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19001_T

Statue of Christopher Columbus (Columbus State Community College)

Focus on Statue of Christopher Columbus (Columbus State Community College) and explain the abstract.

A 1959 statue of Christopher Columbus by Alfred Solani was installed on the Columbus State Community College's downtown campus in Columbus, Ohio, United States. The monument is one of three in Columbus commemorating the explorer. The statue was removed June 19, 2020.

19001_NT

Statue of Christopher Columbus (Columbus State Community College)

Focus on this artwork and explain the abstract.

A 1959 statue of Christopher Columbus by Alfred Solani was installed on the Columbus State Community College's downtown campus in Columbus, Ohio, United States. The monument is one of three in Columbus commemorating the explorer. The statue was removed June 19, 2020.

19002_T

Statue of Christopher Columbus (Columbus State Community College)

Explore the Description of this artwork, Statue of Christopher Columbus (Columbus State Community College).

The marble statue is 17 ft (5.2 m) tall. It originally was created with a flat head, rounded out by Columbus-based sculptor Alfred Tibor in his 1987 restoration.

19002_NT

Statue of Christopher Columbus (Columbus State Community College)

Explore the Description of this artwork.

The marble statue is 17 ft (5.2 m) tall. It originally was created with a flat head, rounded out by Columbus-based sculptor Alfred Tibor in his 1987 restoration.

19003_T

Statue of Christopher Columbus (Columbus State Community College)

Focus on Statue of Christopher Columbus (Columbus State Community College) and discuss the History.

The statue was created in 1959, commissioned by Anthony De Tomasi. It was offered to the city of San Francisco, which declined the gift. In 1966, De Tomasi installed the sculpture in a park he was developing in Barrington, Illinois, a suburb of Chicago. After several decades there, it fell into disrepair, including one of its eyes shot out.The statue was moved to Columbus in 1986, in three pieces in a Columbus Parks and Recreation office. It was restored by Tibor in 1987 and donated to the college one year later, installed in May 1988. The 2020 George Floyd protests in Columbus created calls to remove the statue, with petitions circulating to also remove other statues of the explorer and to rename the city. The college stated it was looking into removing the statue, and it may be the first to be removed out of the three in the city. On June 16, the school administration announced it will remove and store the statue, and will aim to place a different work of art on the statue's pedestal. The family of the sculptor stated that they are against its removal. Columbus City Council President Pro Tem Elizabeth Brown supported the statue's removal, stating that City Hall's must be next. The statue was vandalized in mid-June, 2020. Hours after the statue's removal was announced, it was vandalized again, with spray-painted "America's first Atlantic slaver".

19003_NT

Statue of Christopher Columbus (Columbus State Community College)

Focus on this artwork and discuss the History.

The statue was created in 1959, commissioned by Anthony De Tomasi. It was offered to the city of San Francisco, which declined the gift. In 1966, De Tomasi installed the sculpture in a park he was developing in Barrington, Illinois, a suburb of Chicago. After several decades there, it fell into disrepair, including one of its eyes shot out.The statue was moved to Columbus in 1986, in three pieces in a Columbus Parks and Recreation office. It was restored by Tibor in 1987 and donated to the college one year later, installed in May 1988. The 2020 George Floyd protests in Columbus created calls to remove the statue, with petitions circulating to also remove other statues of the explorer and to rename the city. The college stated it was looking into removing the statue, and it may be the first to be removed out of the three in the city. On June 16, the school administration announced it will remove and store the statue, and will aim to place a different work of art on the statue's pedestal. The family of the sculptor stated that they are against its removal. Columbus City Council President Pro Tem Elizabeth Brown supported the statue's removal, stating that City Hall's must be next. The statue was vandalized in mid-June, 2020. Hours after the statue's removal was announced, it was vandalized again, with spray-painted "America's first Atlantic slaver".

19004_T

Statue of Johan Peter Emilius Hartmann

How does Statue of Johan Peter Emilius Hartmann elucidate its abstract?

The statue of Johan Peter Emilius Hartmann stands in front of the Garrison Church on Sankt Annæ Plads in Copenhagen, Denmark, commemorating the composer Johan Peter Emilius Hartmann who is buried at the church. The monument was designed by August Saabye and unveiled in 1905.

19004_NT

Statue of Johan Peter Emilius Hartmann

How does this artwork elucidate its abstract?

The statue of Johan Peter Emilius Hartmann stands in front of the Garrison Church on Sankt Annæ Plads in Copenhagen, Denmark, commemorating the composer Johan Peter Emilius Hartmann who is buried at the church. The monument was designed by August Saabye and unveiled in 1905.

19005_T

Statue of Johan Peter Emilius Hartmann

Focus on Statue of Johan Peter Emilius Hartmann and analyze the Description.

The monument consists of a bronze sculpture standing on a granite plinth and measures approximately 450 cm x 200 cm x 256 cm. An aging Hartmann is depicted seated on a chair, studying some sheet music lying in his lap. An inscription on the left side of the foot of the bronze sculpture reads "A W Saabye Fe –", Hartmann's name is inscribed on the front of the granite plinth in carved, gilded lettering. Under it is a bronze relief on a laurel wreath with the inscription "*/1805/+/1900/-" in its centre. Two bronze reliefs on the sides of the plinth show scenes from the opera Liden Kirsten (left) and the ballet Valkyrien (right).

19005_NT

Statue of Johan Peter Emilius Hartmann

Focus on this artwork and analyze the Description.

The monument consists of a bronze sculpture standing on a granite plinth and measures approximately 450 cm x 200 cm x 256 cm. An aging Hartmann is depicted seated on a chair, studying some sheet music lying in his lap. An inscription on the left side of the foot of the bronze sculpture reads "A W Saabye Fe –", Hartmann's name is inscribed on the front of the granite plinth in carved, gilded lettering. Under it is a bronze relief on a laurel wreath with the inscription "*/1805/+/1900/-" in its centre. Two bronze reliefs on the sides of the plinth show scenes from the opera Liden Kirsten (left) and the ballet Valkyrien (right).

19006_T

Statue of Johan Peter Emilius Hartmann

In Statue of Johan Peter Emilius Hartmann, how is the History discussed?

Hartmann was born in a now demolished house at the corner of Bredgade and Sankt Annæ Plads. He began his career as an organist in the Garrison Church and lived for most of his life around the corner in the Zinn House at Kvæsthusgade. He died in 1900 and is buried at the Garrison Church. A committee for the creation of a Harmann monument was established shortly after his death. August Saabye and Vilhelm Petersen was charged with designing the statue and the bronze sculpture was cast in Lauritz Tasmussen's Bronze Foundry in Nørrebro. The monument was unveiled in 1905.

19006_NT

Statue of Johan Peter Emilius Hartmann

In this artwork, how is the History discussed?

Hartmann was born in a now demolished house at the corner of Bredgade and Sankt Annæ Plads. He began his career as an organist in the Garrison Church and lived for most of his life around the corner in the Zinn House at Kvæsthusgade. He died in 1900 and is buried at the Garrison Church. A committee for the creation of a Harmann monument was established shortly after his death. August Saabye and Vilhelm Petersen was charged with designing the statue and the bronze sculpture was cast in Lauritz Tasmussen's Bronze Foundry in Nørrebro. The monument was unveiled in 1905.

19007_T

Nave Nave Mahana

Focus on Nave Nave Mahana and explore the abstract.

Nave Nave Mahana (Tahitian: Delicious day) was made in 1896 by Paul Gauguin in Tahiti. It is kept in the Museum of Fine Arts of Lyon. The painting became part of the collections of the Lyon Museum in 1913.

19007_NT

Nave Nave Mahana

Focus on this artwork and explore the abstract.

Nave Nave Mahana (Tahitian: Delicious day) was made in 1896 by Paul Gauguin in Tahiti. It is kept in the Museum of Fine Arts of Lyon. The painting became part of the collections of the Lyon Museum in 1913.

19008_T

Nave Nave Mahana

Focus on Nave Nave Mahana and explain the History.

In 1891, Gauguin sailed to Polynesia to escape the evils of European civilization and "everything that is artificial and conventional". To his disappointment, Polynesia was already tainted by European influences when he first arrived in his long-dreamed-of paradise.His works of that period are full of quasi-religious symbolism and an exoticized view of the inhabitants of Polynesia. In 1896, he painted Nave Nave Mahana in Tahiti after he came back from a short stay in France.The painting was exhibited at the Grand Palais in Paris as part of the Gauguin the Alchemist exhibition which was held from October 11, 2017 to January 22, 2018.

19008_NT

Nave Nave Mahana

Focus on this artwork and explain the History.

In 1891, Gauguin sailed to Polynesia to escape the evils of European civilization and "everything that is artificial and conventional". To his disappointment, Polynesia was already tainted by European influences when he first arrived in his long-dreamed-of paradise.His works of that period are full of quasi-religious symbolism and an exoticized view of the inhabitants of Polynesia. In 1896, he painted Nave Nave Mahana in Tahiti after he came back from a short stay in France.The painting was exhibited at the Grand Palais in Paris as part of the Gauguin the Alchemist exhibition which was held from October 11, 2017 to January 22, 2018.

