil and tempera paints, perhaps having been under the influence of Antonello da Messina.The painting shows the influence of Andrea Mantegna, who was the painter's brother-in-law. It is signed IOANNES BELLINVS on a small, creased tag visible in the lower-left corner. The original size of the painting was cut-down from the top side; this is evident because the painting continues completely to the end of the panel. However, the original painting would not be much larger than the present by estimation. Saint Francis in Ecstasy was directed towards Art Museum Metropolitan for detailed cleaning and highly technical assessment of this painting by Scientists, Art Masters and Conservators, the painting had evidence of underdrawings. The major findings such as compositional modifications, fingerprints, brushwork, sketching and the exposure of certain innovation belongs to the students of Bellini, i.e. Titian and Giorgione. Though it has been cut down, it has otherwise been well-cared for since its creation.

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St. Francis in Ecstasy (Bellini)

Explore the Provenance of this artwork, St. Francis in Ecstasy (Bellini).

Zuan Michiel commissioned Bellini to create St. Francis in the 1480s. Taddeo Contarini acquired the painting after Zuan Michiel's death. In 1660, Bellini's St. Francis was mentioned in Marco Boschini’s dialect poem, after Boschini saw the painting in Giulio Guistiniani’s palace. At the end of the eighteenth century, the picture still remained in the Cormaro Palace, according to Abbate Lanzi. The painting might have left Venice for the first time at some point between 1796 and 1852. It was offered for sale at Christie’s on 19 June 1852 and claimed to have originally been made for "a convent in the Milanese."In 1915, the painting entered the Frick Collection in New York City, displayed prominently in what was the living room of Henry Clay Frick, an American industrialist, financier, and art patron. Frick had acquired the painting even though he had little interest in religious paintings, but he valued this painting for its extensive landscape. The painting remains in the Frick Collection and is considered one of its finest assets. The painting is in excellent condition. The painting was included in the 1857 Manchester Art Treasures exhibition.

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St. Francis in Ecstasy (Bellini)

Explore the Provenance of this artwork.

Zuan Michiel commissioned Bellini to create St. Francis in the 1480s. Taddeo Contarini acquired the painting after Zuan Michiel's death. In 1660, Bellini's St. Francis was mentioned in Marco Boschini’s dialect poem, after Boschini saw the painting in Giulio Guistiniani’s palace. At the end of the eighteenth century, the picture still remained in the Cormaro Palace, according to Abbate Lanzi. The painting might have left Venice for the first time at some point between 1796 and 1852. It was offered for sale at Christie’s on 19 June 1852 and claimed to have originally been made for "a convent in the Milanese."In 1915, the painting entered the Frick Collection in New York City, displayed prominently in what was the living room of Henry Clay Frick, an American industrialist, financier, and art patron. Frick had acquired the painting even though he had little interest in religious paintings, but he valued this painting for its extensive landscape. The painting remains in the Frick Collection and is considered one of its finest assets. The painting is in excellent condition. The painting was included in the 1857 Manchester Art Treasures exhibition.

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The Fall of Man (Poulakis)

How does The Fall of Man (Poulakis) elucidate its abstract?

The Fall of Man is a tempera painting by Theodore Poulakis. Poulakis was a Greek Baroque artist. He was a painter and teacher. He flourished during the Late Cretan School and the Heptanese School. He is often regarded as the father of the Heptanese School. His painting career was from 1635 to 1692. He was living in Venice at the age of 24. He mastered painting while he lived in the city. He was involved in the quarantia. He traveled all over the Ionian Islands and eventually settled on the island of Corfu. He also frequently returned to Venice. Over 130 of his paintings have survived. They can be found in Greece and Italy.Adam and Eve have been depicted in Greek Italian art since the dawn of the new Christian religion. Countless painters adopted the subject matter. In the 16th century, a French goldsmith and engraver named Étienne Delaune created a series of old testament engravings. His work circulated Europe and in the 17th-century Venetian engraver and printer Stefano Scolari (1640 - 1691) replicated his work. The prints circulated throughout the Venetian world. Poulaki integrated Delaune's work in his paintings. One specific example was Poulaki's In Thee Rejoiceth . The artist used some of Delaune's engravings as inspiration for the masterpiece specifically in the upper portion. The Fall of Man is not an identical replica of an engraving by Delaune but it was inspired by his work. The work later inspired a similar painting by Greek painter Konstantinos Kontarinis. The Fall of Man is part of the Collection of Dimitris Kontominas in Athens, Greece. The painting was formerly part of the collection of Count Cesare Cicogna Mozzoni and Countess Annamaria Volpi di Misurata in Venice.