19009_T

Nave Nave Mahana

Explore the Subject of this artwork, Nave Nave Mahana.

A group of mysterious young women seem to be gathering fruit from the branches of plants. Their feet are solidly anchored on the red ground. Behind them, we can see a yellow sky. Frozen, distant, silent, with eyes cast down and solemn faces, the figures are perhaps a revealing indication of the artist's isolation and ill health at the time of painting.

19009_NT

Nave Nave Mahana

Explore the Subject of this artwork.

A group of mysterious young women seem to be gathering fruit from the branches of plants. Their feet are solidly anchored on the red ground. Behind them, we can see a yellow sky. Frozen, distant, silent, with eyes cast down and solemn faces, the figures are perhaps a revealing indication of the artist's isolation and ill health at the time of painting.

19010_T

The Seven Works of Mercy (Caravaggio)

Focus on The Seven Works of Mercy (Caravaggio) and discuss the Interpretation.

American art historian John Spike notes that the angel at the center of Caravaggio's altarpiece transmits the grace that inspires humanity to be merciful. Spike also notes that the choice of Samson as an emblem of Giving Drink to the Thirsty is so peculiar as to demand some explanation. The fearsome scourge of the Philistines was a deeply flawed man who accomplished his heroic tasks through the grace of God. When Samson was in danger of dying of thirst, God gave him water to drink from the jawbone of an ass. It is difficult to square this miracle with an allegory of the Seven Acts of Mercy since it was not in fact the work of human charity. Regarding the sharp contrasts of the painting's chiaroscuro, the German art historian Ralf van Bühren explains the bright light as a metaphor for mercy, which "helps the audience to explore mercy in their own lives". Current scholarship has also established the connection between the iconography of "The Seven Works of Mercy" and the cultural, scientific and philosophical circles of the painting's commissioners.

19010_NT

The Seven Works of Mercy (Caravaggio)

Focus on this artwork and discuss the Interpretation.

American art historian John Spike notes that the angel at the center of Caravaggio's altarpiece transmits the grace that inspires humanity to be merciful. Spike also notes that the choice of Samson as an emblem of Giving Drink to the Thirsty is so peculiar as to demand some explanation. The fearsome scourge of the Philistines was a deeply flawed man who accomplished his heroic tasks through the grace of God. When Samson was in danger of dying of thirst, God gave him water to drink from the jawbone of an ass. It is difficult to square this miracle with an allegory of the Seven Acts of Mercy since it was not in fact the work of human charity. Regarding the sharp contrasts of the painting's chiaroscuro, the German art historian Ralf van Bühren explains the bright light as a metaphor for mercy, which "helps the audience to explore mercy in their own lives". Current scholarship has also established the connection between the iconography of "The Seven Works of Mercy" and the cultural, scientific and philosophical circles of the painting's commissioners.

19011_T

The Seven Works of Mercy (Caravaggio)

How does The Seven Works of Mercy (Caravaggio) elucidate its Legacy?

The Seven Works of Mercy was adapted for the theatre in 2016 by the Royal Shakespeare Company. Written by Anders Lustgarten, The Seven Acts of Mercy was directed by Erica Whyman, the Deputy Artistic Director at the Royal Shakespeare Company.Terence Ward created a biographical thriller of the painting, along with a story of how the painting continues to affect lives today, with his book The Guardian of Mercy: How an Extraordinary Painting by Caravaggio Changed an Ordinary Life Today, released by Arcade Publishing in 2016.Irish poet, Catherine Ann Cullen, wrote seven poems on the painting, which were published in The Other Now, published in 2016.

19011_NT

The Seven Works of Mercy (Caravaggio)

How does this artwork elucidate its Legacy?

The Seven Works of Mercy was adapted for the theatre in 2016 by the Royal Shakespeare Company. Written by Anders Lustgarten, The Seven Acts of Mercy was directed by Erica Whyman, the Deputy Artistic Director at the Royal Shakespeare Company.Terence Ward created a biographical thriller of the painting, along with a story of how the painting continues to affect lives today, with his book The Guardian of Mercy: How an Extraordinary Painting by Caravaggio Changed an Ordinary Life Today, released by Arcade Publishing in 2016.Irish poet, Catherine Ann Cullen, wrote seven poems on the painting, which were published in The Other Now, published in 2016.

19012_T

Monumento a la Madre, Guadalajara

Focus on Monumento a la Madre, Guadalajara and analyze the abstract.

The Monumento a la Madre (transl. Monument to the Mother) is installed in Guadalajara, in the Mexican state of Jalisco. It features an indigenous woman looking at the sky while she covers her child. It is a bronze statue that lies on a volcanic rock base. It lies along Plaza 10 de Mayo and it was inaugurated in 1956.

19012_NT

Monumento a la Madre, Guadalajara

Focus on this artwork and analyze the abstract.

The Monumento a la Madre (transl. Monument to the Mother) is installed in Guadalajara, in the Mexican state of Jalisco. It features an indigenous woman looking at the sky while she covers her child. It is a bronze statue that lies on a volcanic rock base. It lies along Plaza 10 de Mayo and it was inaugurated in 1956.

19013_T

Go for the Gold (sculpture)

In Go for the Gold (sculpture), how is the abstract discussed?

Go for the Gold is a sculpture by Jonathan Bronson.

19013_NT

Go for the Gold (sculpture)

In this artwork, how is the abstract discussed?

Go for the Gold is a sculpture by Jonathan Bronson.

19014_T

Go for the Gold (sculpture)

Focus on Go for the Gold (sculpture) and explore the Description.

Two copies are installed in Salt Lake City, Utah, United States. One sculpture is installed on the University of Utah campus and the other is displayed at The Gateway's Olympic Legacy Plaza. Donated by Robert L. Rice and Kenneth O. Melby, the sculptures depicts a skier.

19014_NT

Go for the Gold (sculpture)

Focus on this artwork and explore the Description.

Two copies are installed in Salt Lake City, Utah, United States. One sculpture is installed on the University of Utah campus and the other is displayed at The Gateway's Olympic Legacy Plaza. Donated by Robert L. Rice and Kenneth O. Melby, the sculptures depicts a skier.

19015_T

Girl with Chrysanthemums

Focus on Girl with Chrysanthemums and explain the abstract.

Girl with Chrysanthemums (Polish: Dziewczynka z chryzantemami) is an 1894 oil painting by the Polish post-impressionist painter Olga Boznańska (1865–1940). It resides in the Gallery of Polish 19th-Century Art at the National Museum in Kraków, Poland.

19015_NT

Girl with Chrysanthemums

Focus on this artwork and explain the abstract.

Girl with Chrysanthemums (Polish: Dziewczynka z chryzantemami) is an 1894 oil painting by the Polish post-impressionist painter Olga Boznańska (1865–1940). It resides in the Gallery of Polish 19th-Century Art at the National Museum in Kraków, Poland.

19016_T

Girl with Chrysanthemums

Explore the Description of this artwork, Girl with Chrysanthemums.

The painting depicts a young girl standing alone and holding a bunch of white chrysanthemums in her hands. The girls' pale, thoughtful face has an anxious and solemn expression. She has loose bright-red hair, small red lips and slightly glittery black eyes. She wears a simple blue and grey dress. The girl's figure casts a clearly visible shadow on the wall behind her. The painting lacks sharp lines and contours and the figure of the girl as well as the background consists of multiple spots of colour.

19016_NT

Girl with Chrysanthemums

Explore the Description of this artwork.

The painting depicts a young girl standing alone and holding a bunch of white chrysanthemums in her hands. The girls' pale, thoughtful face has an anxious and solemn expression. She has loose bright-red hair, small red lips and slightly glittery black eyes. She wears a simple blue and grey dress. The girl's figure casts a clearly visible shadow on the wall behind her. The painting lacks sharp lines and contours and the figure of the girl as well as the background consists of multiple spots of colour.

19017_T

Girl with Chrysanthemums

Focus on Girl with Chrysanthemums and discuss the Analysis.

Girl with Chrysanthemums is considered among the most representative works of the artist. It was painted in 1894 in Munich. She was particularly fascinated by the atmospheric paintings of James Abbott McNeill Whistler and became familiarized with the artistic trends in Paris, which made her reject the traditions of the Munich School. She decided to go against the popular conventions concerning child portraits in which children were often depicted wearing elegant and fancy outfits in richly decorated interiors or with landscapes in the background. She introduced her own method of portraying children with neutral background and figures subjected to a thorough coloristic analysis. According to Urszula Kozakowska-Zaucha the painting "creates the atmosphere of contemplation, sadness, mystery and understatement" which are reminiscent of the poems by Maurice Maeterlinck whom Boznańska held in high regard. In 1896, writing for the Gazette des Beaux-Arts William Ritter observed that "it is an enigmatic child who drives mad those who observe her for too long". A sense of innocence of the child, her calm posture and delicate facial features are contrasted with the painting's aura of anxiety and melancholy. The artist expressed the girl's mental state as well as the atmosphere of her surroundings in a subtle way, which reveals her keen interest in the new ideological trends in literature and art of the period.

19017_NT

Girl with Chrysanthemums

Focus on this artwork and discuss the Analysis.

Girl with Chrysanthemums is considered among the most representative works of the artist. It was painted in 1894 in Munich. She was particularly fascinated by the atmospheric paintings of James Abbott McNeill Whistler and became familiarized with the artistic trends in Paris, which made her reject the traditions of the Munich School. She decided to go against the popular conventions concerning child portraits in which children were often depicted wearing elegant and fancy outfits in richly decorated interiors or with landscapes in the background. She introduced her own method of portraying children with neutral background and figures subjected to a thorough coloristic analysis. According to Urszula Kozakowska-Zaucha the painting "creates the atmosphere of contemplation, sadness, mystery and understatement" which are reminiscent of the poems by Maurice Maeterlinck whom Boznańska held in high regard. In 1896, writing for the Gazette des Beaux-Arts William Ritter observed that "it is an enigmatic child who drives mad those who observe her for too long". A sense of innocence of the child, her calm posture and delicate facial features are contrasted with the painting's aura of anxiety and melancholy. The artist expressed the girl's mental state as well as the atmosphere of her surroundings in a subtle way, which reveals her keen interest in the new ideological trends in literature and art of the period.

19018_T

Reapers Resting in a Wheat Field

How does Reapers Resting in a Wheat Field elucidate its abstract?

Reapers Resting in a Wheat Field is a late 19th-century painting by American impressionist John Singer Sargent. Done in oil on canvas, the painting a scene set in a wheat field near the village of Broadway, Worcestershire.

19018_NT

Reapers Resting in a Wheat Field

How does this artwork elucidate its abstract?

Reapers Resting in a Wheat Field is a late 19th-century painting by American impressionist John Singer Sargent. Done in oil on canvas, the painting a scene set in a wheat field near the village of Broadway, Worcestershire.

19019_T

Reapers Resting in a Wheat Field

Focus on Reapers Resting in a Wheat Field and analyze the Description.

The painting depicts a group of English wheat farmers resting in their field during harvest. The titular reapers are seated in a semicircle, with their sickles stuck in the ground. As is evident by the stacks of wheat in the field, the harvest is well underway. The sky in the background is slightly overcast, while a brace of trees provides a stark, green backdrop that contrasts the yellow field of wheat. Aspects of the painting consist of long, wavy brushstrokes, a style in tune with Sagent's impressionist proclivities.Sargent spent the fall of 1885 in the Cotswolds of Southern England, where the image was painted.

19019_NT

Reapers Resting in a Wheat Field

Focus on this artwork and analyze the Description.

The painting depicts a group of English wheat farmers resting in their field during harvest. The titular reapers are seated in a semicircle, with their sickles stuck in the ground. As is evident by the stacks of wheat in the field, the harvest is well underway. The sky in the background is slightly overcast, while a brace of trees provides a stark, green backdrop that contrasts the yellow field of wheat. Aspects of the painting consist of long, wavy brushstrokes, a style in tune with Sagent's impressionist proclivities.Sargent spent the fall of 1885 in the Cotswolds of Southern England, where the image was painted.

19020_T

Statue of Francis Borgia, Charles Bridge

In Statue of Francis Borgia, Charles Bridge, how is the abstract discussed?

The statue of Francis Borgia (Czech: Sousoší svatého Františka Borgiáše) is an outdoor sculpture by Ferdinand Brokoff, installed on the south side of the Charles Bridge in Prague, Czech Republic.

19020_NT

Statue of Francis Borgia, Charles Bridge

In this artwork, how is the abstract discussed?

The statue of Francis Borgia (Czech: Sousoší svatého Františka Borgiáše) is an outdoor sculpture by Ferdinand Brokoff, installed on the south side of the Charles Bridge in Prague, Czech Republic.

19021_T

The Rape of Europa (Titian)

Focus on The Rape of Europa (Titian) and explore the abstract.

The Rape of Europa is a painting by the Venetian artist Titian, painted ca. 1560–1562. It is in the permanent collection of the Isabella Stewart Gardner Museum of Boston, Massachusetts. The oil-on-canvas painting measures 178 by 205 centimetres (70 in × 81 in).

19021_NT

The Rape of Europa (Titian)

Focus on this artwork and explore the abstract.

The Rape of Europa is a painting by the Venetian artist Titian, painted ca. 1560–1562. It is in the permanent collection of the Isabella Stewart Gardner Museum of Boston, Massachusetts. The oil-on-canvas painting measures 178 by 205 centimetres (70 in × 81 in).

19022_T

The Rape of Europa (Titian)

Focus on The Rape of Europa (Titian) and explain the Subject.

The title of the painting refers to the mythological story of the abduction of Europa by Zeus (Jupiter to the Romans). In the myth, the god assumed the form of a bull and enticed Europa to climb onto his back. Once there, the bull rode into the sea and carried her to Crete, where he revealed his real identity. Europa became the first Queen of Crete, and had three children with Zeus. When Zeus finally departed Crete, he gifted her three parting gifts, a necklace, a javelin, and a bronze guard. Titian is unequivocal about the fact that this is a scene of rape (abduction): Europa is sprawled helplessly on her back, her clothes in disarray. Furthermore, the position of legs indicates that she is kicking and fighting and attempting to free herself from Zeus. The painting depicts Europa on the back of the bull, just off the shore of her homeland. Her attendants in the foreground are wearing the same pink garment that Europa has in her hands. Although the source of Titian's inspiration is thought to have been based on the scene from Book II in Ovid's Metamorphoses, a more direct influence might be a description of a painting of the rape of Europa found in Achilles Tatius's novel, Leucippe and Clitophon. Achilles Tatius's novel was translated into Italian and printed in 1546 in Venice, only a few years before Titian was thought to have painted The Rape of Europa. Achilles Tatius's description of the dolphins, Europa's scarf, a Cupid, Europa's covering, and "her position on the back of the bull—not with a leg on each side but with her feet on the bull’s right side and her left hand on his horn" is echoed in Titian's portrayal of the same scene. Ovid's translation, notes the color of the bull and the postion of her body, on the bull. "His color is like snow and "Muscles bulge around his neck". This is similar to the physical details Titian shows.

19022_NT

The Rape of Europa (Titian)

Focus on this artwork and explain the Subject.

The title of the painting refers to the mythological story of the abduction of Europa by Zeus (Jupiter to the Romans). In the myth, the god assumed the form of a bull and enticed Europa to climb onto his back. Once there, the bull rode into the sea and carried her to Crete, where he revealed his real identity. Europa became the first Queen of Crete, and had three children with Zeus. When Zeus finally departed Crete, he gifted her three parting gifts, a necklace, a javelin, and a bronze guard. Titian is unequivocal about the fact that this is a scene of rape (abduction): Europa is sprawled helplessly on her back, her clothes in disarray. Furthermore, the position of legs indicates that she is kicking and fighting and attempting to free herself from Zeus. The painting depicts Europa on the back of the bull, just off the shore of her homeland. Her attendants in the foreground are wearing the same pink garment that Europa has in her hands. Although the source of Titian's inspiration is thought to have been based on the scene from Book II in Ovid's Metamorphoses, a more direct influence might be a description of a painting of the rape of Europa found in Achilles Tatius's novel, Leucippe and Clitophon. Achilles Tatius's novel was translated into Italian and printed in 1546 in Venice, only a few years before Titian was thought to have painted The Rape of Europa. Achilles Tatius's description of the dolphins, Europa's scarf, a Cupid, Europa's covering, and "her position on the back of the bull—not with a leg on each side but with her feet on the bull’s right side and her left hand on his horn" is echoed in Titian's portrayal of the same scene. Ovid's translation, notes the color of the bull and the postion of her body, on the bull. "His color is like snow and "Muscles bulge around his neck". This is similar to the physical details Titian shows.

19023_T

The Rape of Europa (Titian)

Explore the Scholarly Interpretation of this artwork, The Rape of Europa (Titian).

Although the act of sexual violence is not depicted in the painting, it is implied through Europa's open-legged posture and her expression of fear as she is dragged off by Zeus. Her danger is also implied by her waving a red silk scarf and by the sea monster in the foreground of the painting. In other parts of the painting, two putti in the sky chase after Europa, and one rides on a dolphin in the sea.Yael Even has theorized that Titian could have created this painting not due to any particular attachment to the subject, but in order to assert his abilities as a painter.

19023_NT

The Rape of Europa (Titian)

Explore the Scholarly Interpretation of this artwork.