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The Fall of Man (Poulakis)

How does this artwork elucidate its abstract?

The Fall of Man is a tempera painting by Theodore Poulakis. Poulakis was a Greek Baroque artist. He was a painter and teacher. He flourished during the Late Cretan School and the Heptanese School. He is often regarded as the father of the Heptanese School. His painting career was from 1635 to 1692. He was living in Venice at the age of 24. He mastered painting while he lived in the city. He was involved in the quarantia. He traveled all over the Ionian Islands and eventually settled on the island of Corfu. He also frequently returned to Venice. Over 130 of his paintings have survived. They can be found in Greece and Italy.Adam and Eve have been depicted in Greek Italian art since the dawn of the new Christian religion. Countless painters adopted the subject matter. In the 16th century, a French goldsmith and engraver named Étienne Delaune created a series of old testament engravings. His work circulated Europe and in the 17th-century Venetian engraver and printer Stefano Scolari (1640 - 1691) replicated his work. The prints circulated throughout the Venetian world. Poulaki integrated Delaune's work in his paintings. One specific example was Poulaki's In Thee Rejoiceth . The artist used some of Delaune's engravings as inspiration for the masterpiece specifically in the upper portion. The Fall of Man is not an identical replica of an engraving by Delaune but it was inspired by his work. The work later inspired a similar painting by Greek painter Konstantinos Kontarinis. The Fall of Man is part of the Collection of Dimitris Kontominas in Athens, Greece. The painting was formerly part of the collection of Count Cesare Cicogna Mozzoni and Countess Annamaria Volpi di Misurata in Venice.

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The Fall of Man (Poulakis)

Focus on The Fall of Man (Poulakis) and analyze the Description.

The materials used for the painting were tempera paint on a wood panel. The height is 62.5 cm (24.6 in) and the width is 79 cm (31.1 in). The engraving by Delaune was partially replicated. Adam and Eve, the serpent, and the tree were imported by Poulakis from the sketch-like printed engraving. The artist creatively animated the wood panel with a lavish landscape filled with birds and shrubbery. In the background, a peach castle appears inlaid with brilliant variations of the color. The color shading on the figures humanizes both Adam and Eve as they stand in the foreground. The artist clearly illustrates a complex three-dimensional image. Eve looks up at the half man half snake as it waves at her while Adam bites the apple. Eve gazes at the serpent with a hypnotized sense of desire. The tree and serpent occupy the middle ground. Both Adam and Eve feature sculpted anatomies. Their bodies are well-toned. The artist adds roses and a water fountain to his landscape. Poulakis and his contemporaries viewed pictorial expression based on observation. The Fall of Man resonates the idea that the visual world must be observed before it could be analyzed and understood.

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The Fall of Man (Poulakis)

Focus on this artwork and analyze the Description.

The materials used for the painting were tempera paint on a wood panel. The height is 62.5 cm (24.6 in) and the width is 79 cm (31.1 in). The engraving by Delaune was partially replicated. Adam and Eve, the serpent, and the tree were imported by Poulakis from the sketch-like printed engraving. The artist creatively animated the wood panel with a lavish landscape filled with birds and shrubbery. In the background, a peach castle appears inlaid with brilliant variations of the color. The color shading on the figures humanizes both Adam and Eve as they stand in the foreground. The artist clearly illustrates a complex three-dimensional image. Eve looks up at the half man half snake as it waves at her while Adam bites the apple. Eve gazes at the serpent with a hypnotized sense of desire. The tree and serpent occupy the middle ground. Both Adam and Eve feature sculpted anatomies. Their bodies are well-toned. The artist adds roses and a water fountain to his landscape. Poulakis and his contemporaries viewed pictorial expression based on observation. The Fall of Man resonates the idea that the visual world must be observed before it could be analyzed and understood.

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Statue of Pope Clement X

In Statue of Pope Clement X, how is the abstract discussed?

The Statue of Pope Clement X is one of the final sculptural works executed by the Italian artist Gian Lorenzo Bernini. It depicts Pope Clement X in the act of benediction, and is housed in the Galleria Nazionale d'Arte Antica in the Palazzo Barberini, Rome.

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Statue of Pope Clement X

In this artwork, how is the abstract discussed?

The Statue of Pope Clement X is one of the final sculptural works executed by the Italian artist Gian Lorenzo Bernini. It depicts Pope Clement X in the act of benediction, and is housed in the Galleria Nazionale d'Arte Antica in the Palazzo Barberini, Rome.

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Statue of Pope Clement X

Focus on Statue of Pope Clement X and explore the Exhibitions.

The statue has appeared in exhibitions at the Getty Museum in California and the National Gallery of Australia in Canberra.