Although the act of sexual violence is not depicted in the painting, it is implied through Europa's open-legged posture and her expression of fear as she is dragged off by Zeus. Her danger is also implied by her waving a red silk scarf and by the sea monster in the foreground of the painting. In other parts of the painting, two putti in the sky chase after Europa, and one rides on a dolphin in the sea.Yael Even has theorized that Titian could have created this painting not due to any particular attachment to the subject, but in order to assert his abilities as a painter.

19024_T

The Rape of Europa (Titian)

Focus on The Rape of Europa (Titian) and discuss the Provenance.

The painting was one of the "poesie" painted by Titian for Philip II of Spain. With Diana and Callisto and Diana and Actaeon, both now shared by London and Edinburgh; it was one of three Titian poesie given by Philip V of Spain to the French ambassador, the Duke of Gramont, who in turn presented them to Philippe II, Duke of Orléans, Regent of France from 1715 to 1723. For most of the 18th century it was in the Orleans Collection in Paris. It was purchased by Bernard Berenson on behalf of art collector Isabella Stewart Gardner in 1896.

19024_NT

The Rape of Europa (Titian)

Focus on this artwork and discuss the Provenance.

The painting was one of the "poesie" painted by Titian for Philip II of Spain. With Diana and Callisto and Diana and Actaeon, both now shared by London and Edinburgh; it was one of three Titian poesie given by Philip V of Spain to the French ambassador, the Duke of Gramont, who in turn presented them to Philippe II, Duke of Orléans, Regent of France from 1715 to 1723. For most of the 18th century it was in the Orleans Collection in Paris. It was purchased by Bernard Berenson on behalf of art collector Isabella Stewart Gardner in 1896.

19025_T

The Rape of Europa (Titian)

How does The Rape of Europa (Titian) elucidate its Titian's poesie series for Philip II?

Danaë, delivered to Philip 1553, now Wellington Collection, with earlier and later versions. Venus and Adonis, Museo del Prado, delivered 1554, and several other versions The Rape of Europa, c. 1560–1562, Isabella Stewart Gardner Museum Diana and Actaeon, 1556–1559, owned jointly by London's National Gallery and the National Gallery of Scotland in Edinburgh Diana and Callisto, 1556–1559, owned jointly by London's National Gallery and the National Gallery of Scotland in Edinburgh Perseus and Andromeda, Wallace Collection, c. 1553–1562 The Death of Actaeon, National Gallery, never delivered and not always counted in the series, c. 1559 onwards

19025_NT

The Rape of Europa (Titian)

How does this artwork elucidate its Titian's poesie series for Philip II?

Danaë, delivered to Philip 1553, now Wellington Collection, with earlier and later versions. Venus and Adonis, Museo del Prado, delivered 1554, and several other versions The Rape of Europa, c. 1560–1562, Isabella Stewart Gardner Museum Diana and Actaeon, 1556–1559, owned jointly by London's National Gallery and the National Gallery of Scotland in Edinburgh Diana and Callisto, 1556–1559, owned jointly by London's National Gallery and the National Gallery of Scotland in Edinburgh Perseus and Andromeda, Wallace Collection, c. 1553–1562 The Death of Actaeon, National Gallery, never delivered and not always counted in the series, c. 1559 onwards

19026_T

The Rape of Europa (Titian)

Focus on The Rape of Europa (Titian) and analyze the Exhibitions.

The painting was included in the 1857 Manchester Art Treasures exhibition. From August 12, 2021, to January 2, 2022, the Isabella Stewart Gardner Museum displayed all six Titian poesie in an exhibit titled Titian: Women, Myth & Power. It was the first time since the 16th century that the six paintings were physically united.

19026_NT

The Rape of Europa (Titian)

Focus on this artwork and analyze the Exhibitions.

The painting was included in the 1857 Manchester Art Treasures exhibition. From August 12, 2021, to January 2, 2022, the Isabella Stewart Gardner Museum displayed all six Titian poesie in an exhibit titled Titian: Women, Myth & Power. It was the first time since the 16th century that the six paintings were physically united.

19027_T

L'Absinthe

In L'Absinthe, how is the abstract discussed?

L'Absinthe (English: The Absinthe Drinker or Glass of Absinthe) is a painting by Edgar Degas, painted between 1875 and 1876. Its original title was Dans un Café, a name often used today.Other early titles were A sketch of a French Café and Figures at Café. Then, when exhibited in London in 1893, the title was changed to L'Absinthe, the name by which the painting is now commonly known. It is in the permanent collection of the Musée d'Orsay in Paris.

19027_NT

L'Absinthe

In this artwork, how is the abstract discussed?

L'Absinthe (English: The Absinthe Drinker or Glass of Absinthe) is a painting by Edgar Degas, painted between 1875 and 1876. Its original title was Dans un Café, a name often used today.Other early titles were A sketch of a French Café and Figures at Café. Then, when exhibited in London in 1893, the title was changed to L'Absinthe, the name by which the painting is now commonly known. It is in the permanent collection of the Musée d'Orsay in Paris.

19028_T

L'Absinthe

Focus on L'Absinthe and explore the Description.

Painted in 1875–76, the work portrays a woman and man sitting side-by-side, drinking a glass of absinthe. They appear lethargic and lonely. The man, wearing a hat, looks to the right off the edge of the canvas, while the woman, dressed more formally in fashionable dress and hat, stares vacantly downward. A glass filled with absinthe is on the table in front of her. The models used in the painting are Ellen Andrée, an actress who also appeared in Édouard Manet's paintings Chez le père Lathuille and Plum Brandy, and Marcellin Desboutin, a painter and etcher. The café where they are taking their refreshment is the Café de la Nouvelle-Athènes in Paris.

19028_NT

L'Absinthe

Focus on this artwork and explore the Description.

Painted in 1875–76, the work portrays a woman and man sitting side-by-side, drinking a glass of absinthe. They appear lethargic and lonely. The man, wearing a hat, looks to the right off the edge of the canvas, while the woman, dressed more formally in fashionable dress and hat, stares vacantly downward. A glass filled with absinthe is on the table in front of her. The models used in the painting are Ellen Andrée, an actress who also appeared in Édouard Manet's paintings Chez le père Lathuille and Plum Brandy, and Marcellin Desboutin, a painter and etcher. The café where they are taking their refreshment is the Café de la Nouvelle-Athènes in Paris.

19029_T

L'Absinthe

Focus on L'Absinthe and explain the Reception.

At its first showing in 1876, the picture was panned by critics, who called it ugly and disgusting. It was put into storage until being exhibited again in 1892, but was again treated with derision. The painting was shown again at the Grafton Gallery in England in 1893, this time entitled L'Absinthe, where it sparked even greater controversy. The people and the absinthe represented in the painting were considered by English critics to be shockingly degraded and uncouth. Many regarded the painting as a blow to morality; this was the general view of such Victorians as Sir William Blake Richmond and Walter Crane when shown the painting in London. That reaction was typical of the age, revealing the deep suspicion with which Victorian England had regarded art in France since the early days of the Barbizon School, and the desire to find a morally uplifting lesson in works of art. Many English critics viewed the picture as a warning lesson against absinthe, and the French in general. The comment by George Moore on the woman depicted was: "What a whore!" He added, "the tale is not a pleasant one, but it is a lesson". However, in his book Modern Painting, Moore regretted assigning a moral lesson to the work, claiming that "the picture is merely a work of art, and has nothing to do with drink or sociology."

19029_NT

L'Absinthe

Focus on this artwork and explain the Reception.

At its first showing in 1876, the picture was panned by critics, who called it ugly and disgusting. It was put into storage until being exhibited again in 1892, but was again treated with derision. The painting was shown again at the Grafton Gallery in England in 1893, this time entitled L'Absinthe, where it sparked even greater controversy. The people and the absinthe represented in the painting were considered by English critics to be shockingly degraded and uncouth. Many regarded the painting as a blow to morality; this was the general view of such Victorians as Sir William Blake Richmond and Walter Crane when shown the painting in London. That reaction was typical of the age, revealing the deep suspicion with which Victorian England had regarded art in France since the early days of the Barbizon School, and the desire to find a morally uplifting lesson in works of art. Many English critics viewed the picture as a warning lesson against absinthe, and the French in general. The comment by George Moore on the woman depicted was: "What a whore!" He added, "the tale is not a pleasant one, but it is a lesson". However, in his book Modern Painting, Moore regretted assigning a moral lesson to the work, claiming that "the picture is merely a work of art, and has nothing to do with drink or sociology."

19030_T

Portrait of Mrs. Bodolphe

Explore the abstract of this artwork, Portrait of Mrs. Bodolphe.

Portrait of Mrs. Bodolphe is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted in 1643 as half of a pair of pendant marriage portraits and is still together with its pendant in the Yale University Art Gallery, New Haven, Connecticut.

19030_NT

Portrait of Mrs. Bodolphe

Explore the abstract of this artwork.