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Statue of Pope Clement X

Focus on this artwork and explore the Exhibitions.

The statue has appeared in exhibitions at the Getty Museum in California and the National Gallery of Australia in Canberra.

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Sleeping Venus (Carracci)

Focus on Sleeping Venus (Carracci) and explain the abstract.

Sleeping Venus (also known as Sleeping Venus with Putti) is a c. 1603 painting by Annibale Carracci held by the Musée Condé in Chantilly, Oise, France. This oil painting measures 190x328cm. It depicts Venus sleeping with her arm above her head as putti frolic around her. Carracci painted Sleeping Venus for Odoardo Farnese. Giovanni Battista Agucchi wrote an ekphrasis of this painting that Carlo Cesare Malvasia included in his book Life of the Carracci. In The Lives of the Modern Painters, Sculptors and Architects, Giovanni Pietro Bellori wrote a description of the painting that paraphrases Agucchi's ekphrasis without citation.

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Sleeping Venus (Carracci)

Focus on this artwork and explain the abstract.

Sleeping Venus (also known as Sleeping Venus with Putti) is a c. 1603 painting by Annibale Carracci held by the Musée Condé in Chantilly, Oise, France. This oil painting measures 190x328cm. It depicts Venus sleeping with her arm above her head as putti frolic around her. Carracci painted Sleeping Venus for Odoardo Farnese. Giovanni Battista Agucchi wrote an ekphrasis of this painting that Carlo Cesare Malvasia included in his book Life of the Carracci. In The Lives of the Modern Painters, Sculptors and Architects, Giovanni Pietro Bellori wrote a description of the painting that paraphrases Agucchi's ekphrasis without citation.

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Equestrian statue of George Stuart White

Explore the abstract of this artwork, Equestrian statue of George Stuart White.

The equestrian statue of George Stuart White is a Grade II listed outdoor bronze sculpture depicting Field Marshal Sir George Stuart White, an officer of the British Army, located in Portland Place, London, England. The sculptor was John Tweed and the statue was unveiled in 1922.An inscription on each side of the plinth reads: Field-Marshal Sir George Stuart White, V.C., G.C.B., O.M., G.C.S.I., G.C.M.G., G.C.I.E., G.C.V.O. Born 1835. Died, 1912. The statue appeared in an exterior shot of Portland Place from Alfred Hitchcock's 1947 American courtroom drama, The Paradine Case, which was set in England.

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Equestrian statue of George Stuart White

Explore the abstract of this artwork.

The equestrian statue of George Stuart White is a Grade II listed outdoor bronze sculpture depicting Field Marshal Sir George Stuart White, an officer of the British Army, located in Portland Place, London, England. The sculptor was John Tweed and the statue was unveiled in 1922.An inscription on each side of the plinth reads: Field-Marshal Sir George Stuart White, V.C., G.C.B., O.M., G.C.S.I., G.C.M.G., G.C.I.E., G.C.V.O. Born 1835. Died, 1912. The statue appeared in an exterior shot of Portland Place from Alfred Hitchcock's 1947 American courtroom drama, The Paradine Case, which was set in England.

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The Shepherd's Song (painting)

Focus on The Shepherd's Song (painting) and discuss the abstract.

The Shepherd's Song is an oil on canvas painting by French artist Pierre Puvis de Chavannes, from 1891. It depicts shepherds lounging and foraging in an arid landscape. The painting - which was inspired by one of de Chavannes' earlier works - is now in the collection of the Metropolitan Museum of Art, in New York.

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The Shepherd's Song (painting)

Focus on this artwork and discuss the abstract.

The Shepherd's Song is an oil on canvas painting by French artist Pierre Puvis de Chavannes, from 1891. It depicts shepherds lounging and foraging in an arid landscape. The painting - which was inspired by one of de Chavannes' earlier works - is now in the collection of the Metropolitan Museum of Art, in New York.

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The Shepherd's Song (painting)

How does The Shepherd's Song (painting) elucidate its Description?

De Chavannes used for inspiration of this painting an earlier mural he had painted. Like his earlier work, the new painting possesses what has been described as a dreamlike feel. The titular shepherds were likely inspired by classical sculpture, while the muted colors of the painting were likely inspired by 15th and 16th century Italian frescoes.

18895_NT

The Shepherd's Song (painting)

How does this artwork elucidate its Description?

De Chavannes used for inspiration of this painting an earlier mural he had painted. Like his earlier work, the new painting possesses what has been described as a dreamlike feel. The titular shepherds were likely inspired by classical sculpture, while the muted colors of the painting were likely inspired by 15th and 16th century Italian frescoes.

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Statue of Queen Victoria, Hong Kong

Focus on Statue of Queen Victoria, Hong Kong and analyze the abstract.

The statue of Queen Victoria is a bronze sculpture by Mario Raggi. It is currently installed in Victoria Park, in Causeway Bay, Wan Chai District, Hong Kong, near the Causeway Road entrance of the park.

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Statue of Queen Victoria, Hong Kong

Focus on this artwork and analyze the abstract.

The statue of Queen Victoria is a bronze sculpture by Mario Raggi. It is currently installed in Victoria Park, in Causeway Bay, Wan Chai District, Hong Kong, near the Causeway Road entrance of the park.

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Statue of Queen Victoria, Hong Kong

In Statue of Queen Victoria, Hong Kong, how is the History discussed?

This statue was cast in Pimlico, London, and was originally installed at the centre of Statue Square in Central, the main business district of Hong Kong, where it was unveiled by then-Governor William Robinson on 28 May 1896, the day officially appointed for the celebration of the seventy-seventh birthday of Queen Victoria. During the Japanese occupation of Hong Kong, it was taken to Japan to be melted down, along with other statues from the square. After the war, the statue of Queen Victoria was brought back to Hong Kong, but the other statues were never found. In 1952, the late Queen Victoria's statue was restored and placed in Victoria Park. In 1996, shortly before Hong Kong's handover to China, artist Pun Sing-lui (Chinese: 潘星磊; pinyin: Pān Xīnglěi) tipped red paint over the statue and smashed its nose with a hammer. Pun was a recent immigrant from Mainland China who had become disillusioned with Hong Kong culture. The vandalism intended to serve as a protest against "dull colonial culture" and to encourage "cultural reunification with "red" China". His actions were decried as vandalism "in discord with popular opinions and the concurrent cultural atmosphere" and an "attack on Hong Kong culture". The statue was subsequently restored, at a cost of $150,000.

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Statue of Queen Victoria, Hong Kong

In this artwork, how is the History discussed?

This statue was cast in Pimlico, London, and was originally installed at the centre of Statue Square in Central, the main business district of Hong Kong, where it was unveiled by then-Governor William Robinson on 28 May 1896, the day officially appointed for the celebration of the seventy-seventh birthday of Queen Victoria. During the Japanese occupation of Hong Kong, it was taken to Japan to be melted down, along with other statues from the square. After the war, the statue of Queen Victoria was brought back to Hong Kong, but the other statues were never found. In 1952, the late Queen Victoria's statue was restored and placed in Victoria Park. In 1996, shortly before Hong Kong's handover to China, artist Pun Sing-lui (Chinese: 潘星磊; pinyin: Pān Xīnglěi) tipped red paint over the statue and smashed its nose with a hammer. Pun was a recent immigrant from Mainland China who had become disillusioned with Hong Kong culture. The vandalism intended to serve as a protest against "dull colonial culture" and to encourage "cultural reunification with "red" China". His actions were decried as vandalism "in discord with popular opinions and the concurrent cultural atmosphere" and an "attack on Hong Kong culture". The statue was subsequently restored, at a cost of $150,000.

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Holy Kinship

Focus on Holy Kinship and explore the abstract.

The Holy Kinship was the extended family of Jesus descended from his maternal grandmother Saint Anne from her trinubium or three marriages. The group were a popular subject in religious art throughout Germany and the Low Countries, especially during the late 15th and early 16th centuries, but rarely after the Council of Trent. According to medieval tradition, Saint Anne, the mother of the Virgin Mary, was grandmother not just to Jesus but also to five of the twelve apostles: John the Evangelist, James the Greater, James the Less, Simon and Jude. These apostles, together with John the Baptist, were all cousins of Jesus.Smaller groups of Jesus and his parents, often plus his cousin John the Baptist and John's mother Elizabeth (Gospel of Luke 1:36) and perhaps Saint Anne, are known as the Holy Family, and were considerably more common in art. The first theologian to set forth the concept of the trinubium was Haymo of Halberstadt in his Historiae sacrae epitome, in which he outlined the family tree described above. This list totals 17 people, all of whom might be shown, plus sometimes others. The Geertgen tot Sint Jans has nineteen figures. Although the character of the older generations is matriarchal, notably, the youngest generation, shown as children, are all male. They often carry their attributes, as do the three boys in the centre of the Geertgen: the saw (Simon), barrel (James the Great) and chalice (John the Evangelist).The Council of Trent dismissed the legend of the three marriages of Anne, and the full subject was thereafter rarely painted, although the limited group of the families of the cousins Jesus and John the Baptist remained in use.