Portrait of Mrs. Bodolphe is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted in 1643 as half of a pair of pendant marriage portraits and is still together with its pendant in the Yale University Art Gallery, New Haven, Connecticut.

19031_T

Portrait of Mrs. Bodolphe

Focus on Portrait of Mrs. Bodolphe and discuss the Painting.

The painting is one of several portrait paintings of wealthy women of Haarlem that Hals made as female halves of marriage pendants, but this one seems to be executed for a second marriage or perhaps 50th wedding anniversary, considering the age of 72 of the sitter. The sitter herself remains unknown, though it and its pendant have been traditionally called "Bodolphe".

19031_NT

Portrait of Mrs. Bodolphe

Focus on this artwork and discuss the Painting.

The painting is one of several portrait paintings of wealthy women of Haarlem that Hals made as female halves of marriage pendants, but this one seems to be executed for a second marriage or perhaps 50th wedding anniversary, considering the age of 72 of the sitter. The sitter herself remains unknown, though it and its pendant have been traditionally called "Bodolphe".

19032_T

Portrait of Mrs. Bodolphe

How does Portrait of Mrs. Bodolphe elucidate its Provenance?

In his 1910 catalog of Frans Hals works Hofstede de Groot wrote:158. MADAME BODOLPHE. B. 56 ; M. 106. Three-quarter- length, life size. An old woman sits in a carved chair, seen in full face, and looking at the spectator. She leans her left hand on the arm of her chair and holds her gloves in her right hand. She wears a dark dress trimmed with fur, a white ruff, and a close-fitting white linen cap. [Pendant to 157.] Signed on the left with the monogram, and inscribed, "AETAT SVAE 72 AN 1643 "; canvas, 48 inches by 38 1/2 inches. Exhibited by the London dealers T. Agnew and Sons, November and December 1906. Exhibited at the Hudson-Fulton Celebration, Metropolitan Museum, New York, 1909, No. 34. Sale. Odier, Paris, March 25, 1861. In the collection of Count Andre Mniszech, Paris. In the collection of J. Pierpont Morgan; exhibited on loan in the Metropolitan Museum, New York. This painting came into the collection via the bequest of school alumnus Stephen Carlton Clark in 1961. It was selected in 1939 along with Portrait of a Man with a Beer Jug by the New York art historian Thomas Craven to contrast Hals' earlier, more colorful genre work with his more subdued later portraits. Recently research into the costumes of Haarlemmers in the 17th-century has revealed that portraits with small wrist collars like hers, or indeed lacking them as her husband does, may indicate the Mennonite faith. This clue narrows the field for an eventual identification.

19032_NT

Portrait of Mrs. Bodolphe

How does this artwork elucidate its Provenance?

In his 1910 catalog of Frans Hals works Hofstede de Groot wrote:158. MADAME BODOLPHE. B. 56 ; M. 106. Three-quarter- length, life size. An old woman sits in a carved chair, seen in full face, and looking at the spectator. She leans her left hand on the arm of her chair and holds her gloves in her right hand. She wears a dark dress trimmed with fur, a white ruff, and a close-fitting white linen cap. [Pendant to 157.] Signed on the left with the monogram, and inscribed, "AETAT SVAE 72 AN 1643 "; canvas, 48 inches by 38 1/2 inches. Exhibited by the London dealers T. Agnew and Sons, November and December 1906. Exhibited at the Hudson-Fulton Celebration, Metropolitan Museum, New York, 1909, No. 34. Sale. Odier, Paris, March 25, 1861. In the collection of Count Andre Mniszech, Paris. In the collection of J. Pierpont Morgan; exhibited on loan in the Metropolitan Museum, New York. This painting came into the collection via the bequest of school alumnus Stephen Carlton Clark in 1961. It was selected in 1939 along with Portrait of a Man with a Beer Jug by the New York art historian Thomas Craven to contrast Hals' earlier, more colorful genre work with his more subdued later portraits. Recently research into the costumes of Haarlemmers in the 17th-century has revealed that portraits with small wrist collars like hers, or indeed lacking them as her husband does, may indicate the Mennonite faith. This clue narrows the field for an eventual identification.

19033_T

Statue of John Witherspoon

Focus on Statue of John Witherspoon and analyze the abstract.

Doctor John Witherspoon is a bronze sculpture by William Couper of John Witherspoon, Presbyterian minister and a signatory of the United States Declaration of Independence. It was dedicated May 20, 1909, by the National Presbyterian Church, and relocated in 1966. It is located at Connecticut Avenue and N Street, N.W. Washington, D.C.As part of American Revolution Statuary in Washington, D.C., the statue is listed on the National Register of Historic Places.

19033_NT

Statue of John Witherspoon

Focus on this artwork and analyze the abstract.

Doctor John Witherspoon is a bronze sculpture by William Couper of John Witherspoon, Presbyterian minister and a signatory of the United States Declaration of Independence. It was dedicated May 20, 1909, by the National Presbyterian Church, and relocated in 1966. It is located at Connecticut Avenue and N Street, N.W. Washington, D.C.As part of American Revolution Statuary in Washington, D.C., the statue is listed on the National Register of Historic Places.

19034_T

The Family of Sigismund I of Poland

In The Family of Sigismund I of Poland, how is the abstract discussed?

The Family of Sigismund I of Poland or Portrait Miniatures of the Jagiellon Family (Polish: Miniatury portretowe rodziny Jagiellonów) is a set of ten portrait miniatures of the Jagiellonian dynasty, produced in the studio of Lucas Cranach the Younger during Bona Sforza's time as queen in Poland after she had married Sigismund I of Poland, c. 1553–1555. They are all now in the Czartoryski Museum. From left to right, the top row shows Sigismund I the Old of Poland, Bona Sforza, Sigismund II Augustus of Poland (1520–1572), Sigismund II's first wife Elizabeth of Austria, Queen of Poland and Sigismund II's second wife Barbara Radziwiłł. From left to right the bottom row shows Sigismund II's third wife Catherine of Austria (1533–1572) and his daughters Isabella (1519–1559), Catherine (1526–1583), Sophia (1522–1575) and Anna (1523–1596).

19034_NT

The Family of Sigismund I of Poland

In this artwork, how is the abstract discussed?

The Family of Sigismund I of Poland or Portrait Miniatures of the Jagiellon Family (Polish: Miniatury portretowe rodziny Jagiellonów) is a set of ten portrait miniatures of the Jagiellonian dynasty, produced in the studio of Lucas Cranach the Younger during Bona Sforza's time as queen in Poland after she had married Sigismund I of Poland, c. 1553–1555. They are all now in the Czartoryski Museum. From left to right, the top row shows Sigismund I the Old of Poland, Bona Sforza, Sigismund II Augustus of Poland (1520–1572), Sigismund II's first wife Elizabeth of Austria, Queen of Poland and Sigismund II's second wife Barbara Radziwiłł. From left to right the bottom row shows Sigismund II's third wife Catherine of Austria (1533–1572) and his daughters Isabella (1519–1559), Catherine (1526–1583), Sophia (1522–1575) and Anna (1523–1596).

19035_T

Statue of André Bessette

Focus on Statue of André Bessette and explore the abstract.

The Statue of André Bessette (French: Monument au Frère André) is an outdoor bronze sculpture in Place du frère Andre, Montreal, Quebec, Canada. The monument is of André Bessette, more commonly known as Brother André (French: Frère André), and since his canonization as Saint André. The statue was created by Canadian sculptor Émile Brunet. It was inaugurated on November 2, 1986, in the presence of Mayor Jean Drapeau.

19035_NT

Statue of André Bessette

Focus on this artwork and explore the abstract.

The Statue of André Bessette (French: Monument au Frère André) is an outdoor bronze sculpture in Place du frère Andre, Montreal, Quebec, Canada. The monument is of André Bessette, more commonly known as Brother André (French: Frère André), and since his canonization as Saint André. The statue was created by Canadian sculptor Émile Brunet. It was inaugurated on November 2, 1986, in the presence of Mayor Jean Drapeau.

19036_T

Girl Reading a Letter at an Open Window

Focus on Girl Reading a Letter at an Open Window and explain the abstract.

Girl Reading a Letter at an Open Window (Dutch: Brieflezend meisje bij het venster), also known as Lady reading at an open window, is an oil painting by Dutch Golden Age painter Johannes Vermeer. Completed in approximately 1657–1659, the painting is on display at the Gemäldegalerie in Dresden, which has held it since 1742. For many years, the attribution of the painting—which features a young Dutch woman reading a letter before an open window—was lost, with first Rembrandt and then Pieter de Hooch being credited for the work before it was properly identified in 1880. After World War II, the painting was briefly in possession of the Soviet Union. In 2017, tests revealed that the painting had been altered after the painter's death. The painting was laboriously restored to its original composition between 2018 and 2021 using scalpel and microscope. It now shows Cupid in a “painting within a painting” on the wall, and since the restoration, hangs at the museum in Dresden as Vermeer painted it.

19036_NT

Girl Reading a Letter at an Open Window

Focus on this artwork and explain the abstract.

Girl Reading a Letter at an Open Window (Dutch: Brieflezend meisje bij het venster), also known as Lady reading at an open window, is an oil painting by Dutch Golden Age painter Johannes Vermeer. Completed in approximately 1657–1659, the painting is on display at the Gemäldegalerie in Dresden, which has held it since 1742. For many years, the attribution of the painting—which features a young Dutch woman reading a letter before an open window—was lost, with first Rembrandt and then Pieter de Hooch being credited for the work before it was properly identified in 1880. After World War II, the painting was briefly in possession of the Soviet Union. In 2017, tests revealed that the painting had been altered after the painter's death. The painting was laboriously restored to its original composition between 2018 and 2021 using scalpel and microscope. It now shows Cupid in a “painting within a painting” on the wall, and since the restoration, hangs at the museum in Dresden as Vermeer painted it.

19037_T

Girl Reading a Letter at an Open Window

Explore the Composition of this artwork, Girl Reading a Letter at an Open Window.

The painting as seen for nearly 300 years depicts a young Dutch blonde girl standing at an open window, in profile, reading a letter. A red drapery hangs over the top of the window glass, which has opened inward and which, in its lower right quadrant, reflects her. A tasseled ochre drapery in the foreground right, partially closed, masks a quarter of the room in which she stands. The color of the drape reflects the green of the woman's gown and the shades of the fruit tilted in a bowl on the red-draped table. On the table beside the bowl, a peach is cut in half, revealing its pit. X-ray examination of the painting in the 21st century revealed an image on the wall behind the girl. Further work by conservator Christoph Schölzel in 2017 revealed that varnish on that part of the painting differed from the rest of the painting, and was clearly applied after Vermeer died. In 2019, it was decided by the Staatliche Kunstsammlungen Dresden (State Arts Collection in Dresden) to restore the painting to its original composition by Vermeer. The painting of Cupid on the wall behind the girl resembles a painting from Vermeer’s own collection of art, a painting by Cesar van Everdingen.The restoration provides an opportunity to reconsider the painting. The painting of Cupid on the wall may suggest that the girl is reading a love letter. Stephan Koja, director of the Gemäldegalerie Alte Meister (Old Masters Picture Gallery), said in a statement that “Beyond the superficially amorous context, it is a fundamental statement about the essence of true love.”

19037_NT

Girl Reading a Letter at an Open Window

Explore the Composition of this artwork.

The painting as seen for nearly 300 years depicts a young Dutch blonde girl standing at an open window, in profile, reading a letter. A red drapery hangs over the top of the window glass, which has opened inward and which, in its lower right quadrant, reflects her. A tasseled ochre drapery in the foreground right, partially closed, masks a quarter of the room in which she stands. The color of the drape reflects the green of the woman's gown and the shades of the fruit tilted in a bowl on the red-draped table. On the table beside the bowl, a peach is cut in half, revealing its pit. X-ray examination of the painting in the 21st century revealed an image on the wall behind the girl. Further work by conservator Christoph Schölzel in 2017 revealed that varnish on that part of the painting differed from the rest of the painting, and was clearly applied after Vermeer died. In 2019, it was decided by the Staatliche Kunstsammlungen Dresden (State Arts Collection in Dresden) to restore the painting to its original composition by Vermeer. The painting of Cupid on the wall behind the girl resembles a painting from Vermeer’s own collection of art, a painting by Cesar van Everdingen.The restoration provides an opportunity to reconsider the painting. The painting of Cupid on the wall may suggest that the girl is reading a love letter. Stephan Koja, director of the Gemäldegalerie Alte Meister (Old Masters Picture Gallery), said in a statement that “Beyond the superficially amorous context, it is a fundamental statement about the essence of true love.”

19038_T

Girl Reading a Letter at an Open Window

Focus on Girl Reading a Letter at an Open Window and discuss the Symbolism and technique.

In Vermeer, 1632–1675 (2000), Norbert Schneider wrote that the open window represents "the woman's longing to extend her domestic sphere" beyond the constraints of her home and society, while the fruit "is a symbol of extramarital relations." Schneider concludes that the letter is a love letter either planning or continuing her illicit relationship. He supports the conclusion by observing, as revealed by x-rays of the canvas, that the work as produced by Vermeer portrayed painting of a putto, likely representing Cupid, hanging on the wall in the upper right portion of the piece. Another person painted over the image in the late 18th century so that the wall appeared blank. The overpainting was reversed by a restoration project conducted by the museum Staatliche Kunstsammlungen Dresden from 2018-2021.The draperies, hanging in the right foreground, are not an uncommon element for Vermeer, appearing in seven of his paintings. It is possible that the curtain on the right is referencing the common use of curtains to protect paintings. Even more common, the repoussoir appears in 25, with Girl Reading a Letter at an Open Window, one of three which feature a rug-covered table or balustrade between the figure and the viewer. It was the last painting in which Vermeer featured this device.This painting and Officer and Laughing Girl represent the earliest known examples of the pointillé (not to be confused with pointillism) for which Vermeer became known. John Michael Montias in Vermeer and His Milieu (1991) points out the "tiny white globules" that can be seen in the brighter parts of both paintings, including the still life elements of both and the blond hair specifically in this work. This use of light may support speculation among art historians that Vermeer used a mechanical optical device, such as a double concave lens mounted in a camera obscura, to help him achieve realistic light patterns in his paintings.

19038_NT

Girl Reading a Letter at an Open Window

Focus on this artwork and discuss the Symbolism and technique.

In Vermeer, 1632–1675 (2000), Norbert Schneider wrote that the open window represents "the woman's longing to extend her domestic sphere" beyond the constraints of her home and society, while the fruit "is a symbol of extramarital relations." Schneider concludes that the letter is a love letter either planning or continuing her illicit relationship. He supports the conclusion by observing, as revealed by x-rays of the canvas, that the work as produced by Vermeer portrayed painting of a putto, likely representing Cupid, hanging on the wall in the upper right portion of the piece. Another person painted over the image in the late 18th century so that the wall appeared blank. The overpainting was reversed by a restoration project conducted by the museum Staatliche Kunstsammlungen Dresden from 2018-2021.The draperies, hanging in the right foreground, are not an uncommon element for Vermeer, appearing in seven of his paintings. It is possible that the curtain on the right is referencing the common use of curtains to protect paintings. Even more common, the repoussoir appears in 25, with Girl Reading a Letter at an Open Window, one of three which feature a rug-covered table or balustrade between the figure and the viewer. It was the last painting in which Vermeer featured this device.This painting and Officer and Laughing Girl represent the earliest known examples of the pointillé (not to be confused with pointillism) for which Vermeer became known. John Michael Montias in Vermeer and His Milieu (1991) points out the "tiny white globules" that can be seen in the brighter parts of both paintings, including the still life elements of both and the blond hair specifically in this work. This use of light may support speculation among art historians that Vermeer used a mechanical optical device, such as a double concave lens mounted in a camera obscura, to help him achieve realistic light patterns in his paintings.

19039_T

Girl Reading a Letter at an Open Window

How does Girl Reading a Letter at an Open Window elucidate its Restoration in 21st century?

A major restoration completed in 2021 shows a painting of Cupid on the wall behind the reading girl, as well as brighter colors in the painting. Many have changed their view or interpretation of this painting, now that the “painting within a painting” has been revealed as part of the original work, covered up by someone long after Vermeer died. "Scholars believe that the newly revealed picture is meant to indicate that the woman is reading a love letter." and now the work is again on display for the public to offer their views.

19039_NT

Girl Reading a Letter at an Open Window

How does this artwork elucidate its Restoration in 21st century?

A major restoration completed in 2021 shows a painting of Cupid on the wall behind the reading girl, as well as brighter colors in the painting. Many have changed their view or interpretation of this painting, now that the “painting within a painting” has been revealed as part of the original work, covered up by someone long after Vermeer died. "Scholars believe that the newly revealed picture is meant to indicate that the woman is reading a love letter." and now the work is again on display for the public to offer their views.

19040_T

Girl Reading a Letter at an Open Window

Focus on Girl Reading a Letter at an Open Window and analyze the History.

Vermeer completed the painting in approximately 1657–59. In 1742, Augustus III of Poland, Elector of Saxony, purchased the painting under the mistaken belief that it had been painted by Rembrandt. In 1826, it was mis-attributed again, to Pieter de Hooch. It was so labelled when French art critic Théophile Thoré-Bürger came upon it, recognizing it as one of the rare works of the Dutch painter and restoring its proper attribution in 1860. Girl Reading a Letter at an Open Window was among the paintings rescued from destruction during the bombing of Dresden in World War II. The painting was stored, with other works of art, in a tunnel in Saxony; when the Red Army encountered them, they took them. The Soviets portrayed this as an act of rescue; some others as an act of plunder. Either way, after the death of Joseph Stalin, the Soviets decided in 1955 to return the art to Germany, "for the purpose of strengthening and furthering the progress of friendship between the Soviet and German peoples." Aggrieved at the thought of losing hundreds of paintings, art historians and museum curators in the Soviet Union suggested that "in acknowledgment for saving and returning the world-famous treasures of the Dresden Gallery" the Germans should perhaps donate to them Girl Reading a Letter at an Open Window and Sleeping Venus by Giorgione. The Germans did not take to the idea, and the painting was returned. Well-preserved, it is on display at the Gemäldegalerie in Dresden.