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Holy Kinship

Focus on this artwork and explore the abstract.

The Holy Kinship was the extended family of Jesus descended from his maternal grandmother Saint Anne from her trinubium or three marriages. The group were a popular subject in religious art throughout Germany and the Low Countries, especially during the late 15th and early 16th centuries, but rarely after the Council of Trent. According to medieval tradition, Saint Anne, the mother of the Virgin Mary, was grandmother not just to Jesus but also to five of the twelve apostles: John the Evangelist, James the Greater, James the Less, Simon and Jude. These apostles, together with John the Baptist, were all cousins of Jesus.Smaller groups of Jesus and his parents, often plus his cousin John the Baptist and John's mother Elizabeth (Gospel of Luke 1:36) and perhaps Saint Anne, are known as the Holy Family, and were considerably more common in art. The first theologian to set forth the concept of the trinubium was Haymo of Halberstadt in his Historiae sacrae epitome, in which he outlined the family tree described above. This list totals 17 people, all of whom might be shown, plus sometimes others. The Geertgen tot Sint Jans has nineteen figures. Although the character of the older generations is matriarchal, notably, the youngest generation, shown as children, are all male. They often carry their attributes, as do the three boys in the centre of the Geertgen: the saw (Simon), barrel (James the Great) and chalice (John the Evangelist).The Council of Trent dismissed the legend of the three marriages of Anne, and the full subject was thereafter rarely painted, although the limited group of the families of the cousins Jesus and John the Baptist remained in use.

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Holy Kinship

Focus on Holy Kinship and explain the Anne's descendants.

The basis for this family tree rests upon the trinubium, the tradition that Anne had married three times, and had had three daughters, the Three Marys, each called Mary and with different fathers. The exact lineage, as laid out in Jacobus de Voragine’s Golden Legend (Latin: Legenda Aurea), runs thus:Anna solet dici tres concepisse Marias, Quas genuere viri Joachim, Cleophas, Salomeque. Has duxere viri Joseph, Alpheus, Zebedeus. Prima parit Christum, Jacobum secunda minorem, Et Joseph justum peperit cum Simone Judam, Tertia majorem Jacobum volucremque Johannem.(Anna is usually said to have conceived three Marys, Whom her husbands Joachim, Cleophas, and Salome begot. These [Marys] the men Joseph, Alpheus, and Zebedee took in marriage. The first bore Christ; the second bore James the Less, Joseph the Just, with Simon [and] Jude; The third, James the Greater and the winged John.)Extra figures may relate to a local Dutch legendary genealogy which held that Anne’s sister, Hismeria (or Esmeria), was the mother of John the Baptist’s mother Elizabeth and of a second child, Eliud, who was in turn the grandfather of Servatius of Tongeren, a 4th-century bishop in the Netherlands.

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Holy Kinship

Focus on this artwork and explain the Anne's descendants.

The basis for this family tree rests upon the trinubium, the tradition that Anne had married three times, and had had three daughters, the Three Marys, each called Mary and with different fathers. The exact lineage, as laid out in Jacobus de Voragine’s Golden Legend (Latin: Legenda Aurea), runs thus:Anna solet dici tres concepisse Marias, Quas genuere viri Joachim, Cleophas, Salomeque. Has duxere viri Joseph, Alpheus, Zebedeus. Prima parit Christum, Jacobum secunda minorem, Et Joseph justum peperit cum Simone Judam, Tertia majorem Jacobum volucremque Johannem.(Anna is usually said to have conceived three Marys, Whom her husbands Joachim, Cleophas, and Salome begot. These [Marys] the men Joseph, Alpheus, and Zebedee took in marriage. The first bore Christ; the second bore James the Less, Joseph the Just, with Simon [and] Jude; The third, James the Greater and the winged John.)Extra figures may relate to a local Dutch legendary genealogy which held that Anne’s sister, Hismeria (or Esmeria), was the mother of John the Baptist’s mother Elizabeth and of a second child, Eliud, who was in turn the grandfather of Servatius of Tongeren, a 4th-century bishop in the Netherlands.

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Immigrant Mother

Explore the abstract of this artwork, Immigrant Mother.

Immigrant Mother is a public artwork by Croatian artist Ivan Meštrović located in Cathedral Square Park in Milwaukee, Wisconsin, United States. The bronze sculpture sits on a red granite base and depicts a mother with her children.

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Immigrant Mother

Explore the abstract of this artwork.

Immigrant Mother is a public artwork by Croatian artist Ivan Meštrović located in Cathedral Square Park in Milwaukee, Wisconsin, United States. The bronze sculpture sits on a red granite base and depicts a mother with her children.