19040_NT

Girl Reading a Letter at an Open Window

Focus on this artwork and analyze the History.

Vermeer completed the painting in approximately 1657–59. In 1742, Augustus III of Poland, Elector of Saxony, purchased the painting under the mistaken belief that it had been painted by Rembrandt. In 1826, it was mis-attributed again, to Pieter de Hooch. It was so labelled when French art critic Théophile Thoré-Bürger came upon it, recognizing it as one of the rare works of the Dutch painter and restoring its proper attribution in 1860. Girl Reading a Letter at an Open Window was among the paintings rescued from destruction during the bombing of Dresden in World War II. The painting was stored, with other works of art, in a tunnel in Saxony; when the Red Army encountered them, they took them. The Soviets portrayed this as an act of rescue; some others as an act of plunder. Either way, after the death of Joseph Stalin, the Soviets decided in 1955 to return the art to Germany, "for the purpose of strengthening and furthering the progress of friendship between the Soviet and German peoples." Aggrieved at the thought of losing hundreds of paintings, art historians and museum curators in the Soviet Union suggested that "in acknowledgment for saving and returning the world-famous treasures of the Dresden Gallery" the Germans should perhaps donate to them Girl Reading a Letter at an Open Window and Sleeping Venus by Giorgione. The Germans did not take to the idea, and the painting was returned. Well-preserved, it is on display at the Gemäldegalerie in Dresden.

19041_T

Girl Reading a Letter at an Open Window

In Girl Reading a Letter at an Open Window, how is the Legacy discussed?

This painting has been an inspiration to other artists, such as Tom Hunter, whose artistic photo interpretation of the somber tone of emotion and the bowl of fruit shows a young mother and her child reading an eviction notice. With the major restoration of the original painting by Vermeer, the question has been posed: “Will Tom Hunter now revisit his Kobal Photographic Portrait Award winning work to reveal a hidden image on the wall?”

19041_NT

Girl Reading a Letter at an Open Window

In this artwork, how is the Legacy discussed?

This painting has been an inspiration to other artists, such as Tom Hunter, whose artistic photo interpretation of the somber tone of emotion and the bowl of fruit shows a young mother and her child reading an eviction notice. With the major restoration of the original painting by Vermeer, the question has been posed: “Will Tom Hunter now revisit his Kobal Photographic Portrait Award winning work to reveal a hidden image on the wall?”

19042_T

Crucifixion between Sts. Jerome and Christopher

Focus on Crucifixion between Sts. Jerome and Christopher and explore the abstract.

The Crucifixion between Sts. Jerome and Christopher is a painting by the Italian Renaissance master Pinturicchio, painted around 1475 and housed in the Borghese Gallery of Rome, Italy. It is one of the earliest known works by the Umbrian painter, after some of the panels of the Miracles of St Bernardino (1473).

19042_NT

Crucifixion between Sts. Jerome and Christopher

Focus on this artwork and explore the abstract.

The Crucifixion between Sts. Jerome and Christopher is a painting by the Italian Renaissance master Pinturicchio, painted around 1475 and housed in the Borghese Gallery of Rome, Italy. It is one of the earliest known works by the Umbrian painter, after some of the panels of the Miracles of St Bernardino (1473).

19043_T

Crucifixion between Sts. Jerome and Christopher

Focus on Crucifixion between Sts. Jerome and Christopher and explain the Description.

The work depicts the Crucifixion on a river valley background, whose small details show the influence of Flemish painting. At the sides are a penitent St. Jerome, with the traditional symbols of the tamed lion, the cardinal hat on the ground, and a stone used to hit his chest. On the right is St. Christopher holding the martyrdom palm and looking at the young Jesus on his shoulder. The latter, in turn, holds an apple and wears a coif, an element which is present in other early Pinturicchio works, such as the Madonna with Blessing Child in the National Gallery of London. The work shares the same preparatory drawing, and perhaps the cartoon, of a work by Fiorenzo di Lorenzo.

19043_NT

Crucifixion between Sts. Jerome and Christopher

Focus on this artwork and explain the Description.

The work depicts the Crucifixion on a river valley background, whose small details show the influence of Flemish painting. At the sides are a penitent St. Jerome, with the traditional symbols of the tamed lion, the cardinal hat on the ground, and a stone used to hit his chest. On the right is St. Christopher holding the martyrdom palm and looking at the young Jesus on his shoulder. The latter, in turn, holds an apple and wears a coif, an element which is present in other early Pinturicchio works, such as the Madonna with Blessing Child in the National Gallery of London. The work shares the same preparatory drawing, and perhaps the cartoon, of a work by Fiorenzo di Lorenzo.

19044_T

Willy Brandt Memorial (Nuremberg)

Explore the abstract of this artwork, Willy Brandt Memorial (Nuremberg).

The Willy Brandt Memorial at the Willy Brandt Place in Nuremberg remembers the former Federal Chancellor and Nobel Peace Prize winner Willy Brandt. The bronze sculpture, which is sitting on a bench, was opened on 9 November 2009 in Anwesenheit by Ulrich Maly, Josef Tabachnyk and numerous contemporaries of Brandt, such as Hans-Jochen Vogel.Around one year before, on 6 November 2008, the sculptor Josef Tabachnyk won a competition with this memorial. Tabachnyk’s entry won against three other competitors. The Culture Committee of the city of Nuremberg decided to invite a limited number of artists to participate in this competition on 4 June 2008.The financing of this memorial was achieved through three sponsors, Walter Metz (Initiator), Bruno Schnell (Publisher) and the PSD Bank. The city council of Nuremberg took over the building costs necessary for installing the sculpture at Willy Brandt Place, including costs for the sculpture's foundations.

19044_NT

Willy Brandt Memorial (Nuremberg)

Explore the abstract of this artwork.

The Willy Brandt Memorial at the Willy Brandt Place in Nuremberg remembers the former Federal Chancellor and Nobel Peace Prize winner Willy Brandt. The bronze sculpture, which is sitting on a bench, was opened on 9 November 2009 in Anwesenheit by Ulrich Maly, Josef Tabachnyk and numerous contemporaries of Brandt, such as Hans-Jochen Vogel.Around one year before, on 6 November 2008, the sculptor Josef Tabachnyk won a competition with this memorial. Tabachnyk’s entry won against three other competitors. The Culture Committee of the city of Nuremberg decided to invite a limited number of artists to participate in this competition on 4 June 2008.The financing of this memorial was achieved through three sponsors, Walter Metz (Initiator), Bruno Schnell (Publisher) and the PSD Bank. The city council of Nuremberg took over the building costs necessary for installing the sculpture at Willy Brandt Place, including costs for the sculpture's foundations.

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Monument to the heroes of Puente Sampayo

Focus on Monument to the heroes of Puente Sampayo and discuss the abstract.

The Monument to the Heroes of Puente Sampayo is a memorial and sculptural group created by the Spanish sculptor Julio González Pola, in Pontevedra, Spain. It is in the gardens of the Plaza de España and was inaugurated on 27 August 1911. The monument commemorates the courage of the people of Pontevedra led by the officer Pablo Morillo and their triumph over the Napoleonic troops of Marshal Michel Ney, liberating Pontevedra from the occupation of the French army on 7 and 8 June 1809.

19045_NT

Monument to the heroes of Puente Sampayo

Focus on this artwork and discuss the abstract.

The Monument to the Heroes of Puente Sampayo is a memorial and sculptural group created by the Spanish sculptor Julio González Pola, in Pontevedra, Spain. It is in the gardens of the Plaza de España and was inaugurated on 27 August 1911. The monument commemorates the courage of the people of Pontevedra led by the officer Pablo Morillo and their triumph over the Napoleonic troops of Marshal Michel Ney, liberating Pontevedra from the occupation of the French army on 7 and 8 June 1809.

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Monument to the heroes of Puente Sampayo

How does Monument to the heroes of Puente Sampayo elucidate its History?

The Galician parliamentarian Eduardo Vincenti Reguera and the Galician Centre in Madrid were the main actors in the creation of the monument. On 9 February 1909, the Pontevedra City Council agreed to grant a subsidy of 500 pesetas and, later, authorised the contribution of the granite stone that supports the figures. This initiative was also supported by Javier Puig Llamas, mayor of Pontevedra at the time, and Eugenio Montero Ríos, president of the Senate. All these authorities made speeches at the inauguration of the monument on 27 August 1911.The government of King Alfonso XIII, which donated the bronze needed for the sculpture, also awarded a medal to commemorate the Battle of Puente Sampayo. The contribution of many private individuals to the financing of the monument is also attested to.The statue was surrounded by a monumental fountain built in 1983, which was removed in 2009 to return the monument and its surroundings to their original spatial design. ·

19046_NT

Monument to the heroes of Puente Sampayo

How does this artwork elucidate its History?

The Galician parliamentarian Eduardo Vincenti Reguera and the Galician Centre in Madrid were the main actors in the creation of the monument. On 9 February 1909, the Pontevedra City Council agreed to grant a subsidy of 500 pesetas and, later, authorised the contribution of the granite stone that supports the figures. This initiative was also supported by Javier Puig Llamas, mayor of Pontevedra at the time, and Eugenio Montero Ríos, president of the Senate. All these authorities made speeches at the inauguration of the monument on 27 August 1911.The government of King Alfonso XIII, which donated the bronze needed for the sculpture, also awarded a medal to commemorate the Battle of Puente Sampayo. The contribution of many private individuals to the financing of the monument is also attested to.The statue was surrounded by a monumental fountain built in 1983, which was removed in 2009 to return the monument and its surroundings to their original spatial design. ·

19047_T

Monument to the heroes of Puente Sampayo

Focus on Monument to the heroes of Puente Sampayo and analyze the Description.

This sculptural group belongs to the Spanish commemorative sculpture movement of the early 20th century. The group is eight metres high. It consists of several bronze figures on a granite pedestal representing a group of farmers, soldiers and students led by officer Pablo Morillo, holding a flag in the final moments of the battle.In the central part of the monument, a female figure (representing Galicia and the homeland) rests her hand on a shield with the Spanish coat of arms and extends her arm to invite combat. In the upper part, the figure of the officer Pablo Morillo encourages sword fighting. Next to him are a peasant, a student, a soldier and another wounded fighter representing the resistance of the people against the invader. Behind them is the flag and next to it a cannon.In the corners of the lower part of the monument are the four coats of arms of the Galician provinces. The central granite construction symbolises one of the pillars of the Puente Sampayo bridge, where most of the battle took place and which was destroyed after the battle.

19047_NT

Monument to the heroes of Puente Sampayo

Focus on this artwork and analyze the Description.

This sculptural group belongs to the Spanish commemorative sculpture movement of the early 20th century. The group is eight metres high. It consists of several bronze figures on a granite pedestal representing a group of farmers, soldiers and students led by officer Pablo Morillo, holding a flag in the final moments of the battle.In the central part of the monument, a female figure (representing Galicia and the homeland) rests her hand on a shield with the Spanish coat of arms and extends her arm to invite combat. In the upper part, the figure of the officer Pablo Morillo encourages sword fighting. Next to him are a peasant, a student, a soldier and another wounded fighter representing the resistance of the people against the invader. Behind them is the flag and next to it a cannon.In the corners of the lower part of the monument are the four coats of arms of the Galician provinces. The central granite construction symbolises one of the pillars of the Puente Sampayo bridge, where most of the battle took place and which was destroyed after the battle.

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Monument to the heroes of Puente Sampayo

In Monument to the heroes of Puente Sampayo, how is the The sculptural group in popular culture discussed?

It is considered by the art history professor Francisco Portela Sandoval to be one of the most successful monuments of the time due to its composition and faithful reproduction of the event it aims to immortalise.

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Monument to the heroes of Puente Sampayo

In this artwork, how is the The sculptural group in popular culture discussed?

It is considered by the art history professor Francisco Portela Sandoval to be one of the most successful monuments of the time due to its composition and faithful reproduction of the event it aims to immortalise.

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Portrait of Martino Martini

Focus on Portrait of Martino Martini and explore the abstract.

Portrait of Martino Martini is a painting by the Walloon artist Michaelina Wautier. Painted in 1654, it shows the Jesuit missionary Martino Martini. The work hangs in the Klesch private collection.

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Portrait of Martino Martini

Focus on this artwork and explore the abstract.

Portrait of Martino Martini is a painting by the Walloon artist Michaelina Wautier. Painted in 1654, it shows the Jesuit missionary Martino Martini. The work hangs in the Klesch private collection.

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Mr Joshua Smith

Focus on Mr Joshua Smith and explain the abstract.

Mr Joshua Smith, also known as Portrait of an Artist (Joshua Smith), is a 1943 painting by Australian artist William Dobell. The painting is a portrait of Joshua Smith, an artist and friend of Dobell. The painting was awarded the Archibald Prize in 1943. The painting took a modernist approach to portraiture; a break with the realism favoured to that date by Archibald Prize entrants. [I was] trying to create something, instead of copying something. To me, a sincere artist is not one who makes a faithful attempt to put on canvas what is in front of him, but one who tries to create something which is living in itself, regardless of its subject. So long as people expect paintings to be simply coloured photographs they get no individuality and in the case of portraits, no characterisation. The real artist is striving to depict his subject’s character and to stress the caricature, but at least it is art which is alive. The modernist painting attracted vehement criticism and equally passionate praise. The controversy spilled over from the arts world to the general public, with the Art Gallery of New South Wales having to extend opening hours and later prolong the exhibition. Over 140,000 people viewed the portrait during the exhibition 90% of Sydney's population at the time.This award was contested in the Supreme Court of New South Wales by Mary Edwell-Burke and Joseph Wolinski on the grounds that the painting was not a portrait but rather a caricature. The case was lost and the award stood. The case was said to have "placed art on trial" and to have raised "questions of what constituted a portrait and what was the relationship of realism to art in general." Mr Joshua Smith looks like a man naturally deformed or crippled, and suffering, in addition, from malnutrition ... poor Mr Smith is pilloried to eternal, skeletal deformity in the name of up-to-the-minute portraiture Smith himself was hurt by the depiction and by the controversy associated with the portrait. In 1990 Smith called the portrait "a curse, a phantom that haunts me. It has torn at me every day of my life."Dobell sold the painting to Sir Edward Hayward, a businessman from South Australia. In 1952, the painting was damaged in a fire at the Hayward's home. Dobell himself declined to restore the work. In 1972, Kenneth Malcolm, conservator at the National Gallery in London, undertook a restoration. Malcolm worked from a black and white photograph of the original and the extent of the damage required significant repainting. This restoration created further controversy as some questioned if the portrait could still be considered a work by Dobell.Brett Whiteley's 1978 Archibald Prize winning work Art, Life and the other thing includes a self-portrait of Whiteley holding a copy of Dobell's painting.

19050_NT

Mr Joshua Smith

Focus on this artwork and explain the abstract.

Mr Joshua Smith, also known as Portrait of an Artist (Joshua Smith), is a 1943 painting by Australian artist William Dobell. The painting is a portrait of Joshua Smith, an artist and friend of Dobell. The painting was awarded the Archibald Prize in 1943. The painting took a modernist approach to portraiture; a break with the realism favoured to that date by Archibald Prize entrants. [I was] trying to create something, instead of copying something. To me, a sincere artist is not one who makes a faithful attempt to put on canvas what is in front of him, but one who tries to create something which is living in itself, regardless of its subject. So long as people expect paintings to be simply coloured photographs they get no individuality and in the case of portraits, no characterisation. The real artist is striving to depict his subject’s character and to stress the caricature, but at least it is art which is alive. The modernist painting attracted vehement criticism and equally passionate praise. The controversy spilled over from the arts world to the general public, with the Art Gallery of New South Wales having to extend opening hours and later prolong the exhibition. Over 140,000 people viewed the portrait during the exhibition 90% of Sydney's population at the time.This award was contested in the Supreme Court of New South Wales by Mary Edwell-Burke and Joseph Wolinski on the grounds that the painting was not a portrait but rather a caricature. The case was lost and the award stood. The case was said to have "placed art on trial" and to have raised "questions of what constituted a portrait and what was the relationship of realism to art in general." Mr Joshua Smith looks like a man naturally deformed or crippled, and suffering, in addition, from malnutrition ... poor Mr Smith is pilloried to eternal, skeletal deformity in the name of up-to-the-minute portraiture Smith himself was hurt by the depiction and by the controversy associated with the portrait. In 1990 Smith called the portrait "a curse, a phantom that haunts me. It has torn at me every day of my life."Dobell sold the painting to Sir Edward Hayward, a businessman from South Australia. In 1952, the painting was damaged in a fire at the Hayward's home. Dobell himself declined to restore the work. In 1972, Kenneth Malcolm, conservator at the National Gallery in London, undertook a restoration. Malcolm worked from a black and white photograph of the original and the extent of the damage required significant repainting. This restoration created further controversy as some questioned if the portrait could still be considered a work by Dobell.Brett Whiteley's 1978 Archibald Prize winning work Art, Life and the other thing includes a self-portrait of Whiteley holding a copy of Dobell's painting.